Issue 7
Displacement
Issue 7 Theme: Displacement
welcome
This year, Canvas’s aim is to fulfill its potential for interdisciplinarity. Our fantastic team and contributors have worked extremely hard to produce an issue combining the skills of a variety of students from the University of Edinburgh as a whole – confirming that creativity within the University transcends the walls of ECA. We agreed upon the theme of Displacement, considering the limitations and boundaries students may encounter within their particular disciplines. Canvas is a space where these disciplines can merge, combine, create, and shape discussion. As well as this, we asked our readers to submit work in response to our theme, allowing more space for the expansion of ideas and content. We hope this issue provides inspiration for the new semester, and acts as a catalyst for wider discussion within the University. Thank you,
Contents
Aisling Ward Editor-in-Chief
Art -4-
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Art & Place
On View
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Gentrification & Art
Displaced & Student Disembodied Interviews - 10 -
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The Place is A Feminist Here Collection - 20 -
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Self Portrait Identity politics in - 34 Fruitmarket the BLK art groups Gallery Expansion
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Material Framework 3
Culture
Fashion
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Sustainable Fashion
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Illustrations: Niamh Lehane
Contents
Macaroni with a side of Brexit
Displacement 4 Art
For a small city, Edinburgh has an abundance of art galleries. However, between grand old tourist-attracting temple-like national museums, expensive New Town Public Art in Edinburgh commercial spaces and tiny contemporary galleries concealed in side-alleys, who are they serving? A recurring postmodern tendency has been to desert the gallery space, to make more democratic art that is part of the public’s everyday life, functioning for sociopolitical discourse rather than for the artist’s own marketability. Once an avant-garde idea, this seems to be regaining relevancy in our current unsettled climate, as artistic trends return to engagement with issues of political communication, the environment and community identity: ideas that can be expressed through the conceptualisation of the art’s setting. Edinburgh exemplifies this displacement of art and ideas from the institution to public space, with much of its contemporary work existing as part of the city’s historic and evolving landscape.
Edinburgh: Art & Place
One example is Bobby Niven’s Palm House (2017) in the Johnston Terrace Wildlife Garden. Niven creates sculptural structures intended as zones for artistic exchange, with each responding to its particular setting and its history. This greenhouse incorporates anthropomorphic forms, building on Patrick Geddes’ efforts to transform Johnston Terrace into a space of human-nature symbiosis at the city’s centre. The glass and timber frame offers room for contemplation and production without obstruction to the gardens.
aims to bring these stories to the forefront of our minds as we pass through the streets.
In an underpass on Calton Road, Graham Fagen’s A Drama in Time (2016) uses neon lights to illustrate aspects of Edinburgh’s history. The work’s placement monumentalises a shadowy corner of Edinburgh, marking its importance as a place that links the Old and New Towns, the panoptic Calton Hill and the dark depths of Cowgate. Like Niven, he draws on Patrick Geddes’ conception of the city, seeing it as a continuous historical narrative rather than simply a place in space, and
Building his art into Edinburgh’s architectural structure, Martin Creed conceals his work but renders it unavoidable. Work No. 1059 (2010) is the refurbished Scotsman Steps, originally built in 1899 to connect North Bridge with Waverley Station. Creed resurfaced the 104 dilapidated steps with pieces of marble from around the world, creating a microcosm within the stairwell. The artwork is unfurled as we move through it. Combining ideas of progression and procession, the steps
Among Eduardo Paolozzi’s final works are the stained glass windows in St. Mary’s Cathedral, installed in 2002. Paolozzi studied at Edinburgh College of Art, and was a pioneer of British Pop Art. Casting a kaleidoscope of primary colours over the stone, his windows re-animate the Neo-Gothic church, tying together parts of the city’s artistic and social history.
reflect Edinburgh’s physical and historical layers; like Fagen’s work, they are a connecting thread, carrying their viewer/user through disjointed divisions of the city. These works have been built into the city space, responding to each location’s history and purpose. The re-designation of art’s place from the gallery to public space allows us to readjust the way we view and experience the city in day-to-day life. With these ideas in mind, galleries in Edinburgh have also adapted to consider how site can alter the way we understand art, and the way the art interacts with the city.
Words: Anna Gilroy History of Art, 4th Year
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A Drama in Time, Graham Fagen (2016)
Collective
The opening of Collective’s new home on Calton Hill on 24th November had been much anticipated in the Edinburgh art scene and some years in the making. Offering a new setting for contemporary art, but on such a historic and well-known site within the city, there is immediately much at play here for the visitor to consider. The experience is both intriguing and rewarding. The opening exhibits are grouped under the title ‘Affinity and Allusion’
and include James N. Hutschinson’s botanical drawings in the library of the old City Observatory, and Klaus Weber’s Nonument, in the new gallery space. This immortalized snowman – raised on a plinth, and complete with a bottle for a hat and a cigarette – acts as a witty, contemporary counterpart to the classical monuments Calton Hill’s Enlightenment building scheme brings to mind. This very intentional engagement with the location continues elsewhere, such as with Tessa Lynch’s Turns. The work is both sculpture and seating; a gathering point and place to take in the extensive views over the city outside the main gallery building, while also taking its very form from the idea of sight and looking, inspired by the contorted shapes of camera lenses. Meanwhile, Dineo Seshee Bopape has an installation in the City Dome, entitled When Spirituality Was A Baby, which engages the senses beyond sight, with scents and smells hitting the visitor on approach. The artist has adorned the whole space of the structure with various ‘raw materi-
als,’ which are again presented to be considered with the site itself and its history as an observatory, engaging in themes of time, spirituality and science.
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While Collective has restaged the place of the gallery in the city, other contemporary institutions have focused on shifting the gallery space from one of passive exhibition to one of production. For example, Dovecot Studios and the Talbot Rice Gallery have introduced residencies or allowed open access to studios, placing focus on the act of creation. More recently, there has been an increased number of performative works on display in Edinburgh, again transforming the gallery into an active space, where new works are constantly in production through the interactions of new visitors.
The artworks at Collective sit in a mix of historic and new spaces, each understated and elegantly composed architecturally, giving an intimate space to contemplate art. The great Edinburgh views from the hilltop are allowed to perform as inspiration too, with a viewing level over one of the gallery spaces, and in the overall sense of openness and space around the cluster of observatory, dome, kiosk and restaurant. This certainly feels like an exciting addition to Calton Hill and for creating new conversations in contemporary art.
Words: Sarah Renard History of Art, 4th Year
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DISPLACED & Blackness and Other In Galleries and Museums
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By Fatima Seck As the size and scope of empire expanded across the 18th and 19th centuries, the museum emerged as a site in which constituents of the metropole could encounter the ‘exoticism’ of colonised lands — and thus as a by-product of colonialism and early anthropology, embedded into the ontological framework of the museum was the endemic convention of white people looking at the Other. These Other cultures and their artefacts were paraded for white audiences because they represented a “new delight, more intense, more satisfying than normal ways of doing,” according to the writer bell hooks.
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The museum site remains deeply bound to the colonial zeal and nostalgia that popularised it: through a voyeurism posed as didactic display, the museum at once enables and centralises a racialised spectatorship through which “race and ethnicity become commodified as resources for pleasure,”(bell hooks). In addition to being an imperial legacy, that Other and Blackness are consumed as products in the museum space (and beyond) is both a symptom and expression of our late-capitalist political economy that depends on the commodification of all facets of human life and experience. Anna Seaton-Schmidt hoped in 1913 that museums would become “working centres from which will radiate the aesthetic commercial life of [the United States].” Though more insidiously, her wish has been realised: museums are factories that commodify and disembody Blackness, and even further, fuel the facet of capitalism that profits on white people experiencing the Other.
The art museum is equally complicit in this violence. Despite efforts to de-racialise and deconstruct, Black art only exists in the museum site in anthropological rather than contemporary high art terms, curated and displayed for white pleasure and consumption. Black subjectivity, then, is removed from the conceptualisation of Black art in the art institution. Instead, to be valued, Black art must “turn [black] pain into a twisted cartoon version of a reality that white Americans first perpetuated and eagerly buy into,” in the words of the artist Lyric Prince. It begins at the museum that Black stories serve the white art establishment; that white interest is embedded into how Black art is valued and conceptualised in the art academy as a whole. While presenting itself as forward-thinking, the art academy consciously and unconsciously employs Black oppression as an economic driver, a logic that is plainly a legacy of slavery and colonialism. Zeba Blay rightfully asserts that “Black pain translates to dollars, even as we’re told that the spreading of images of black bodies equals awareness [and] empathy”. In the displacement and display of Black bodies and experiences in the museum site, we can locate the colonial, capitalist and museological dialectics that charge museum institutions and art academies. Feminist pedagogies and epistemologies can help us to subvert these insidious forces: Donna Harraway and bell hooks, for example, teach us the meaning and significance of ‘seeing from below,’ limited vision, and challenging subject-object dichotomies. Additionally, non-prescriptive museum experiences like Waiting Room by Simone Leigh show there are indeed ways to foreground Black agency and subjectivity in the museum-gallery space. Ultimately, however, there is no singular solution to the complex politics of Black representation and display of the Other. Perhaps, even, the true objective of a decolonial project should not be to find answers, but to ask new and radical questions. Indeed we must ask questions, challenge the knowledge we produce and consume, interrogate the positionalities from which we know and see — and we must do so frequently, urgently and unapologetically.
MOON CELL Ella Porter, BA Intermedia, 4th Year
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CANVAS Features Displacement
Touching on ideas of deep space and early life forms floating in infinite primordial substance, Ella’s video stills draw on the similarities between micro/macro imagery and the journeys and shifts between them.
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Exhibiting Marginalised Artists in Britain Words: Ruby Scott-Geddes MA History of Art, 4th year
Minority-only exhibitions can bring visibility and credibility to wider strategies for responding to institutional bias. Large, public exhibitions arranged within established cultural institutions can be particularly effective as they bring the most exposure to the work of artists obscured from history, and present their work as institutionally recognised. However, the display of artists grouped by their marginalised position in society is problematic, leading to generalisations and misconceptions of their work, a greater interest in biography than the artist’s intent and context. Exhibitions are also met with issues specific to the minorities they represent, as, delivered from privileged positions of authority within institutions themselves, curators must be accurate and sensitive in representing the marginalised group on which they focus, so as to avoid objectifying these individuals, and making them the isolated subjects of public scrutiny.
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Nick Aikens and Sam Thorne’s The Place is Here (South London Gallery, Nottingham Contemporary, 2017) exhibited work produced by black artists and collectives from the 1980s. The exhibition was ex-
the bias embedded in traditional systems. The exhibition was also successful as the artists exhibiting in The Place is Here were not only of a common minority, but were contemporaries or collaborators who shared an interest in presenting issues of class, race, ethnicity, gender and sexuality in their work. These artists and curators were diverse in their influences, considering their relation to ‘Britain’s colonial past as well as to art history,’ responding to ideas brought into circulation by the American Civil Rights movement, Pan-Africanism and Black Feminism as well as the ‘emergent fields of postcolonial and cultural studies.’ As a result of these measures, The Place is Here was not limited by undermining generalisations regarding the artists’ minority status, but rather drew together the artists of the exhibition for the common themes of their work, presenting the variety of each artist’s individual approach and specific concerns.
the effects of the artists’ work, the exhibition allowed for public, personal, creative and academic engagement through its range of works of different media, and expanse of contextual information, encouraging diverse reflections rather than directing specific views. The exhibition was also made free and accessible to people of all abilities, identities and backgrounds, and as a result, avoided undermining its position as a response to institutional bias, providing extensive information and experience of diverse histories to anyone willing to engage with them. Arranged with the support of many of the artists exhibited, The Place is Here considered the extensive and intersectional impact of institutional bias, and avoided the corruption of this intent by adapting the exhibition for profitability and cultural consumerism.
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ed the themes and ideas of the exhibition through the works alone. The exhibition’s title, taken from Lubaina Himid’s We Will Be, indicated this intent to listening to the artists speaking for themselves, recognising that systems of marginalisation have denied a political voice to minority groups. Further, the arrangement of these works within a new context did not remove but rather reiterated the statements and concerns of the artists included, encouraging the evaluation of contemporary systems that continue to permit marginalisation. By transferring the work of these artists from a period of ‘civil unrest and divisive national politics,’ into a society made up of increasingly diverse histories and cultural identities threatened by nationalistic politics and anxiety around immigration, the works of the exhibition gained a ‘contemporary urgency.’ Consistent with
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pansive and varied, and accompanied by a range of documents, objects and contextual information. However, Aikens and Thorne avoided presenting these elements as ‘a chronological survey’ fitting with linear understandings of art history, but rather brought together different individual and cultural ‘identities, histories and narratives to be dismantled and reconfigured according to new terms,’ encouraging more diverse understandings of histories open to change. This approach perhaps recognised the failings of other minority exhibitions that, though responding to institutional bias by making space for artists with limited opportunities, have also been criticised for grouping minority artists and isolating them from institutional artists. The curator’s revised approach to history facilitated new perspectives and conversations and avoided
Rather than becoming an exhibition of the artists themselves, and their minority experiences, the curators noted and avoided historic patterns that encouraged the objectification of marginalised people and presentArt
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Euan Gray, ‘The Immigration Game’, The Edinburgh Reporter.
Section Culture
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ON VIEW:
Another Country: Contemporary Artists On Immigration City Art Centre City Art Centre’s group exhibition tackles the critical issue of immigration from an Edinburgh perspective, acknowledging its significance in both the city’s history and its contemporary culture. The exhibition is clear in its objective to represent all viewpoints, and therefore features British artists, foreign-born artists working in Scotland, and Scottish artists who have emigrated elsewhere. This mixture of perspectives, as well as the variety of media used, means the exhibition as a whole feels fairly disjointed. However, the works are successful in their aims to offer new frames of mind and trigger the discordant or unresolved thoughts we ourselves may have about the issues surrounding immigration. Perhaps the exhibition’s greatest success is in its attempt to present a universal experience of immigration through the telling of unique individual stories, such as in the work of Owen Logan, whose mother was the first Italian born in Italian Somalia, and later emigrated to Edinburgh. Logan’s photographic series offers a snapshot of life in a community transplanted into a foreign setting. The exhibition as a whole is interesting in its attempts to present an issue so heavily discussed, in a way that is detached from political bias and media manipulation to return focus to individual experience. Until 17th March 2019, free admission Words: Anna Gilroy
Scottish National Gallery of Modern Art (Modern Two)
Robert Blomfield, Edinburgh Street Photography: An Unseen Archive City Art Centre Robert Blomfield studied medicine at the University of Edinburgh in the 1960s, but spent his free time roaming the streets, camera in hand. This is the first large-scale exhibition of his work and features a selection of his private archive, offering a rare glimpse of everyday Edinburgh at this time of rapid redevelopment and dramatic social change in the post-war period. Blomfield favoured a 28mm lens, demanding close proximity to his subjects, and the results are intimate and often comical interactions with mischievous children, grumbling sandwich-board men, elderly window-shoppers and socialist street preachers, accompanied with a wonderful array of 60s outfits and moustaches. They capture a city familiar to us, as well as a city in flux; many of the photographs have a backdrop of demolished tenements and construction work, while others show heavy traffic on Princes Street, Cowgate cobbles glistening with rain, and the student union in Teviot barely changed apart from the clouds of cigarette smoke. Until 17th March, free admission Words: Anna Gilroy
Section Culture
Eduardo Paolozzi ‘Take Off’, National Galleries of Scotland, 1972.
Until 2nd June 2019, free admission Words: Eleanor Maskatiya
Robert Blomfield, Student Union, Teviot Rowhouse, University of Edinburgh, 1964.
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This exhibition with its provocative title (a remark from Warhol himself) traces the work of two artists preoccupied with consumerism and technology. Though the work of Warhol and Paolozzi is divided into different rooms, we can see an overarching similarity through their use of screen-printing. For these artists, the anonymous and machine-like quality in their techniques was a way for them to express a shared belief in what they saw as an increasingly mechanised quality of art. Yet the selection of 50 rarely viewed drawings created by Warhol in the 1950s show a side to him that was far from mechanical. Instead, these skilled, fine and delicate line drawings reveal a sensuous side to the artist, while also showing characteristics of his later well-known works of Pop Art. Similarly, the display of Paolozzi’s collages from the late 1940s and early 50s reveal his interest in the exoticism of consumer culture in America. The exhibition shows the different routes taken by Warhol and Paolozzi in their search to create art in the technologically driven world they lived in. It is a rare chance to see such varied works under one roof, and this show will certainly not disappoint.
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Andy Warhol And Eduardo Paolozzi, I Want To Be A Machine
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My House By Frederika Dalwood, BA Intermedia, 4th Yr
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Student Interviews: Zac Hughson
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Introduce your practice in three words: Duality, grey, transient.
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I don’t think there was a person that made it click, I think it was sort of an innate need to do something, a need to create and to play with things in that sort of way. Coming together with other creative people made me realise that was what I wanted to do. What is your work about? My work is currently about this sort of duality between masculinity and femininity. I recently had my long hair cut short. Before - I’d had long hair since I was quite young, around 13 - I had never looked sort of stereotypical, I was always a ‘goth’ or someone with mad hair and it was always a fun expressive thing. When it got really long it became a feminizing, androgynous part of me. I wasn’t aware of what it was like to be without that, it grew naturally with me and when I cut my hair off, I felt this very dramatic shift in the way I would be accepted or spoke to or the way I’d be expected to react in certain social situations. There was a sort of seriousness after my hair being cut, it was a mad transition, a power dynamic being shifted and I felt that I’d never noticed it before, that male privilege. I’d watched a lot of people that had experienced that shift from man to women who were speaking about it, it was interesting to go from a vaguely feminine figure to a much more hyper masculine silhouette. To see the extent of that power shift was sort of awful really.
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Can you remember when you became interested in art? If so, did a particular person make that ‘click’? I’ve always been interested in art, and interested in drawing which was where it started. I remember being quite young and being able to place words on certain drawings and so conceptual things started quite early. I wouldn’t say I became interested in studying art until I was about 18 because I didn’t think I was going to go to university, as people said ‘there’s no point going if you’re going to do art’. Then I decided I didn’t want to work full time, I wanted to do a foundation at college and it just totally changed my mind.
How do you use projections in your work? I was working with hair as a material and as a gestural thing; when I introduced textiles as gesture, I didn’t know if it was being received as a separate entity. I wanted it to be more of a channel in which change, and conversation can happen. And then I turned to projection because of the intangible thing; unlike material, it was an extension of the concrete sphere’s personality. It gave a personality and thoughts to objects I’d made, to allow them to interact with each other and this new way of working with light offers so much more possibility. Sculpture especially tends to rely on ‘traditional’ unadventurous objects which seem to be used over and over again, re-contextualising them without innovating them, which is what I’m trying to do now.
love it. The materials I hate most, I tend not to engage with, but I would say anything wooden. I hate wood. It feels very naff and homemade and I dislike the associations with nature. Talk me through the process of what inspires you, how you begin a piece, how it evolves and when you decide it’s done. I think initially I normal go through an experience, reflecting and realising it on a bigger scale. Not to make the work personal and diaristic but to move it out into the world and create discussion. I tend to by making drawings on the experience, it helps to refine and focus my thoughts on what experience if I’ve been through. I then move from drawing to maquettes and sometimes engage with the performative experience of whatever has happened. For example, my haircut, going back and wearing a wig to create a back and forth with my experience. Engaging with what has went on to find a physical sketch. The drawing helps with that. As for when a piece is finished - I never truly feel like a piece is finished - you reach a point where you perhaps achieved what you set out to achieve but then I think it moves on and you carry it with you and maybe come back to it later in future.
What’s next? I am thinking of exhibiting in public space and interfering with public space. Because this where the ideas and transitional period has come from. Taking the works back to that space to reframe them. Not to directly interfere with public space, but to return the conversation and create a dialect – a bigger dialect - between the piece and the social space it was created by. I’m thinking of taking the work to the streets, maybe an industrial estate near home that has concrete blocks that were used to stop roads, maybe projecting or using textiles to weave concrete objects together and creating this strange space outside of the art school.
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mb er Brown
What’s your favourite material and the material you hate the most? My favourite material is concrete/ cement. I think concrete is an autobiographical material for me and it represents a lot of my interests, background and what I’m familiar with. It’s also a hilariously misread material; I’m talking about it being associated with solidity, but concrete has a magical transformative ability. Its form is never set to begin with, it has to be formed into something and is not always solid and that’s a weird thing that everyone misses which is why I
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How does your work interact with the here and now? How much do you want it to? Does it deal with displacement in any ways? I like my work to interact with the here and now. I Absolutely, it deals with displacement. It’s about the don’t really like diaristic work I feel that is a someprocess of being displaced and finding which sort of what absolved way of working, what are you doing if structure you lean towards. Not about choice, but the you’re just talking about yourself? I like to start from sort of choice in which dialogue you take part in or a personal place and move into the bigger realm gravitate towards. It’s a process of being displaced to engage with politics in the work. My work often and not feeling like I have found that definite area yet. engages with politics but not in an overly explicit way. It is there and it’s allowing the viewer to engage with these politics.
‘What are you doing if you’re just talking about yourself?’
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How does this meaning reflect in the materials? Material wise I’ve been looking at masculinity and femininity as this sort of absolute. Concrete is a beautiful material and it evokes solidity and structure. I was looking at the in-between and gestural parts I could express through textiles. This dialect between masculinity and femininity and that transient space in between. The separate energy, androgyny, exists in-between the two which was what I was trying to express through materials.
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Portrait By Ogi Ostojic MA English Literature, Year 2
In empty squares Where church bells echo Softly, I am there!
In orange roofed towns In the south
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Where I was born Where a bomb kissed The church near my home Which I have left and left
My name here rings Like the Danube Hear it
And it’s been so long since
Sloping down valleys.
I have seen the red and green market … near my home I miss it! Look away Scotland! I am not yours! This brown hair, This body Belongs to my mother’s body. Mother! Art
I don’t want to talk about myself anymore.
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Shift II, 15x8 in, Monochrome print on canvas.
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Shift I, 9x9 in, Monochrome print on silk.
Isabel Duffy
Ma (Hons) Fine Art 2nd Year
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A FEMINIST COLLECTION
Taking social reproduction and globalisation as central themes, the School of History of Art are shaping a new Feminist collection; displacing the current collection’s predominantly Western, male prejudice.
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Words: Aisling Ward MA (Hons) Fine Art, 4th year.
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Image: Screenshot from Kate Davis’ Charity (2017)
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The University of Edinburgh’s current collection holds a vast 8000 items, mainly consisting of paintings and sculptures. Though this selection offers a variety of works reflecting the institution’s 400-year history, it does so with a male bias. The new Contemporary Art Research Collection, led by current research undertaken in the School of History of Art, are openly redressing this imbalance between male and female artists, as well as the collection’s geographic focus on Western Europe.
The folio of research, which has been designed by Maeve Redmond, includes documents such as essays, reports, books and films, shared between the artists and researchers involved in the project. The folio is held in the University of Edinburgh’s centre for Research Collections, making it accessible as a form of education for students and other members of the University. Initial research for the project involved various workshops with SCOTPEP members, where discourse surrounding the politics of sex-work took place, along with workshops discussing how these ideas could be represented through film. The inclusion of this project within the Edinburgh collections is extremely important in promoting the integral work of SCOT-PEP, who are actively attempting to change the labour conditions of sex
workers in Scotland, as well as pursuing the rights of sex workers globally. The film by Petra Bauer and SCOT-PEP highlights the integral strength of this collective, and shows how this strength and determination has the power to draw public attention to the conditions of sex-workers and humanise them within society. The new collection have also acquired three works by Glasgow-based artist Kate Davis. One of the aims of the contemporary research collection is to integrate the process of building this new collection into teaching. For example, a group of fourth year History of Art students interviewed Davis in order to find out more about her artistic process, giving students the opportunity to contribute to the University Collections Archive. Mainly discussing Davis’s video piece, Charity (2017), the collection pursued what a feminist collection could look like. In Charity, the act of breastfeeding is interpreted as a laborious task, where images of famous, historical paintings and sculptures of women breastfeeding are compared with zoomed in videos of the artist carrying out household chores such as washing, cooking and childcare. The latter videos are played against grating sounds of machinery, and this combined with the jarred videos creates a sense of urgency and toil associated with labour. A female voice narrates the video, talking about the act of breastfeeding in terms of paid employment. The intimacy of a maternal relationship is replaced by an explanation of ‘duties’ which the narrator undertakes in order to breast feed her child.
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The new collection’s initial target was to encompass work produced since 1989, a significant date marking the consolidation of capitalist globalisation, following the collapse of the Berlin Wall. Kirsten Lloyd states that this will enable them to ‘broach new territories in terms of space, media and practice.’ But how is this different from other forms of collecting? The new collection’s aim is to develop their research in a hope that it can be utilised, as opposed to just representing artworks as illustrative materials. [1] For example, the new collection’s latest acquisition is a folio of research collated from Nothing about us without us (ongoing), a project initiated by Collective in 2016. This new acquisition is a collaborative project between Petra Bauer, a Swedish artist and filmmaker, and SCOT-PEP, a charity dedicated to the rights of sex workers.
Kera Lovell (University of Utah) states that “breastmilk is only free if we think of women’s time, bodies, and care-work as worthless” (@ keralovell). And this couldn’t be more in line with the ideas sparked by Davis’s work. Charity opens discussions on multiple levels, it is both autobiographical and historical, whilst being both personal and social. Art
1. www.fabric.eca.ed.ac.uk/university-edinburgh-contemporary-art-resewarch-collection
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Niamh Lehane MA Philosophy, 4th Yr
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Material Framework
Fashion
Photography: Amber Brown & Amy Witney-Scholes. Styling & Direction: Arabella Bradley & Aisling Ward. Assisted by Sarah Green. All garments made by Performance Costume undergraduate students.
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Model: Ella Porter Dress by Rosie Lindsley
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Model: Ilyana Bell Dress by Annie Linfitt Jacket by Katie Anderson
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Model: Ella Porter Trousers by Georgie Carey
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Models: Hannah Draper, Ilyana Bell, Ellie Jeans. Hannah wears a dress and arm cuff by Annie Linfitt. Ilyana wears a dress by Annie Linfitt and a jacket by Katie Anderson. Ellie wears dungarees by Katie Anderson.
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Models: Daniel Turner & Ella Porter Daniel wears trousers by Georgie Carey Ella wears dress by Rosie Lindsley
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Some thoughts on Sustainable Fashion
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Sustainable fashion has been the buzz word of 2018. Everywhere you look – social media, magazines, even documentaries - people are talking about how we need to shop less, shop second hand, shop independent to be more sustainable and stop buying into fast fashion. But is it easier said than done to make fashion fully sustainable? The industry has been increasingly criticised for subjecting those who make garments to poor working conditions and underpayment; issues which remain unresolved. The increase in fast fashion has not only generated demand for quantity of product, which has exacerbated the problem of factory conditions, but has also brought the desire to bring something new to the market each time. Design teams are no longer able to create new concepts and designs at the rapid pace by which we consume them, so they take the quicker, easier option: appropriate from others (a prominent case of this being the illustrator Tuesday Bassen having her designs stolen by Zara).
Appropriation is sadly not a new phenomenon. Throughout art history, particularly in the colonial period, some of the most prevalent names in modern European art who we celebrate today for their ‘innovations’ - Gauguin, Picasso, Kirchner - have taken designs and ideas from cultures that were not their own. They made no attempts to understand the images and objects they used, taking the aesthetic parts they valued and disregarding everything else from religious and cultural connotations to the functional use of these objects.
“not only does it need to be fair...it needs to be environmentally aware too”
Designers are still too often taking this approach to the creative process, a recent case being Dior’s copy of a traditional Romanian jacket from the village of Bihor, which they were selling for an extortionate 30,000 euros. Not only did they entirely disregard a tradition of making and meaning, but (unsurprisingly) none of the profit went back to the women who made the original jackets from which Dior had copied.
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A project has since been established to divert customers to Bihor Couture’s website where they can order from the women of Bihor directly for a fraction of the price; a positive step towards combatting the displacement of wealth in one aspect of the fashion industry, but there’s still a long way to go until fashion is fair.
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For the fashion industry to be sustainable, not
only does it need to be fair to designers and factory workers, it needs to be environmentally aware too. With such an emphasis on global warming in the media in recent years, the pollution the fashion industry creates is undoubtedly the reason why it has come under such heavy scrutiny in recent years. Faux fur is a prime example of a non-sustainable material which the fast fashion industry has continually popularized, along with highend designers like Shrimps who make exclusively faux fur items that look and feel real. It isn’t biodegradable as its main component is acrylic, and the chemicals used to create the dyes used on faux fur are seriously harmful to the environment. Since brands such as Gucci and Burberry have claimed they will no longer make fur products due to the backlash they have received by animal rights activists, it is clear it is not cool to wear real fur anymore.
Stella McCartney has only recently put faux fur back on the runway after ten years, and the brand emphasises they do not want to make faux fur which looks real. But even without real fur in the picture, no one questions the sustainability of faux fur. If we do not consider the effect fashion has on the envirwonment, we are causing the same – if not more – damage as wearing the real thing. It is clear that it’s no longer a statement to wear real fur, so maybe it is time to re-think the use of fur – real or not - in fashion.
Words: Arabella Bradley & Sarah Green Photography: Sara Jolly
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Fruitmarket Gallery Expansion
Edinburgh’s music scene excluded from city’s cocoon of high culture
Culture
Words: Lila Pitcher MA History of Art & English Literature, 4th year
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Despite the council’s efforts to make Electric Circus closure seem like a celebratory retirement, Fruitmarket Gallery’s expansion confirms Edinburgh’s resolution to favour art over an already crumbling music scene. In March 2017, much to the sadness of the Edinburgh music crowd, Electric Circus nightclub announced its closure stating on Facebook that ‘the decision to close was not an easy one’. The site had been a staple for the Edinburgh music scene, hosting karaoke nights and concerts for more than 7 years. However, it seems the nightclub’s success did not stand a chance in light of Fruitmarket Gallery’s multi-million-pound expansion plans.
While one cannot disregard this additional promotion of art, it is hard to ignore the consequences this closure will continue to have on Edinburgh’s music scene. The opportunities for a sing and dance in Edinburgh are not currently a highlight for city-goers, most people admitting they will most often prefer to travel to Glasgow for a concert. Electric Circus’ closure, revealed only weeks after the Picture House on Lothian Road was turned into a Wetherspoon pub, not only highlights Edinburgh’s lack of facilities but a preference for the building’s cultural significance rather than the musical acts it features. According to an Edinburgh Council spokeswoman, the city is aware that ‘the closure of an established venue is of concern to the live music community’. However, it did not stop them from giving the nightclub owners, who had expected to stay open another two years, barely any notice. Their adieu Facebook post, littered with various refund promises, turns our gaze to the council’s unapologetic stance on the matter based on Waverley Leisure, Electric Circus building owners’
What we can generously coin as ‘a gentle push in the right direction’ not only highlights Electric Circus’ powerlessness over the decision but also the council’s lack of effort in promoting musical culture outside the Fringe Festival. Craig Nelson, Electric Circus DJ acknowledges that the explosion of culture that occurs in August keep other artistic forms from being a priority during the 11 other silent months, stating that ‘it would be great to see Edinburgh marketed as somewhere to come for culture and entertainment all year round – and not just August’. Can Edinburgh maintain its status as cultural heart of Scotland if it forgets to nurture its long-term potential? What does this say about the council’s priorities if it ignores some of its creative components, or worse, forces them to compete? A spokeswoman for the Fruitmarket has defended the expansion, claiming that ‘extending into next door will secure the future of both historic market buildings as a landmark year-round centre for culture’. This suggestion that a nightclub cannot become a landmark for culture, in addition to the knowledge that more than half of this project’s £3.7 million budget has been funded by the National Lottery creates, without a doubt, the image of an Edinburgh that prefers to associate itself with an elegant gallery opening rather than an improvised tune. Nick Stewart, manager of Sneaky Pete’s in Cowgate, agrees: ‘it is a shame that music venues aren’t deemed to be as culturally prestigious and worth funding as other arts sectors seem to be’.
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Since its original construction in 1971, Edinburgh’s Fruitmarket Gallery has been a hub for contemporary exhibition. From Emma Hart to Roman Signer, the old fruit and vegetable market has given way to a platform encouraging ‘everyone to engage with art, encouraging questions and supporting debate’. When touching upon the plans for expansion Fiona Gray, previous gallery director, spoke of taking over the Electric Circus as ‘the Holy Grail’. Accordingly, construction plans will double the size of the gallery, offering an extension for visitors despite a short walk across the street needed to access the new building.
statement ‘that now is a good time to retire’.
In a city where the council would rather close down a music venue than sacrifice one of the many Holiday Inns, Starbucks or Santanders, it is not surprising to see rent prices stagger upwards and citizens flee to Glasgow for a Saturday concert. Through Electric Circus’ closure, the music scene is belittled into a futile form of entertainment that cannot participate in furthering Edinburgh’s polished cultural legacy. Music is pushed away by its artistic peer, swimming alone in a world where white walls trump a casual dance- where in order to thrive, contemporary art has to overthrow its sibling. By extending this cultural hierarchy onto our cityscape, it is no surprise that students, families and workers who enjoy the occasional boogie are made to feel just like music: secluded and unappreciated within the limited walls of their own city.
Culture
Displacement 36 Culture
Negotiating identity politics in the BLK art groups of the 1980s
“I will educate and liberate the next generation of enslaved minds.” These words are taken from the sketchbook of young artist Donald Rodney and encapsulates the spirit of pushing for universal human agency and equality amongst the oppressed communities of the 1980s. In the backdrop of the conservative political climate, with the discourse of Enoch Powell and Margaret Thatcher stressing the incompatibility of ‘Black’ and ‘British’ culture, a new identity of ‘Black British’ emerged in the 1980’s, where being ‘black’ was no longer a qualifying adjective, but a defining factor. This essay will focus on ‘Black British’ artists involved in the BLK art group in the UK. In order to bring about identity politics, artists formed collectives to gain recognition and move away from ‘ethnic’ stereotypes. Drawing on both historical and current events, artists engaged in identity politics with the purpose of educating the public by exposing the injustices in society. In response to the exclusively white-dominated art institutions, marginalised artists formed collectives in order to locate themselves in the art world and promote their work. Black art students who graduated from art-school in the early 1980s were told “there aren’t any black artists, black people don’t make pictures.” This exclusion paired with the ideas circulated in Rasheed Araeen’s Black Phoenix, led students who had grown up in the West Midlands, euphemistically known as the ‘second generation’ West Indian or Afro-Caribbean, to form the BLK Art Group in Wolverhampton. Prior to this, no British artist had identified as ‘black’, and had instead identified themselves through these labels of nationality. For this generation of artists, their curious and potent mixture of both ‘Blackness’ and ‘Britishness’ was one never seen before in Britain. Black British artists were aware of their socio-economic marginalisation, and in the face of harsh discrimination, pushed for equality in society. Identifying as Black British through collectives was just the first obstacle, as artists had to combat the ‘ethnic’ stereotypes of their art through a new visual language in order to put forward their political agenda. In the publication for The Black Art An’ Done exhibition held in June 1981, Eddie Chambers notes ‘’black artists should... assist in our struggle for liberation... with a view [of] reclaiming the shattered psyches and cultures of the Black race.” The Artists of the BLK group rejected the ethnic categorisation and stereotype of “oh and black art is all market scenes in Trinidad and Jamaica,” through employing radically new methods. In Chamber’s Destruction of the National Front, the Union Jack has been altered to look like a swastika, and subsequently ripped into several small pieces. This directly relates the UK to Nazi Germany and serves as a poignant reminder of the dangers of basing society on racist and nationalist ideologies. Furthermore, by using the iconography of the Union Jack, Chambers locates himself within the broader twentieth century art movement with artists such as Jasper Johns and David Hammonds, who used flags in their work often to critically comment on the prevailing institutions. This radical break from the stereotypical ‘ethnic’ art and deployment of destructive artistic language demonstrates the politicisation of work in order to assert a new Black British identity.
Eddie Chambers, Destruction of the National Front, 1980, Tate Collection
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which killed thirteen black teenagers, all under the age of twenty-two. This event instilled a sense of identity and purpose to Black Artists, as in the aftermath the media and the establishment appeared indifferent about the ‘massacre’ of black people. Using the black body as a victim, Piper draws attention to both the physical pain and mental torment, perpetuated by the media that Black Brits faced on a daily basis. Identity politics came to prominence through the art produced by socially marginalised groups in the 1980s, in an attempt to promote greater equality and humanity. By forming collectives and spreading their ideas through exhibitions, artists were able to engage with current and historical events through a new visual language, in order to break away from any ‘ethnic’ stereotypes and form a new Black British identity. Identity politics highlighted the need to problematise the exclusive Euro-centred paradigms of history and culture in order to promote individual awareness and consciousness. Whilst conducting research for this essay, locating artworks by artists of the Black Art Movement was remarkably challenging, as with lack of public interest, the majority of their work has been lost or forgotten about. This is indicative of the problem of the under-recognition of black artists which continues to persist today. Words: Iona Penrice MA History of Art, 4th yr
Keith Piper, Keep Singing (Another Nigger Died Today) 1982, Location Unknown
Culture
BLK art group were highly critical of the media, as a consequence of their Black British identity being often linked to crime and social problems. The text in Keep Singing reads like a newspaper headline, a critique about the underrepresentation and distorted media representations of black men. A poignant example of this is the New Cross Massacre, a suspicious house fire
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In rejecting ‘ethnic’ stereotypes, artists also engaged with current events, exposing the injustices faced by the Black British community in order to shock the public in driving for political change. Keith Piper’s Keep Singing, shows a young black man hanging by a tie wrapped around his head, suspended in a crucifix pose, with a face of agony, against a background of text which reads: “another Nigger died today seems one too many compromises FUCKED him up hear he got souled out consumed + was consumed.” The vigorous brushstrokes and the apparent haste to which the artist executed the work, leaving paint running down the canvas as if it were blood, communicates a strong sense of anger. The hanging black man is dressed in red jeans and a white T-shirt depicting Dennis the Menace, a recognizable British cartoon figure from the Beano comic book. Piper here is commenting on the struggles of black people who, being born and raised in the UK, identify as British, but face daily discrimination and are not fully integrated or accepted into society. The feeling of exclusion was heightened with the introduction of the British National Act of 1981, which made it more challenging for black immigrants to get citizenship. In the backdrop of the violent unrest in Brixton in 1981, this work is a response to the police brutality and racial violence against black communities and speaks out to confront the system in an attempt to drive for change.
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Gentrification and Art: What is happening in Leith?
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The 1990s Leith of Trainspotting has (albeit not By Sarah completely) been supplanted by an image of trendy coffee shops, restaurants and bars. This historically run-down port area has become ‘cool’ in character, and a place of renewed interest. In fact, Time Out recently named Leith one of fifty ‘coolest city neighbourhood’s in the world.’ Processes of urban gentrification in Leith have been much reported in the press, both locally and beyond. For example, recent plans for student accommodation to occupy Leith Walk and the subsequent Save Leith Walk campaign, have attracted much attention, and in 2017, Leith Creative launched ‘People and Places – Make Leith Better’; a project consulting with locals about the future of Leith. Just recently, a new stage play was announced, reflecting on the changes in Leith in recent decades, with the provisional title Displaced. Gentrification and displacement have long been bound-up together, though questions over the nature and impact of displacement are not clear-cut.
Culture
Gentrification is a two-fold term: in theory, the process of redeveloping neglected areas should be positive, yet it often provokes social tensions between old and new. Potential economic profit for developers from land sales means current communities, often predominantly working-class residents, are pushed out and forced elsewhere. But, where does art tie in with any of this? Rosalyn Deutsche and Cara Gendel Ryan’s 1984 article ‘The Fine Art of Gentrification’, published in October journal, set up early questions and debate on this theme, with a focus on New York’s Lower East Side, which was becoming an artistic hub. In the article, the different stages of gentrification as a wider process are considered, and there is a breakdown of separate phases within it – for example, considering the difference in impact of artists moving to an area, compared to art galleries then moving to follow them. Both of these ‘phases’ attract different sectors of society. There is recognition of art’s involvement in, and contribution to, gentrification as messy and not so simply understood as doing good or doing harm.
For instance, while galleries are part of the problem in terms of their position, Renard as commercial institutions with a very specific audience, what certain galleries in New York were actually promoting arguably had merit. Many engaged with varied New York communities, and with liberal and diverse work. However, this leads to something of a stalemate where it is perhaps hard to know what to make of art, artists, and galleries and whether or not to blame them, praise them, or sit somewhere in between. But is the role of the artists actually somewhat inconsequential in itself, or is it rather the actions of others, notably developers, in response to artists moving that creates the problems? Or is gentrification inevitable for certain areas anyway, art aside? There remains debate over whether artists drive gentrification, or if it is in fact the reverse that occurs. Is there a catch-22 situation, whereby anti-gentrification art practice and activism only serves to make areas more diverse and promote gentrification further, the question being to whose agenda? Writing in 2017, Janna Graham stated, ‘it is now common knowledge that the arts are complicit in projects of urban redevelopment, dispossession and gentrification.’ Art is a part of these changes, be it New York, Leith or anywhere else. Leith Mural, by Street Artworks (Tim Chalk, Paul Grime and David Wilkinson), was painted in 1986 in celebration of the area’s history of ships and industry, immortalising the people of Leith at a time when processes of gentrification seemed imminent, but the characters it depicts and the questions it raises are still highly applicable and relevant to Leith today. As Hito Steyerl states when describing contemporary art: ‘art is not outside politics.’ The question then becomes, what does art need to do and what role should it play, diplomatic or otherwise?
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JESSICA MALONE MA (Hons) Fine Art 4th Yr
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Art
Art Submission
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Shelhavit uses art as a journey to recovery. Her self-portraits explore her healing process after overcoming an eating disorder.
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Art
SHELHAVIT COHEN
Phd Student, School of Health & Social Science
Words: Shelhavit Cohen & Sheridan Jay
In the loving light of the morning after sunrise I flew over the landscape of my body with affectionate eyes Explored the terrain after feeling my way through the dark Along the way I found a hidden heart on my most unloved part
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Macaroni with a side of Brexit 42
Emma Lake, MA Fine Arts
Culture
Satire is a form that embodies the visual autobiography of viewpoints, acting as a fundamental channel of communication between the general public and the formal legislation and electoral system. The role of satire within society, and its ability to be employed as a tool in which to communicate political rhetoric, has been prevalent since the consumerist revolution during the 18th century. Historically, we can observe an increase in satire’s relevance and popularity during times of uncertainty and one feeling displaced and vulnerable when threatened with the prospect of instability. Similarly to our own time, 18th century anxieties surrounding foreignness stemmed from an increasing presence of foreign objects within the consumerist world, simultaneously paralleled by Britain undergoing dramatic shifts in its social hierarchy, thus resulting in the use of satire as a ‘moralising counterexample.’ The historian, Amelia Rauser states that visual
satire was used to ‘reinforce the values and standards of the public sphere’. Consequently, the newfound prominence of the bourgeois class, paralleled by the upturning of traditional gender roles, marked the beginning of a period of social transgression, a time of tension and mistrust. The anxieties surrounding the blurring of ‘class, gender, and nationality’, became the forefront concern addressed in satire. Bourgeois individuals suddenly had the opportunity to ascend the social rankings and project their newfound success via the purchase of fashionable foreign luxury items. This resulted in the development of anxieties surrounding foreignness, as the collection of foreign items was soon associated with the overcompensation of ‘the self-made man’ who elevated himself in status through material items. These anxieties were represented
and reinforced through the medium of satire in characters such as the Macaroni. The Macaroni character represented the over-indulgent ‘self-made man’ who participated in the Grand Tour, characterised by his love for European luxuries, with an emphasis on French fashion. The satirised Macaroni character acted to reinforce, as well as represent British anxieties surrounding the idea of moral corruptibility caused by the indulgence in foreign luxuries. The effeminate Macaroni character reinforced fears of the feminisation of British culture, as their decorative attire seemingly submerged all sense of the masculine ideal. William Hogarth’s series Marriage a la Mode, depicts an interior scene which portrays the negotiations of a marriage contract. The groom-to-be is seen sat gazing at himself, seemingly too enraptured in his own self obsession to give notice to his fiancée. He is easily identified as a Macaroni, as he is depicted in French fashion with elegantly pointed feet, marking him as effeminate in nature. Through the subversion of ideal British masculinity, Hogarth reinforces the negative connotations, and thus the anxieties associated with the Macaroni. Through visual satire, Hogarth could represent the corruptible capability of foreign luxury objects to the public. Successively, resulting in the Macaroni’s rejection of British values and aligning himself more with the French than the British. Consequently, the mocking and distaste for foreign luxuries became a ‘patriotic cause’, as the collection of such indulgences became aligned with characters like the Macaroni and their lack of na-
tional spirit. The character of the Macaroni and his inability to be categorised into any recognisable, traditional social grouping, came to symbolise the anxieties of the British public surrounding foreignness and its tainting of British values. While analysing the themes of fears of change and loss of a nation’s identity, one cannot help but see the parallels with contemporary issues like Brexit and the satire used to ridicule the political parties failing to deliver on the terms and highlighting the extreme divide between remain and leave. However, the satire of today is not only found in prints and cartoons, but on our screens as we watch satirical programmes, such as ‘The Thick of It’ or ‘The Last Leg’, or read through political commentary on social media. Contemporary satire is no longer simply a medium using humour to emphasise ideal societal values of one social grouping; the elite, but is now a form of journalism in itself. It is used as a ‘watchdog’ for the artifice of governments in our ever increasingly conscious culture media-based society.
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the legacy of satirical art
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William Hogarth, Marriage à-la-mode: 1. The Marriage Settlement 1721
Culture
Displacement 44 Art
DUII I cannot remember with clarity my last memory of Duino. The last night I slept too little and at some point, I stopped feeling. I just have fragmented images. An empty room, that used to be mine. Panic trying to grasp last meaningful moments. A sunny sunrise with nothing poetic about it. Then I was sitting on a bus, seeing kilometres after kilometres of streets passing in front of my eyes. It was over. I was heading home, although home was getting further and further away. I didn’t take the time to mourn it. I had lost the first and only place where I had ever truly belonged, and I never said goodbye. Now home was no longer home, I tried to make my own self my house and carry it with me. I moved to a new country, to a new city, to a new room that I decorated in a rush to convince myself that it felt like home. But those smiling people on the walls were no one to me. I saw myself in pictures and I couldn’t recognise myself. Did it ever happen? Was it even real? I closed off all my feelings and my memories in a remote place of my heart. I got busy, I pushed myself into a tangle of streets and people. I couldn’t feel anything. Everything reached me as the distant echo of my own life. It wasn’t a conscious choice, I was broken-hearted for the first time in my life and the grief for Duino was shaded by the grief of letting go someone I loved. Somehow, these two griefs, of emotional and physical displacement, merged and everything grew blurry. Within two months I had been physically and emotionally pushed to leave someone and somewhere I loved. I found myself unable to remember that it had been my life and not a distant tale that someone was telling me about. Acknowledging that, in Duino, I was the happiest version of myself I had ever known and was letting that happiness go, without diminishing it. This conflictual process pushed me into a state of anaesthesia towards my past self, trying to save that happiness in a never-ending bubble of light and joy that nobody could have taken away from me. (Because as in any displacement, the worst part is feeling powerless about your own life). Meanwhile, I was coming to term with the fact that I no longer liked the person I loved. But I still tried somehow to save the memories I shared with him in Duino, surgically carving him out of the picture like a real-life version of The Endless Sunshine of the Spotless Mind. It just got worse. In the process, Duino grew further and further away. It came back to me like a drunk vision of shiny people and endless nights. A magical place that had been the setting for my happiest moments which no longer existed. And I still believe Duino no longer exists, for me. There is no place to go back to and mourn the end of it.
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But then Duino found its way back to me. Denaturalized, torn apart, psychoanalyzed too much. I reduced Duino to its core: people. People, one step at a time, fought their way out of that remote spot of my heart and came to find me. Pictures reacquired their colourful joy, proving that happiness was possible, love was still real and that maybe the concept of home was no longer a place. My dried flowers no longer sadden me, as emblems of my silly attempts to stop things from changing. They showed me that some things, some moments, if handled with care, can remain as beautiful and meaningful. Some of them lost their colours, although I did my best to save them, but now I am learning that is also okay. I am forgiving myself for the anger and the frustration of seeing something beautiful getting ruined. So, I allowed myself to remember and to caress my nostalgia for all the things that have been and that no longer will be. I remembered the shower parties with my friends and I allowed myself to smile, realising that I miss Mickey’s, although it is pretty lame as a club. But I never danced as I danced there. And I allowed myself to miss sharing a room with someone and having absolutely no privacy. And to miss that surreal feeling that every sunset brought in a small village by the sea. Then the last piece came to me this week: I am lost. I no longer have a place to call home; I have roots everywhere but I am not rooted anywhere. I lost some of the things and people upon which I built myself, even though I had been certain that they would have stayed. The house that I used to own with concrete foundations certainty has crumbled. However, some of the greatest experiences I ever had came from being scared and lost, walking on an unknown road no matter what. I thought of all the late-night wandering which made me discover people and places. I thought of all those moments in which I was lost and then suddenly something magnificent surprised me. So, I decided to have faith in that magnificent moment that has always found its way to me, making up for the fear and the darkness. Even though my life in the past two months went completely upside-down, I have faith and I am curious to see what the world has reserved for me. I don’t think I will want to build a robust and stable house for some time, but I will let myself wonder and be surprised by the universe. So, on the ruins of what used to be the certainty of my past, I will open the windows to the incoming tornado. I won’t build any more concrete walls, but only plant dandelions and pinwheels.
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I NO
By Sofia Cotrona
Art
History of a Medium (1971), Eduardo Paolozzi.The University of Edinburgh Art Collection. © Jonathan Clark Fine Art, Representatives of the Artist’s Estate
SCHOOL of history OF art
Postgraduate Study
MSC BY RESEARCH COLLECTIONS & CURATING PRACTICES
Join our exciting new masters degree and combine your research-focused study with professional on-the-job experience at one of Edinburgh’s flagship cultural institutions. Delivered in partnership with the city’s leading arts, science and heritage organisations, this programme enables you to pursue your research under academic supervision while developing curatorial skills. Visit our website for more information or to apply.
www.eca.ed.ac.uk
COLLECTIONS
This programme collaborates with National Museums Scotland, the National Library of Scotland, the National Galleries of Scotland, Talbot Rice Gallery, The Fruitmarket Gallery, and the University of Edinburgh’s own Special Collections.
Editor-in-Chief: Aisling Ward Deputy Editor: Lila Pitcher Art Editor: Anna Gilroy Deputies: Sarah Renard, Kelli Staake, Eleanor Maskatiya Culture Editor: Tabby Carless-Frost Deputies: Iona Penrice, Devian Maside, Emma Lake Fashion Editor: Arabella Bradley Deputies: Sarah Green, Ellie Jeans Production Team: Panna Nyeste, Sara Jolly, Michelle Hui Yu Lang Head of Art Panel: Maria Oliver-Smith Art Panel: Cal McCormac, Celia Higson, Amber Brown, Hannah Draper, Gabriel Morantin, Daniel Turner, Charlotte Cocker Social Media: Hannah Draper We would like to thank the History of Art department, paricularly Richard Willliams, for their support and generosity in helping to create Canvas.
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www.canvasjournal.com @canvasedinburgh
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Section