16th Oct 19
Fiona Candlin is Professor of Museology at Birkbeck, University of London, and the Principal Investigator on a large-scale research project entitled ‘Mapping Museums: The history and geography of the UK independent sector 1960-2020’. In this capacity she collaborates with Alex Poulovassilis, Professor of Computer Science at Birkbeck. They lead an interdisciplinary research team that is collectively documenting, visualising, and analysing the recent development of the UK museum sector.
Candlin also collaborates with the Bishopsgate Institute on the ‘Micromuseums Archive’, and has published widely on various aspects of museums, particularly on the history, curation, and architecture of small independent museums. She co-edited The Object Reader (Routledge 2009) with Raiford Guins, and is the author of Art, Museums, and Touch (Manchester 2010) and Micromuseology: An analysis of small independent museums (Bloomsbury 2015). Her current writing retains an emphasis on grass roots venues and additionally focuses on definitions of museums and data collection within the museum sector.
27th Nov 19
Sharon MorrisMy early visual work includes drawing, photography, film, video and installation, accompanied by my written or spoken texts revolving around themes of place, subjectivity and identity: About Time, ICA, 1982; Audio Arts, Tate Gallery, 1982; Showroom Gallery, 1988; Ffotogallery, Cardiff, 1990, 1992. My film Cylch yr Ynys, ACGB funded, 1992, is distributed by LUX. This led to doctorate study on the relation between words and images within the act of self-reference, in particular the photomontages of surrealist Claude Cahun and the writer H.D. The theoretical framework, using the semiotics of the American philosopher C.S.Peirce to re-read Freud has formed the basis of my current research, for which I received a Leverhulme Fellowship in 2003. My recent critical papers include ‘Peirce and the Image: the Work of Art and the Sign’, Università degli Studi di Urbino, 2007; ‘Bild, Imagismus und das Kunstwerk’, Kassel University Press, 2009; and ‘Open the Page’, Inside the View: Helen Sear. ed Drake, D. (Cardiff: Ffotogallery Wales, 2012). In recent years I have become more involved in live performance of my texts with visuals, video and film, and the development of these texts into poetry. My first collection of poems, False Spring, Enitharmon Press, 2007, looked at the function of the image in the lyric short form, taking three locations, California, Rome, and Spain as leitmotifs. Shortlisted for the Aldeburgh prize for a first collection, poems from this book appeared in The Forward book of Poetry, 2008; Rome: A Collection of the Poetry of Place, 2008; and several journals. I received a Hawthornden Fellowship in 2009 to work on a new collection, Gospel Oak, which will be published by Enitharmon in December 2012. Formally this book is more diverse and the function of the image is both metaphorical and symbolic, dealing with the site of Gospel Oak as a discursive relation between Hampstead Heath and the City of London. Poems from this collection have appeared in several journals including Poetry Review, spring, 2012. Accompanied by video projection, I have performed a parallel version entitled ‘For the Oak’, at e-and-eye, Tate Modern; PolyPly, and Crazy Wisdom, King’s Place, London. Video works arising from these performances have been exhibited at Skylines, Ecopoetics Festival Exeter, and Chelsea School of Art, 2012.