|Via Gabriela Nicolescu, Goldsmiths College|
|Thursday 23 June 2016 06:30pm – 08:30pm,
Film screening and discussion
Care on Display
Care on Display brings together documentary and artistic films by anthropologists interested in the subject of care for the elderly and for people suffering from dementia. The screenings, which will be followed by a discussion, aim to investigate how films explore notions of access and visibility of ‘care’ as ethical concerns and the intersection between care in the context of material and visual culture and care for the elderly as a subject to be put on display. How to make visible something which is so private and very often perceived as immaterial?
This film series is conceived to continue a seminar series that Dr Gabriela Nicolescu organised in Goldsmiths, Economies of Care and Social Reproduction, in the autumn of 2015, with support from both Goldsmiths and the Wellcome Trust.
Adam Drazin, UCL Anthropology
How, when and why do people start to see something as”broken”? Do objects around the home just have two states, broken and working, or are there many other kinds of states they can be in? Clearly, the significance of many domestic objects is in relation to the projects of home which surround them and preoccupy the groups of people living together in a household. In some ways, household things are materialisations of projects, and ideas of being broken and fixed express this.
The Broken Stories project involved a group of Masters students on the UCL course Materials/Anthropology/Design at UCL working with Fixperts on issues of what kinds of fixing happen in the home, and what kinds of situations the Fixperts might get involved in.…
Via Gabriela Nicolescu, Goldsmiths
Exhibition organised by the Goldsmith’sDepartment of Anthropology
Venue: Weston Atrium, Stuart Hall Building, Goldsmiths
Private View: 24th May, 17.30
Dates: 25th May – 6th of June
Opening Times: Mon-Sat 9.00-21.00
The exhibition presents the result of our ethnographic project Austerity Bites conducted by the Department of Anthropology at Goldsmiths, and funded by the Arts and Humanities Research Council. The exhibition is based on an extensive phase of interviews, workshops, collections of objects and artefacts and interactions with different groups of local residents, to hear their stories, talk about their routines, and discuss the many meanings of everyday food consumption for these residents of Lewisham. The London Borough of Lewisham is one of the most culturally diverse but also one of the most deprived areas of London and has been particularly affected by the politics of austerity that have compounded the effects of a deep economic recession. …
Christopher Pinney, UCL Anthropology
I recently came across M.N. Srinivas’ observation that his enthusiastic engagement with photography, during his fieldwork in Mysore in the late 1940s, earned him the nickname “chamara man”. He notes that in Kannada chamara denotes whisks made of the long hair from a yak’s tails used by servants to keep flies away from Rajas and by priests to preserve the purity of icons.
In the Madhya Pradesh village where I have worked intermittently since 1982 you will hear echoes of the metaphor that informs the South Indian description of Srinivas as “chamara man”. For instance, Jagdish Sharma, the pujari of the Krishna temple once joked that my video camera embodied “yantra, mantra, [and] tantra”, yantra being the design (“made in Japan”), mantra being the information it stored, and tantra being the magic of technology (its “mashinari”).…
David Jeevendrampillai, UCL Anthropology
UCL promotes itself as a leading global university and frequently ranks amongst the top institutions in the world; it also houses the UK’s largest Anthropology department. The department has an international reputation as a leader in Anthropological research with a particular history and strength in material culture studies. Upon entering the department’s central London campus one is greeted by a reception replete with well-lit display cases which house exhibitions of current UCL research and items from the extensive and rich Ethnographic Collection.
In the final months of writing my PhD I was invited to organise an exhibition using the three main cabinets in the foyer of the department.…
Christopher Tilley, Department of Anthropology, University College London (firstname.lastname@example.org)
Robert Macfarlane Landmarks (2015) London: Hamish Hamilton, 387pp. £20.00 rrp
This is the fifth book by Macfarlane about British landscapes. The ‘landmarks’ of the title are not what one might expect: they are words. The book is about the power of words in place making. This reminds us that landscapes may be material topographic realities but they are simultaneously constituted in the mind. Traditionally, in academic debates, landscapes have been regarded as either reductively shaping the manner in which people think or blank slates on which people inscribe the way in which they think in more or less any way they like. In this respect their material topographies become mere backdrops to an understanding of the manner in which they are understood.…
Lydia Maria Arantes | Visiting Researcher, Anthropology, UCL
Have you ever wanted to design your own scarf, jumper or even tie, but can’t knit?‘ read the first sentence on the Somerset House website introducting Knyttan – Factory of the Future , currently based in the New Wing. Despite already knowing how to knit, I was nonetheless interested to what extent visitors of Knyttan would be granted involvement in the design process. Having been doing research on (hand) knitting for the past few years, I was obviously curious about this unusual combination of industrial production and individuality, and visited the Factory of the Future on February 28th 2015 to find out for myself.
Upon entering the room, I was immediately drawn to the garments laid out on the shelves and hung on the wall.…
Haidy Geismar, UCL
As I’m sure you are all aware, last week Vanuatu was devastated by Cyclone Pam, battering the country with winds of over 270 mph. The storm knocked out the country’s telecommunications and transport infrastructure and now, just a few days later, it is estimated that more then 70% of the population are left homeless, without adequate drinking water, and without food. The long term prospects for food security are also bad as most of the garden crops that people live off have been destroyed. President Baldwin Lonsdale has announced that the storm had “wiped out” recent development and that “everything” would have to be rebuilt.
Vanuatu is the place that I have worked as an anthropologist since 2000.…
Laurie Ingram, Material And Visual Culture, UCL
Sawdust and Threads is a residency and exhibitions programms that takes de-accessioned museum objects as its material. Artist Caroline Wright has undertaken residencies at three different museum collections and selected objects that have been de-accessioned. For Sawdust and Threads, Caroline has made detailed drawings of each of these objects that are then carefully and painstakingly deconstructed. The drawings as well as the objects from the different collections accompany the artist in the space where the process of deconstruction unfolds. The project poses questions around the nature of museum collections. Who owns these objects and how is the value of an object defined? Is value being removed or re-ascribed during this process of deconstruction?