In July 2015 a group of BArch (Hons) Architecture students from Nottingham Trent University (NTU) participated in a research project, which involved the documentation of invisible memory points in Nottingham.
As part of their research the students visited the National Memorial Arboretum (NMA), a key location for national remembrance in the UK. Most of the images included in this show are a direct response to the commemorative architecture: a visual and textual reaction to the experience of visiting the NMA and other memory points in the UK.
NTU students, David Symons, Emma Hewitt and Rumbi Mukundi worked with three students from Brazil – Marina Martinelli, Felipe Bomfim and Alina Peres – to create a website with an interactive map and blog, as well as a printed tourist map. The idea of the site was to increase awareness of the architecture of memory in Nottingham and beyond.
The group have also printed out a selection of quotes which refer to photography and the visual representation of memory, as well as the experience of architecture.
When visiting the exhibition we invite you to respond to these images and quotes by writing directly onto the wall in order to contribute to the work in progress. Tell us how the image or text makes you feel – do you agree with what they represent?
Responses are invited in any format – it’s up to you.
The project was led by Dr. Ana Souto, Senior Lecturer in Architecture and supported by Prof. Duncan Higgins, Professor of Visual Arts at NTU.
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Bonington Film Nights are the latest addition to the Gallery calendar that will punctuate the existing exhibition programme 5 – 6 times a year.
Taking inspiration from the legendary film events that occurred nearly 40 years ago in the Gallery, these screenings will showcase artist films of historical and contemporary importance, frequently collaborating with organisations and individuals from outside the University.
The first season of screenings has been curated by Nottingham-based artist and curator Joshua Lockwood, with the first event focusing on experimental artist films from the 1960s and 1970s.
This event has been organised in association with LUX, London and will feature, Beverly and Tony Conrad, John Latham, Len Lye, Steina and Woody Vasulka, Guy Sherwin and Paul Sharits.
The majority of these films will be shown in 16 mm.
Event view. Steina & Woody Vasulka, Solo for Three, 1974.
Header image taken from Beverly and Tony Conrad’s Straight and Narrow, 1970. Courtesy of Beverly and Tony Conrad and LUX, London.
During the exhibition, students at Nottingham Trent University and visitors of the exhibition were invited to design their very own personalised monogram to be in with a chance of winning a limited edition print from the Alan Kitching Collection. The rules were simple; the monogram had to:
1) include your own initials 2) use one letter from the typefaces used in the Alan Kitching Collection. The subsequent letters could come from anywhere: another typeface, hand-drawn, a found letter… 3) be rendered in a way that it tells us something about the designer.
Entries were then uploaded with the hashtag #NTUmonogram to Twitter, Instagram or Facebook.
To find out more, read the full competition details.
Inscription: The Almshouse Tempera Project presented the work of four contemporary artists who have investigated the historical but still very active form of social housing known as the almshouse, through the early painting medium of egg tempera.
The artists Derek Hampson,Deborah Harty,Atsuhide Ito, and Peter Suchin also included actual material fragments from almshouses within the exhibition, inscribing both the image and the physical presence of the almshouse into the gallery.
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Celebrating five pioneers of the poster
This exhibition celebrated the collaboration between two typographic forces: Alan Kitching, a leading practitioner in letterpress, typography and design; and Monotype, global trailblazers in type and home to some of the world’s most popular typefaces.
The show revealed the process behind the making of the Collection; following Alan’s journey from research and sketches, through the Monotype archive, to Alan’s workshop and the finished printed pieces.
#NTUAlanKitching #Monotype
Design Your Own NTU Monogram
During the exhibition, students at Nottingham Trent University and visitors of the exhibition were invited to design their very own personalised monogram to be in with a chance of winning a limited edition print from the Alan Kitching Collection. The rules were simple; the monogram had to:
1) include your own initials 2) use one letter from the typefaces used in the Alan Kitching Collection. The subsequent letters could come from anywhere: another typeface, hand-drawn, a found letter… 3) be rendered in a way that it tells us something about the designer.
Entries were then uploaded with the hashtag #NTUmonogram to Twitter, Instagram or Facebook.
Image has no captionInstallation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.
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Students, visitors, and design enthusiasts gathered together as Alan Kitching talked about his life in letterpress – sharing the stories and inspiration behind works from his career, followed by a special evening viewing of Five Pioneers of the Poster.
“Moving from his home town of Darlington to London in the sixties, Alan Kitching entered the world of design and typography at a crucial time in its history. Now hailed as one of the most influential typographers of his time, his work has featured on everything from magazine covers to postage stamps. His latest exhibition celebrates five seminal artists who helped to shape the design revolution of the twentieth century. ”
Ahead of the Alan Kitching and Monotype exhibition here in September 2015, Alan provides us with a behind-the-scenes look into his studio and shares his thoughts on creating typography. You can view the promo video here:
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Johan Sandborg, Pro Rector, Bergen Academy of Art and Design Norway; newly appointed Visiting Professor at Nottingham Trent University.
Duncan Higgins, Professor of Visual Art, Nottingham Trent University; Academic Chair, Bonington Gallery; Professor in Fine Art, Bergen Academy of Art and Design Norway.
To coincide with the opening of the Returns exhibition, we’re delighted to host the UK premier book launch of three new publications – In a Place Like This. Their focus, an on-going artistic research project, exploring both personal and historical traditions concerned with a relationship to the representation of violence.
In a Place Like This explores the echoes of places, people and the impact of terrible histories. The central question to the research is the difficulty we face when we try to communicate our most intimate experiences to others.
Sandborg and Higgins have focused on the language of imagery, what it may represent and how to make ideas and emotions visible. This exploration is neither an explanation nor a mystification; rather it attempts to propose visual discussions.
In a Place Like This is assembled as a montage, an interwoven idea, in an attempt to review a narrative within the spaces in which it is inscribed.
A joint exhibition by photographer Chris Barrett and researcher Gianluca Spezza
Under Kim Jong Un’s leadership, North Korea has made a conscious decision to be more proactive in the media world. In 2013 we saw the very first live tweeted image of the North Korean leader, from mainstream Western media.
Icons of Rhetoric (IoR) offered a different approach to documenting North Korea, merging established news media practices with more contemporary ones, drawing particular attention to social media.
“While researching an article about an Instagram account claiming to be the official outlet of North Korean news, I started to think about the visual representation of North Korea.
The idea of the project became a reflection on our engagement with modern media techniques, our consumption of images and our knowledge of this ‘most closed off country in the world’ that is the DPRK, all this interwoven with the notion of democratized propaganda.”
Chris Barrett, photographer and curator
By reinterpreting images that already exist in the public domain, Icons of Rhetoric played on an aesthetic of authenticity.
Read more about the Icons of Rhetoric research project.
Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.
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The title Soft Painting aims to draw our attention to the actual physical qualities of a painting rather than acting as an introduction to an image or to suggest a narrative. Simon Callery creates paintings that communicate on a physical level. A painting can be soft or hard as much as it can be red or green.
From Monday 13 – Wednesday 29 April Simon worked in the gallery space with a selected group of Nottingham Trent BA (Hons) Fine Art students and Nottingham-based artists, to produce three large-scale works. Rolls of canvas were washed and prepared for saturation in pigmented distempers – a process where the industrial starch is removed from the canvas and the dense and highly coloured medium is washed into the softened fabric at high temperature. These worked canvasses were then hung off frames to dry before being cut up, sorted and sewn into the formal configurations of soft paintings.
From Thursday 30 April – Friday 15 May the Gallery took the form of a contemporary gallery space, where the outcomes of the making process were realised in a final staged exhibition.
We caught up with Simon at his London-based studio for a behind the scenes look at his collection and to view his work in progress:
For the duration of this exhibition the Gallery became a space for learning where the connections between the making, installing and exhibition of artwork were exposed. The public were invited to witness and engage with the entire process.
Participants shared their images on Instagram using the hashtag #SoftPainting, you can read more about how the project evolved on our Latest News page.
Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Simon Callery, Wiltshire Modulor Double Void, 2010 – 2015; Red Floor Pit Painting, 2015; Wallspine, 2015. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.
Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Simon Callery, Wiltshire Modulor Double Void, 2010 – 2015; Red Floor Pit Painting, 2015; Wallspine, 2015. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.Work in progress. Courtesy of the artist. Photo: Mike Kane.
Taking place in Nottingham Trent University’s Old Chemistry Theatre, the space is reduced to a minimal setting of a table and chair, a notebook laptop and the human body. The performance aims to create an intimacy with the viewer whilst allowing the interplay between what is real and the virtual world.
Notebook Series is collaboration between a choreographer, Colette Sadler and set-designer, Philine Rinnert. The reference to a notebook in the title reflects shared ongoing process and research. The notebook is both a holding structure and platform for the collaborative process in so far as it allows the laying out and organisation of images, texts and choreographic notes or studies differently from those suggested by real time and space.
In a situation reminiscent of a lecture or public speech, the performance questions the identity of the performer. Moving between the real and the fictional in a clinical deconstruction and disassociation of the human body and its senses, the performance asks “What are you” and “Who are you” in an investigation of the human capacity for transformation and the possibility of living beyond the self.
Notebook Series is part of the Nottdance Festival 2015. The festival runs from the 5 – 15 March with over 40 performances taking place over 11 days, across more than 20 venues and public spaces.
