GV Art & Mind Symposium #21 25 March 2014 Presentation by Prof. Morten L. Kringelbach Emotion. Pleasure and pain in the brain Emotions are central to art and an intrinsic part of what makes us human; they underpin how we feel about ourselves, and our interactions with others. Emotion presents the fundamental principles of the neural mechanisms underlying emotional processing as well as reviewing our current scientific understanding of pleasure and emotion. The book takes the reader from everyday conceptions of pleasure and emotion through to the latest insights into the nature and functions of emotions at the interface of psychology and neuroscience, before exploring topics such as the nature of subjective experience and future possibilities including emotions in silico. www.kringelbach.dk/mlk_emotion.html Biography Professor Morten L. Kringelbach is interested in understanding the functional neuroanatomy of pleasure in its many forms using a range of behavioural, neuroimaging, neurosurgical and computational methods. He is the Director of Hedonia: Trygfonden Research Group, a unique transnational research collaboration between Oxford and Aarhus universities.+ More details
I.55 or the girl who swallowed the remnants of a forest is an installation, result of an expedition retracing the journey of a specimen from St Bartholomew’s Pathology Collection in London. The specimen archived as number I.55, is a fragment of graphite swallowed by a young girl at the beginning of the 20th century. Consisting of six sets of drawings, this project was developed on a journey from London to the French Alps in the summer of 2012 to place the graphite specimen in its historical and paleo-geological context. A book and a limited edition of art prints are available. I.55 l’enfant qui avala les vestiges d’une forêt est une installation, résultat d’une expédition sur les traces d’un spécimen de la collection pathologique de l’Hôpital St Bartholomew de Londres. Archivé sous le numéro I.55, ce spécimen est un morceau de graphite qui fut avalé par une jeune fille au début de XXeme siècle. Composé de six séries de dessins, ce projet a été développé au cours d’un voyage de Londres aux Alpes du Sud, afin de retracer le parcours historique et paléo-géologique de ce fragment de graphite. Un livre et un coffret composé de reproductions d’art des 41 dessins ont été édité en parallèle.+ More details
Taxonomise This! Tuesday, 10 September 2013, 7pm Art and science panel discussion about systems of classification and how archives change over time. Speakers include: artist Helen Pynor, whose series The Life Raft documents a decaying 19th century insect collection; artist Liz Orton, discussing her work at the Herbarium at Kew Gardens, examining unmounted plant specimens awaiting classification; Mark Carnall, some-time stand-up comedian and Curator at the Grant Museum of Zoology and Comparative Anatomy at UCL; and Roy Vickery, chairman of trustees at the South London Botanical Institute, vice-president of the Botanical Society of the British Isles; plant folklore expert, and the Green Party’s parliamentary candidate for Tooting. Nature Reserves curator, Tom Jeffreys, chairs.+ More details
Traces in/of/with Sound, version installed at GV Art as part of "Noise and Whispers" https://www.facebook.com/events/627189997332802/+ More details
Franciszka and Stefan Themerson Unposted Letters Book Launch, 15 October 2013 Nick Wadley & Neal Ascherson The launch of the publication of Unposted Letters was celebrated on 15 October at GV Art during the exhibition of Franciszka Themerson, called Why is the Mind in the Head, at 49 Chiltern Street, London W1U 6LY,10 – 20 October 2013. This beautifully designed and produced book is a moving record of the lives of Franciszka and Stefan Themerson during the two years of their war-time separation — she in London, he in Vichy France — in 1940-42. The book is published by Gaberbocchus & De Harmonie in Amsterdam, has 400 pages, weighs 1.25 kg and costs £40. Special thanks to; Jasia Reichardt Polish Cultural Institute http://www.gvart.co.uk/wp-content/uploads/2013/09/Press-Release-from-the-Publishers.pdf+ More details
Social media websites have heralded an unprecedented wealth of homemade visual birth imagery. Accompanied by extensive personal correspondence between women, keen to share their knowledge and experience of birth, this online footage makes public what is often regarded as a private event: how does this alter our understanding of birth and our bodies? Drawing from a vast library of recent online birth videos, Helen Knowles appropriates imagery of women in the transcendental state of birth. Sourced from films posted on YouTube by women empowered by their experience, Knowles' striking prints attempt to unpick cultural attitudes to birth and probe the difficulty audiences may have with certain kinds of imagery. The exhibition will present the complete series of YouTube portraits which consist of 7 large-scale screen prints. Using an innovative printing technique of exposing a screen with a digital projector, Knowles creates images that oscillate between the figurative and abstraction. By selecting footage that portrays the women’s euphoria, Knowles attempts to capture the intense emotion through a heightened colour contrast, challenging the separation between women as mothers and women as sexual entities. For over eight years Helen Knowles, winner of the Great Art Prize 2012 and curator of Birth Rites Collection, has pioneered interdisciplinary debate on the visual representation of childbirth through both her printmaking practice and her curatorial projects. Working closely with mothers, sociologists, medical professionals, and the Department of Midwifery at the University of Salford, Helen explores the visual identity of women and their bodies within the liminal moments of birth, whilst also probing the role of social media in creating new visual languages. A limited edition publication will be produced by the artist on the occasion of the exhibition. The book will bring together a selection of texts on Knowles’ practice and the wider issues concerning the graphic visibility of birth within popular culture.+ More details
GV Art and Mind Symposium 13 13 November 2012 Descartes goes to the Circus: Views of the Brute Creation in Performance, c. 1750-1850 Dr Marius Kwint In this talk Marius considers how performances of trained humans and other animals during the period were framed first in terms of Enlightenment rationalism, and later to furnish Romantic spectacles of sublime and untamed nature. This form of popular entertainment, which had its modern origins in eighteenth-century London, both reflected scientific trends, and was credited to a surprising degree with helping to change prevailing attitudes towards animals. A full report by Ruth Garde can be found athttp://www.wildculture.com/article/descartes-circus-views-brute-creation-performance/937 Marius Kwint is Senior Lecturer in Visual Culture, School of Art, Design and Media, University of Portsmouth Marius Kwint joined the University of Portsmouth in 2008. He graduated in the new interdisciplinary Cultural History degree at Aberdeen University in 1988, before taking his doctorate in History at Oxford University. His previous lecturing posts have been at Southampton Institute (now Solent) and Oxford Universities, and he has held research fellowships at the Houghton Library, Harvard University and at the Royal College of Art and Victoria and Albert Museum, London. www.artandmind.org and email@example.com and www.gvart.co.uk+ More details
Galerie Beckel Odille Boïcos and GV Art gallery, London present David Heathcote: Beyond Horizons David Heathcote (born 1931) is a contemporary English painter, whose work spans over 60 years. Today, he lives and works in Kent, though his art has led him to reside in Zimbabwe, and in Nigeria where he spent more than a decade. David trained at the Canterbury College of Art, and later at the Slade School in London, under Claude Rogers and Keith Vaughan. David’s imagination as a painter was fired when he encountered Cubism at the Slade, and later by the African arts he encountered during his time as an art historian at Ahmadu Bello University, Nigeria. While in Nigeria David studied, photographed and collected the embroidered dress of the Hausa people on which he wrote his doctoral thesis. These rare, richly embroidered fabrics, which have also inspired his work, he has since donated to the British Museum. David’s vivid, often highly abstracted painting explores the themes of construction, colour and space. The work is drawn from his memory and imagination rather than studies or directly from life. He says, ‘For me, creativity is a journey where one is constantly meeting the unexpected, and there are always many challenges on the way to achieving the visual poetry I aspire to.’ David has used a wide range of media in his work, from oil and acrylic paint, to collage, assemblage, clay and stone. His subject matter varies from delicately drawn bucolic landscapes of South England to Surrealist assemblage and collage and vividly patterned abstract canvases inspired by African light and fabrics. The variety of styles and themes in his oeuvre reflects his English roots (the Kent landscapes), his generation (the English Romantic and Surrealist styles of the 1940s) and his experience of living, teaching and studying in Africa in the 1960s and 1970s. His lasting love of France and his culture began with his first visit to Paris in 1948. Galerie Beckel Odille Boïcos is honoured to host David Heathcote’s first exhibition in Paris following the major retrospective of his work held in London at GV Art in 2010. We most particularly hope that the French public but also the British and Commonwealth communities in Paris will have the opportunity of discovering the work of this uniquely poetic British artist.+ More details
Debate Chaired by: Dr Marius Kwint Panellists: Kat Austen, Oron Catts, Robert Devcic, Arthur I. Miller & Anaïs Tondeur This debate explores the relationship between art & science which is the foundation of this now celebrated movement. With contributors from scientific and artistic backgrounds this debate questions the contemporary position of this practice and its place within the current cultural landscape. Throughout the exhibition Art & Science questionnaires were available both online and at the gallery, these responses aided the shape of the debate by proposing a wide scope of questions. More information about this can be found in the online catalogue: www.gvart.co.uk+ More details
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