BACK TO FULL PROGRAM

SESSION 28:
summer residency liverpool

JULY 14-28,2022

week one
week two
workshops
Facilities
TRAVEL
Library
TRAVEL

unless otherwise stated, all sessions will be held in the
LJMU John Lennon Art and Design Building
2 Duckinfield St, Liverpool

Program Key
ALL - indicates all students expected to attend
PHD - All PhD researchers
PHD1 - Incoming PhD Researchers
PhD2 - PhD researchers beginning their second year
PhD3 - PhD researchers beginning their third year
PhD4 - PhD researchers finishing the program
MFA - All MFA researchers
MFA1 - Incoming MFA researchers
MFA2 - Graduating MFA researchers

week one

friday july 14, 2023

Session Evaluation

10:00 - 11:00

Welcome and orientation: MFA1 (ERL) PhD1 (studio 2 - 1st floor)

11:15-12:00

Tour of Art school (incoming students and ongoing PhDs who are interested) (Art & design building) phd1 mfa1 (all welcome)

11:15-12:00

returning mfa & PhD Opening meeting (Studio 2 - 1st floor) MFA2 PHD2 Phd3 phd4

12:00-13:00

LJMU Library induction phd1 mfa1 (all welcome)

13:00-15:00

Lunch

15:00 - 15:15

intro to ren britton, transart’s Accessibility Friend &
Trans*Feminist Technical Support (studio 2 - 1st floor) ALL

15:15 - 17:00

Praxis Intros (studio 2 - 1st floor) ALL

saturday july 15, 2023

Session Evaluation

13:00-15:00

Excursion: Guided tour & into to uMoya, The sacred Return of Lost Things liverpool biennial with liverpool biennial head of programme lily mellor (Meeting spot: Tobacco Warehouse)

15:00-18:00

self-Guided tour of uMoya, The sacred Return of Lost Things liverpool biennial

sunday july 16, 2023

Rest Day

monday july 17, 2023

Session Evaluation

10:00-13:00

1:1 Scale Art Practice and the Post-Exhibitionary Epoch with John Byrne & guests (studio 2) ALL

13:00-14:00

Lunch break / tutorial slot

14:00-16:00

1:1 Scale Art Practice and the Post-Exhibitionary Epoch with John Byrne & guests (studio 2) ALL

16:15-17:00

PhD Research presentations (Jones)(studio 2) ALL

16:00-17:00

external examiner meeting (Anne Walker Seminar room) MFA2

17:00-18:00

Collegium meeting Phd 2-3-4 (Studio 4 / online)

Tuesday july 18, 2023

Session Evaluation

10:00-17:00

1:1 Scale Art Practice and the Post-Exhibitionary Epoch at Whitworth Gallery of Art with John Byrne & guests (whitworth gallery of art) ALL

NB: Whitworth Gallery of Art is located in Manchester (approx 1 hour train ride from Liverpool). Please make sure to plan to be at Whitworth at 10am

Wednesday july 19, 2023

Session Evaluation

9:00-12:30

mfa2 Presentations Install time MFA2

10:00-11:30

mfa1 meeting (archibald gate seminar room) MFA1

09:00-12:30

workshop - Co-Designing the Post-Research Outstitute with Michael Bowdidge (lecture room 4) PhD

12:30-13:15

MFA Research presentations (Meyer-grimberg) (x Gallery) MFA
Guest Reviewers

13:15-14:00

MFA Research presentations (livingston) (erl) MFA
Guest Reviewers

14:15-16:15

workshop - Co-Designing the Post-Research Outstitute with Michael Bowdidge (lecture room 4) PhD

15:00-15:45

MFA Research presentation (Manson) MFA
(erl - remote) Meeting link
Guest Reviewers

16:15-17:00

performance - heidi strauss (x Gallery) OPT

17:00-17:45

MFA Research presentation (strauss) (Johnson Auditorium) MFA
Guest Reviewers

thursday JULY 20, 2023

SESSION EVALUATION

9:30-10:00

presentations with Alessandra Cianetti & Susanne Martin (lecture room 4) all

10:00-14:00

Workshop: On Work with Alessandra Cianetti (lecture room 4) ALL

10:00-13:00

Workshop: come as you are and leave slightly different – instant compositions for transartists with Susanne Martin (erl) ALL

15:15-16:30

Workshop: On Work with Alessandra Cianetti (MFA & phd) (lecture room 4)

15:00-16:30

Workshop: come as you are and leave slightly different – instant compositions for transartists with Susanne Martin (erl) ALL

17:00-17:30

PhD Research presentations (Ludeker)(lecture room 4) ALL

17:30-18:00

phd Research presentation (abaka) (lecture room 4) ALL

friday july 21, 2023

Session Evaluation

10:00-14:00

Workshop: On Work with Alessandra Cianetti (lecture room 4) ALL

10:00-13:00

Workshop: come as you are and leave slightly different – instant compositions for transartists with Susanne Martin (erl) ALL

Lunch break / tutorial slot

15:00-16:15

Workshop: On Work with Alessandra Cianetti (MFA & phd) (lecture room 4) ALL

Workshop: come as you are and leave slightly different – instant compositions for transartists with Susanne Martin (erl) ALL

16:30-17:00

phd Research presentation (chaparro) (lecture room 4) all

17:00-17:30

phd Research presentation (fluevog) (lecture room 4) all

17:30-18:00

phd Research presentation (arcadias) (lecture room 4) all

18:15

Week 1 closing drinks (Free State Kitchen)

saturday july 22, 2023

11:00 - 14:00

sunday july 23, 2023

rest day

week two

monday july 24, 2023

Session Evaluation

09:30-10:00

Group Meeting ALL (ERL)

10:00-12:15

MFA1 Research presentations (ERL)
10:00 - 10:30 - Hawkinson
10:30 - 11:00 - Villaro
11:00 - 11:15 - Break
11:15 - 11:45 - Moreno
11:45 - 12:15 - Wolf

12:15-14:00

Lunch break/meeting slot

14:00-16:15

MFA1 Research presentations (ERL)
14:00 - 14:30 - Carson
14:30 - 15:00 - KIM
15:00 - 15:15 - Break
15:15 - 15:45 - King
15:45 - 16:15 - Scott

Tuesday july 25, 2023

Session Evaluation

10:00-13:00

Workshop: Summoning Queer Worlds and Imaginaries with Abdullah Qureshi (Archibald bathgate Seminar room ) ALL

13:00-15:00

Lunch break/meeting slot

15:00-16:45

Workshop: Summoning Queer Worlds and Imaginaries with Abdullah Qureshi (Archibald bathgate Seminar room) ALL

Wednesday july 26, 2023

Session Evaluation

10:00-13:00

LJMU lab printmaking taster workshop (print studio - 2nd floor) OPT (Sign up Here)

13:30-14:30

mfa2 collegium

13:30-15:00

student-run workshop - make a protest textile pin with Britta fluevog (archibald bathgate seminar room) OPT (Sign up Here)

15:00-15:45

MFA2 remote presentation - sophia wright emigh ZOOM Meeting LINK
(On Campus: Ann walker seminar room) MFA
Sophia invites you to listen from a space where you can comfortably rest, and be able to access anything that will help you settle into place — like a pillow, blanket, or simply the ground beneath you.

16:00-16:45

MFA2 remote presentation - Renee brown GOOGLE MEETS LINK
(On Campus: Ann walker seminar room) MFA

17:00-17:45

MFA2 remote presentation - vanessa lustig ZOOM Meeting LINK
(On campus: Ann walker seminar room) MFA

Thursday july 27, 2023

Session Evaluation

11:30-13:00

Working with Archives at the LJMU Archives with Susannah Waters (Aldham Robarts Library, Seminar Room One, Lower Ground Floor) ALL

13:00-14:00

Lunch break/meeting slot

14:00-17:00

LJMU Digital Fabrication Lab Taster Workshop (FAB LAB - Lower ground floor) OPT (Sign up Here)

friday july 28, 2023

Session Evaluation

10:00-12:00

Practice Sharing groups - first meeting (ERL) MFA1

12:15-13:00

MFA2 share advice/tips for incoming class (erl) MFA

13:00

MFA1 closing meeting (erl) MFA1

13:30

closing lunch (all)

Workshops

1:1 Scale Art Practice and the Post-Exhibitionary Epoch
with John byrne & guests

On Monday 17th and Tuesday 18th July, Prof John Byrne will host a series of workshops that aim to

1. Unpack the what 1:1 scale art practice might be

2. Look at how an analysis of 1:1 scale art practices might enable us to re-think our relationship to Western modes of understanding  art as a a post-exhibitionary and decolonised epoch.

The four key workshops/discussion points for this two day workshop will be:

Monday 17th AM: – Overview – the challenge of 1:1 Scale Practice in a post-exhibitionary epoch

Monday 17th PM: – Case Study – we will look together at the example of Homebaked – a project in Liverpool initially instigated by artist Jeanne van Heeswijk in the Anfield area of Liverpool, as part of Liverpool Biennial. This will include a possible site vist to Homebaked. Important – there will be the option to eat award winning pies made at Homebaked in this session – whether you will see them as eating art or eating pies made by artists might tell you something about your position within and toward the current Western Paradigms of Art

Tuesday 18th AM: - Case Study – will look at and engage with the exhibition Economics the Blockbuster at Manchester’s Whitworth Art Gallery. This will act as a means to see how artists are working to rethink our relationship to the economy (where the economy can be considered as a more complex set of social interactions that can’t simply be reduced to, or measured by, money). At the same time as this, it will allow us to rethink some of the issues between 1:1 Scale Practice, representation, re-presentation and the exhibitionary paradigm.

Tuesday 18th PM: – Case Study – Arte Util and the Offices of Useful Art – will look at the proposal of the Association of Arte Util network, its ‘archive’ of useful art projects (as a standing resource for activist re-use) and the proposition of linked ‘Offices of Useful Art’ as Constituent sites of meeting, exchange and activist reclamation (where what is to be reclaimed is the human scale/territory of use value: and what it is to be reclaimed from is the asymmetric and overarching occupation of a globalised neoliberal economic logic).

The Key Tenants of this two day series of workshops are:

1. That a seismic/paradigm shift is taking place within Wester Art which is affecting both our understanding of what Art is, or used to be and, also, the corresponding global Contemporary Art world which has grown up around this understanding since the late 1980s/early 1990s.

2. That this seismic/paradigm shift is marked by a move from representational to operational modes of artistic production (which seek a direct, rather than symbolic, impact on social, political and economic life)

3. That this seismic/paradigm shift is also marked by a move from an exhibitonary to a post-exhibitionary epoc (as museums, galleries and art/cultural institutions are moving toward more embedded forms of operational activity where arts social use, as a tool for change, is prioritised over its spectacle or didactic content.

4. That this seismic/paradigm shift is most visible/apparent in the challenges that forms of 1:1 Scale Art Practice (where forms of real-world intervention take primacy over representational function – i.e. Assembles’ Turner Prize winning  project work or the Homebaked, initially initiated by Jeanne van Heeswijk in Anfield as part of Liverpool Biennial).

5. That trying to understand the challenges that 1:1 Scale Art Practices pose for our current understanding of art also poses a series of fundamental questions - about our current mechanisms of artistic evaluation and their ability to ‘cope’ with the shift toward operational and post-exhibitonary practice.

6. That Use-Value (in its Marxist and non-utilitarian sense), as opposed to Aesthetic evaluation, may provide clues to how we can more rigorously understand the need and urgency of this shift from representational to operational forms of artistic practice.

7. That Useful Art, rather than representational art, provides an operational key for arts future function as an anti-neoliberal and anti-instrumentalised tool for effecting real and sustainable social, economic and political change in the current atmosphere of global crisis.

   BIO | SITE

   Syllabus

Co-Designing the Post-Research Outstitute
with Michael Bowdidge

The aim of this session is to initiate, map and begin to consider how TT might emerge or think-itself-anew as a hub or node within the mooted Post-Research culture?

It also aims to outline a potential theoretical context for such actions and explore the potential role and position of current PhD projects within the Institute within such a network.

Adapting the term 'Outstitution', coined individually by Marco Giovenale (2021) and The International 3 (2016), it also asks the question: What does an Outsitute look and feel like, as opposed to an Institute?

These aims will be achieved via a co-design approach that centres on a 'mapping exercise' which will aim to articulate and give form to the reflexive and connective potential of these projects both in relation to each other and a potential broader Post-Research culture.

BIO | SITE

Syllabus

on work
With alessandra cianetti 

Through a mix of presentations, screenings, mapping exercises, sharing sessions and conversations, the workshop aims at unfolding the barriers, strategies and support networks artists and researchers can collectively draw upon to build sustainable and equitable working practices that look at the commons as well as feminist, queer and cross-border practices of knowledge sharing and building.

The structure of the workshop is participatory, and it will also create the space to meet with both Liverpool-based and international practitioners whose work focuses on modes of collaboration and operations that centre disability justice, climate Justice, and solidarity economics both in live and digital spaces.

Alessandra Cianetti is a London-based curator, creative producer, writer, and researcher. Her work explores urgent socio-political issues with a focus on notions and lived experiences of physical, cultural, juridical, racial, gendered, economic borders.

She is the founder of performingborders, a curatorial digital research platform and series of national and international public programmes around art and borders. Currently, she is Project Manager for the Bagri Foundation, which supports artists and creatives from Asia and its diaspora. Over the years, Alessandra has worked on multi-disciplinary live and visual art projects across the UK, Europe, and internationally in partnership with arts organisations, institutions, community centres, and universities such as, among others, the Barbican Centre, the Live Art Development Agency, Tate Britain, South London Gallery, Bonington Gallery, King’s College London, Birkbeck University, Royal Central School of Speech and Drama, Warehouse9 Copenhagen, Beyond the Wall Festival Mexico/US, HowlRound Creative Commons US, City of Skopje, Ikona Gallery Venice, FEFÈ Project Rome. Her activities have been supported, among others, by the Arts Council England, the European Cultural Foundation, the National Arts Council Singapore, and the Fire Station Artists’ Studios Dublin. From April 2014 to March 2018, Alessandra has been co-director of the London-based arts organisation Something Human.

BIOGRAPHY | SITE

SYLLABUS

come as you are and leave slightly different – instant compositions for transartists
With Susanne Martin

This workshop is physical, playful, compositional and reflective. We will go back and forth between the following elements:

• warming up our appetite for moving

• opening up our senses, exploring the tactile

• creating short instant movement compositions in duets and small groups

• retreating to individual associative writing

• using our writing for the next compositions

• letting our own or our partners’ moving bodies inspire other instant makings = drawing, speaking, singing, arranging spaces and objects … … whatever of your home practice is available here and now

• retreating to individual reflective writing about our own respective artistic research

• finding a way to use the writing in the next movement composition

• discussing our instant compositions

• improving your instant resting skills

• helping someone to warm up her appetite for moving

You don’t need to have previous experience with dance or movement improvisation, but a curiosity and openness to meet yourself and the others in guided movement explorations, games and scores. We will take time to tune into being and having creative and social bodies. We will engage with some basics from the field of dance improvisation, sometimes with, sometimes without touch. We practice to let our partners inspire our moving bodies, let the collaborative activity inspire our individual associative, poetic and reflective writing, let the writing change our bodily and material doings. We will watch each other, listen to each other, applaud to each other, try out our worst and most messy compositions and maybe find some blissful moments on the way.

Aim: Use the tools and knowledge of dance improvisation and instant composition to find a fresh perspective on your own and your transart-peers‘ artistic sensibilities and see how that can playfully speak back to your individual research practices.

BIOGRAPHY | SITE

SYLLABUS

Summoning Queer Worlds and Imaginaries with Abdullah Qureshi

"Queerness is not yet here. Queerness is an ideality. Put another way, we are not yet queer, but we can feel it as the warm illumination of a horizon imbued with potentiality. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future. The future is queerness's domain."

– José Esteban Muñoz

Using Muñoz’s articulation of queerness as a starting point, Summoning Queer Worlds and Imaginaries is a workshop that examines contemporary queer arts and cultural practices through transnational and racialized perspectives. The project draws on critical Black, Indigenous, and People of Color histories and methodologies, highlighting the ground-breaking, experimental, and radical artistic strategies that have informed the field.

Maya Mikdashi and Jasbir K. Puar note that the US and other western contexts continue to dominate queer discourses and scholarships; they ask, “what queer theory may look like when it is not routed through Euro-American histories, sexualities, locations, or bodies.” Extending this line of thought to studio-based approaches and inquiries, Summoning Queer Worlds and Imaginaries is a proposition to artistically interrogate and envision queerness beyond sexual acts into political, historical, racial, and geographical realms.

BIOGRAPHY | SITE

SYLLABUS

Guest Reviewers

Emma Curd is an artist, researcher and facilitator. Primarily, her work is dedicated to creating frameworks to discuss art, power and language whilst working with a broad range of communities. Having undertaken practice-based doctoral research at Liverpool John Moores University between 2015 and 2019, Emma uses art and action research to encourage change in institutions. Titled ‘The People’s Glossary’, her PhD project is developed to equip communities to make interventions in galleries; to question interpretation, authorship, and expertise, and create alternative ‘ways to know about art’. Outcomes of the project include an online, crowdsourced resource, a series of zines and a toolkit.
Recent freelance projects include the facilitation and coordination of upcoming arts event titled ‘Festival of Hope’ (2020) at The Atkinson, Southport. Residencies include ‘Visible Voices’ (2018), Bow Arts, London and ‘Art, Activism and Language: Feminist Issues in Museums and Galleries’ (2017), Tate Exchange, Liverpool.

Gabriela Saenger Silva is an educator and arts practitioner who specialises in community and socially engaged practices. Holding a BA in Public Relations and MA in Theory, History and Critics of Visual Arts, Gabriela was Operations Coordinator for Mercosul Biennial Pedagogical and Public Programme from 2007 to 2013, guest curator for Bienal de São Paulo 2018 and Mediation Coordinator for Liverpool Biennial in 2016 and 2018, being responsible for the experimental programme The City is a school.

Aleasha Chaunte is a theatre artist who works primarily to develop the art form as a modern ritual that meets our present needs for transcendence. As part of her company One September, she also works to promote best practice in the industry through creative evaluation, research and community discussion. She is currently engaged in a long-running project to improve the way that the industry supports mental health for creative workers.

Most recent work includes: “Out of the Narrow Place: A ritual for black descendants of slaves”.

www.aleashachaunte.com

www.oneseptember.co.uk

Conversation with Khanyisile Mbongwa

On Saturday July 22nd Transart researchers will share a conversation about biennales and curatorial practice with Liverpool Biennial curator, Khanyisile Mbongwa at Bidston Observatory Artistic Research Centre (BOARC).

Khanyisile Mbongwa is a Cape Town-based independent curator, award-winning artist and sociologist who engages with her curatorial practice as Curing & Care, using the creative to instigate spaces for emancipatory practices, joy and play.

Mbongwa is the curator of Puncture Points, founding member and curator of Twenty Journey and former Executive Director of Handspring Trust Puppets. She is one of the founding members of arts collective Gugulective, Vasiki Creative Citizens and WOC poetry collective Rioters In Session. Mbongwa was a Mellon Foundation Fellow at the Institute of Creative Arts at the University of Cape Town, where she completed her masters in Interdisciplinary Arts, Public Art and the Public Sphere, and has worked locally and internationally. She is also currently a PhD candidate at UCT where her work focuses on spatiality, radical black self love and imagination, and black futurity.

Formerly Chief Curator of the 2020 Stellenbosch Triennale, her other recent projects include: Process as Resistance, Resilience & Regeneration – a group exhibition co-curated with Julia Haarmann honoring a decade of CAT Cologne (2020), Athi-Patra Ruga’s solo at Norval Foundation titled iiNyanka Zonyaka (The Lunar Songbook) (2020) and a group exhibition titled History’s Footnote: On Love & Freedom at Marres, House for Contemporary Culture in Maastricht, Netherlands (2021).

make a protest textile pin workshop
with Britta Fluevog

In this workshop, which is an experiential Introduction to Transart PhD candidate, Britta Fluevog’s research, we will be making a textile pin or broach on the theme of the climate crisis. Participants will be encouraged to pick a public figure to mail the pin to, that encourages this person to make responsible choices regarding environmental policies. The workshop will end with filling out a questionnaire and a short discussion on using traditional research methods for an arts-based practice.
This is an optional workshop. Sign up here

Liverpool Biennial excursion

The 12th edition of Liverpool Biennial ‘uMoya: The sacred Return of Lost Things’ addresses the history and temperament of the city of Liverpool and is a call for ancestral and indigenous forms of knowledge, wisdom and healing. In the isiZulu language, ‘uMoya’ means spirit, breath, air, climate and wind.The festival explores the ways in which people and objects have the potential to manifest power as they move across the world, while acknowledging the continued losses of the past. It draws a line from the ongoing Catastrophes caused by colonialism towards an insistence on being truly Alive.More than 30 international artists and collectives have been invited to engage with uMoya as a compass, divine intervention, and thoroughfare. Taking over historic buildings, unexpected spaces and art galleries, a dynamic programme of free exhibitions, performances, screenings, community events, learning activities and fringe events unfolds over 14 weeks, shining a light on the city’s vibrant cultural scene. Liverpool Biennial 2023 is curated by Khaniyisile Mbongwa.

facilities

X Gallery

Located on the lower ground floor of the Arts & Design building.

In the above architectural plan, the X Gallery space is in 'Area B'. (NB: although it looks like there's no partition, there is a moveable wall in the middle of the space that closes it off from 'Area A' - the Fab Lab.)

Access:
There's an access lift down from the entrance of the ERL, and also a staff/student only lift (accessed by swiping a staff/student card) just next to the cafe at the other side of the floor. There is a ramp into the space from the cafe, and the access lift from the ERL opens onto the Public Exhibition Space about 5 feet from the door to the X Gallery.

Space specs

• It is not permitted to drill/screw/nail into the walls, but it is possible to use velcro/command strips/glue dots to hang light works from them.

• If students require walls to attach paintings/sculpture to then there are moveable walls out in the Public Exhibition Space that can be wheeled in and out as required which can have nails/screws put into them.

• There is a scaffolding rig attached to the ceiling. This allows for speakers/cameras/patinings/sculptures/etc. to be attached.

• The space has controllable lighting/spot lights which can be adjusted as required, and which can be fully switched off, making it a black box space that is ideal for projections (or partially dimmed in places for projections, etc.).

• Students will have access to the moveable walls and a variety of plinths. In the store room there are also circa. 30 easels that can be used if required, along with tables and seating.

• The IT team in the building can also supply projectors, speakers, headphones, media players, etc. as required too.