kristinluke

[kristinluke]

2021

In Words, In Action, In Connection 

https://www.mostyn.org/mfl

A display of publications and printed materials that explores historical and contemporary intersectional feminist activism in Wales. Brought together by artists Minna Haukka and Kristin Luke, whose collaborative practice stems from their ongoing project, the Mobile Feminist Library, a travelling collection of printed materials that responds to its locality, this display takes the form of an experimental reading room. Haukka and Luke have collaborated with artists, activists, collectives and publishers to develop a collection which is relevant to Wales and contains both historical and contemporary publications and printed materials sourced from Wales-based archives as well as the London-based Feminist Library. 

In Words, In Action, In Connection considers different activist movements at the intersection of class, disability, ecology, gender, language, neurodivergence, race and sexuality, taking these as inherent considerations of any feminism. The materials are locally relevant to Wales, whilst acknowledging that these movements extend beyond geographical borders. The display examines ways in which publishing and printed materials intersect with and strengthen activist movements, and uses counter-patriarchal methods of archiving and knowledge sharing. The space acts not only as a library, but as a place for gathering and communal learning.  

Collaborators include: Beau Beakhouse and Sadia Pineda Hameed, Butetown History and Arts Centre, Casey Duijndam and Robyn Dewhurst, Elwy Working Woods, the Feminist Library, Rebecca Jagoe, mwnwgl, Patriarchaeth. 

Movements and historical figures include: Black Lives Matter, Emma Goldman, Greenham Common Women's Peace Camp, The Commune Movement, Monica Sjöö, women's publishing collectives and cooperatives.

images courtesy Mark Blower

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2020

The Wall Is ___ (excerpts) single channel video 45:13

Watch the full film here

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2019/20

The Wall Is _____ / Mae’r Wal Yn _____

https://www.thewallis.cymru/

IG TW FB

A collaboration with the residents of Tre Cwm housing estate to develop an artwork for the main boundary wall of the estate, with a focus on the process and experiences which accumulate around the project as it unfolds, and how these affect the overall wellbeing of the community.

The approach to the project is to treat the estate as an area of cultural significance. The wall will be a site that reflects the identity of the estate, whether historical, contemporary, future, lived or imagined. Passersby can discover fascinating, once-hidden stories, and will be able to access a digital platform from the wall itself, which will expand on the project as a whole. The wall will therefore no longer be a barrier, but rather a catalyst for physically and digitally connecting the community.

The first phase of the project was announced with a series of events in a van, a mobile project space. It housed an exhibition of the estate’s history, visual brainstorming activities, and ‘Object Shares’ – sessions for residents to share, and make 3D models of, what makes up the identity, values and material culture of Tre Cwm. These events opened up dialogue about the past, present and future of the estate by imagining alternate narratives, informed by augmented reality, historical documents, and the residents’ own skills and interests. These first events informed the subsequent stages of the project.

The project also includes a voluntary Wall Team, which residents can join to help make decisions, take leadership over specific aspects, learn new practical and professional skills, and help guide the project’s direction. As members of the Wall Team, residents can also seek support in taking the next steps to further incorporate these skills into their longer-term life and career choices.

Supported by Culture Action Llandudno, Cartrefi Conwy, North Wales Housing, MOSTYN and the Paul Hamlyn Foundation.

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2019

The Mobile Feminist Library

In the fight to keep radical and precarious feminist knowledge alive, Minna Haukka and I have developed a mobile library that brings a selection of The Feminist Library collection to art and educational spaces across the UK. 

Library stops have included the International Critical Management Studies Conference (Open University Milton Keynes), Still I Rise Act III (Arnolfini), Local History Weekend (South London Gallery), and Still I Rise Act II (De La Warr Pavilion)

feministlibrary.co.uk

Twitter: @feministlibrary

https://www.dlwp.com/exhibition/still-i-rise/

https://www.southlondongallery.org/exhibitions/localhistoryweekend/

https://arnolfini.org.uk/whatson/still-i-rise-feminisms-gender-resistance-act-3/

https://internationalcms.org/

[kristinluke]

2018 

The First Project in the Van

Last year I converted a van into a mobile living and education/project space. It was used for the first time in the latter sense to run a vinyl cutting workshop from The Showroom in Westminster, where young people from the local secondary school learned an open source design programme to design and vinyl cut signage for D.O.P.E., the youth-led alternative education space we were also working on. The young people were later able to do workshops and activities in an environment which they themselves designed.

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2018

D.O.P.E.

Read and download the publication for D.O.P.E., a two month long experiment in creating a youth led space for alternative education and art making amidst the tumult of major local regeneration of the Church Street ward in west London. The final exhibition displayed visual and written documentation of the different activities at D.O.P.E., from a portrait photography series of the diasporic community of Church Street, to collaboratively designed flat pack youth centre furniture, to hand made glitter slime for sale.

Made with the support of The Showroom gallery and Westminster Council’s Create Church Street fund. 

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2016/17 

Schooling & Culture

A new journal concerned with secondary education, recognises a critical need for collective action towards models of avant garde political methodologies in the classroom. Schooling & Culture supports future generations to develop powerful, self-led practices of resistance and alternatives to those imposed by the state and the private sector.

View Vol 2 Issue 1 here

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2015

Community Centres (excerpt) single channel video 23:48

Made with the generous support of the Open School East Seed Fund.

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2016

Another Proposal Single channel HD video, 20:9 Script, camera, sound and editing by: Jasmine Johnson, Gareth Owen Lloyd, Kristin Luke, Rachel Pimm, Alice May Williams

Window display: Paper flowers, string, insulated bottles, El humoso olive oil, pimentos, artichokes, contact phone number for housing in Marinaleda.

In 1516 British diplomat Thomas More wrote to his friend about an island with an extraordinary society. Towards the end of the year the account was published in Belgium and an elite group of European public officials could read about the customs, civic organisation and culture of the Utopians. Although indistinguishable from early descriptions of colonial encounters with faraway indigenous societies, More’s diagrams, maps and letters were really a satire of 16th century Britain, and the Utopians’ prosperity was built on the backs of slaves and profit from foreign wars.

On the 500th anniversary of the book, the word utopia is often emptied of its original cynicism and is used to denote a simple paradise. But as explained by More in the book’s opening poem, Utopia is a made-up Greek pun of both ‘no place’ (OU-topos) and ‘good place’ (EU-topos). After the Brexit vote MoreUtopia! visited the Spanish town of Marinaleda, whose motto is: ‘Una Utopia Hacia la Paz’ (‘A Utopia Towards Peace’). Travelling light, they documented the trip on phones – with video, photos and six-word ‘missives’ texted back to the UK.

As the artists look for alternative ways of living, the language of Thomas More creeps into the correspondence via texted replies from home, comparing Britain to Spain to Utopia. The result is a film and window display, shown in the new ANDOR space. The huge archway mirrors the assembly hall of Marinaleda, whilst from the street London Fields appears to have a new shop.

Special thanks to Antonio Sanchez Hinojosa, Juan Manuel Sanchez Gordillo, many other residents of Marinaleda, Gerard Rubio, Triambak Saxena, Peter Rees and Fennec.

[kristinluke]

2016

Schooling & Culture Sociology Workshop

As an extension of Schooling & Culture, we worked with sociology students from a south London secondary school on the study of deviance and its relationship to image making. We created images which became labelled deviant, or dramatically changed in their socially accepted meaning, as they moved from outside the boundaries of school to inside them. Students decided to make a life-size poster of the entrance to Fire, a famous underground gay night club, which neighboured the school, and put it in the headteacher’s office. 

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2015

PĿΛNΞS 

A curatorial project by Anna Frost and Annika Kuhlmann, launching with an exhibition at Bas Fisher Invitational for Art Basel Miami Beach featuring works from Agatha Wara · Bradford Kessler · Kristin Luke / TAIV · Clemence de la Tour du Pin · Daniel Iinatti, Dorota Gawęda & Eglė Kulbokaitė · DIS · Edward Shenk · Jaakko Pallasvuo · Jenna Sutela · Joshua Citarella · Christopher Kulendran Thomas · Martti Kalliala · New Scenario / Paul Barsch & Tilman Hornig · Peles Empire · Rasmus Høj Mygind · Toke Lykkeberg · Travess Smalley · Zack Davis · featuring LOYAL Gallery showing Brad Troemel, Jesse Greenberg, Jim Thorell, Sandra Vaka Olsen & Zoe Barcza.

more here and here

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2014

Enclave

Autumn Collapse /

Kristin Luke and Susan Conte

Autumn Collapse is an installation which physically traces the literary space of a collection of autobiographical texts written by Conte and Luke. Each week, an event takes place in the installation: a reading group, a workshop, a performance, a dinner. Participants contribute, augment, and become variously implicated within the narrative, whether as characters, distanced critics, or narrators. These interventions directly feed into the exhibition installation itself, the installation becoming the physical counterpart to the texts that exist virtually. Texts and installation in some ways coalesce, in others are jarringly inconsistent, but always remain entangled.

Autumn Collapse proposes that the moment of personal expression marks a porousness between the internal ‘I’ and the exterior. As the locations of where our subjectivity is formed become increasingly fragmented, dispersed, virtual, a reevaluation of this porousness becomes necessary. The distinctions between caricature, illustration, autobiography, poeticism, and personal truth are muddled. Building on the notion of the Romantic ironic literary/artistic subject, Autumn Collapse models a new framework for how artist/author, the work, and the spectator can operate, where each of these elements are simultaneously unfinished parts and autonomous wholes - an irresolveable synechdoche. Autumn Collapse hangs in the balance here. 

parallel virtual texts

watch Susan and Kristin's Future

[kristinluke]

2013

Grizedale Arts

Youth Club Summer Restaurant 

A pop-up restaurant planned and operated through a collaboration with the Youth Club of Coniston village, Cumbria. 3D models of future restaurant sites, all nearby Coniston, were projected onto a landscape painting by JM Crossland in the dining room as the dinner took place. Paper models of the sites were made for the Honest Shop.

Watch the projection here.

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