Mapping as Intro
Emma Cummins’ response to Claire Bishop can be found here: https://emmacummins-writer.com/essays/art-antagonism-and-relational-aesthetics/
Fish Bar Symposium
UDERCOMMONS / Alternative BA:
Traditional Art, Rumi’s Cave & BARBEDOUN
Hipster Interlude / Venice
EVERYTHING MUST GO
TATE EXCHANGE(D) into MOSQUE
LIVE ARCHIVE (Site Specifics)
And ultimately on the fact that in a reflective shift, from the analytical to the performative function ofhttp://xenopraxis.net/readings/rogoff_smuggling.pdf
observation and of participation, we can agree that meaning is not excavated for, but rather, that it
takes place in the present.
I have been instructed to speak less of my past, preferably to do away with it, especially when it comes to artistic practice. At first I was excited by the freedom this offered; to be civilised, instead of just cultured. An opportunity to sit within a canon of formalistic forms and formulations – a space in which ‘identity’ no longer functions. Because my past is heavy, it is too much of a burden. Others cannot relate to its particularities, the punctum of its weight.
Hence it may not be clear why I have chosen to install an empty bottle fridge, filled with the sounds of grief, as a degree show piece. The premise of this work is to offer a kind of libation, within a space where the serving and spilling of drinks is forbidden. For I am mourning the death of my neighbour, friend and colleague Khadija Saye; because I cannot be in this space without thinking of her. She was the one who brought me here two years ago, to see a previous version of this degree show and made me promise that I would join her as a prospective student, so as to graduate together in the summer of 2019. Yet I stand here alone today, because a few weeks after that encounter, Khadija was killed in the fire of Grenfell Tower, a blaze that was apparently caused by the faultiness of an immigrant’s fridge.