#Jerwood Charitable Foundation

[subbanshee]

Our relationships will become radiant from Limes on Vimeo.

2011

Commissioned by Animate Projects with the support of the Jerwood Charitable Foundation.

[thejennawatt]

The last six months of my artist attachment with Magnetic North have been hugely challenging, provoking and revealing from both a professional and personal perspective. My focus has been to observe the debates about rewilding and conservation in Scotland, from attending high profile discussions around issues of land management, to rewilding conferences and participating in highly divisive acts of conservation.

In September, I attended the Big Picture’s Rewilding Conference at the Macrobert in Stirling. It was a great opportunity to reconnect with people I’ve met on my journey, such as the Ramsay family from Bamff and members of Cairngorms Connect. I was delighted to realise I was sitting amongst high profile politicians, some of our youngest rewilding advocates and infamous

billionaires. This is all testament to the growing profile and momentum of the rewilding movement. However, in these situations, I always have my feminist killjoy sensibilities at the front of my mind, and I was hugely disappointed to observe that only one female speaker was included in the main program which was dominated by middle-aged white men. Incidentally, Lynn of Lynbreck Croft, our main female speaker, was hugely inspiring.

Shortly after this, I spent some time in the Outer Hebrides where I met with representatives of community owned lands in Lewis, from the Pairc Trust and the Galson Estate Trust. I’d been fortunate enough to hear Agnes Rennie at a provious event during the Edinburgh Book Festival, so was keen to hear more about Galson. Both estates provide hugely valuable insights into land reform and the challenges facing community owned land and I hope to connect with them again in the future.

Finally, at the beginning of November, I participated in a hugely divisive act of conservation, hind stalking. After organising a mini-residency in Banavie, I was determined to test my commitment to the principles of sustainability and conservation. I spent some time trying to identify a local estate whose conservation principles aligned with my own, and it was essential that I avoided any estates that participated in muirburn, grouse shooting, or raptor trapping. I was fortunate enough to find Corrour and their head stalker Allan, who kindly agreed to take me out. I won’t go into details about what occurred during the stalk, as this is something I’m still processing, but I can tell you that the day was filled with exceptional views, beautiful eagles, evidence of mountain hares, much talk about ecology and the famous Corrour train station which featured in the film Trainspotting.  

I’m into my final months on attachment and it’s hard not to feel apprehensive about it coming to an end. However, my new focus is to begin exploring how all this research can be articulated in various performative forms and contexts. I’m excited to be carrying out some development in December with a handful of collaborators, before throwing myself into Magnetic North’s own Rough Mix in January 2020.

See you in the New Year!

[thelast-draw]

Art History - Installations/ Performance Art

Trigger Warning - Drug Abuse/ Addiction.

‘Include a detailed response regarding the significance for the work to be communicated in this format’

Seizure- Roger Hiorns (2008)

Commissioned by ‘Artangel’ and the ‘Jerwood Charitable Foundation’, Hiorns transformed an empty council flat room (once located in Southwark, London) into an installation of his own. He took the bare flat that was soon to be demolished, and pumped 75,000 litres of copper sulphate into one room, regulating the time and temperature for the chemical to crystallise against the walls, floor, and ceiling of the space. After a month, the copper sulphate was removed and left behind were large quantities of sparkling, crisp blue crystals that had covered the entire room; it was a lot more striking than Hiorns had anticipated it to be and considered it more of an accident.

The room was meticulously removed from the derelict building in London and transported into a temporary area in Yorkshire Sculpture Park, where it stays protected safely for ten years before the crystals begin to deteriorate.

Hiorns has effectively repurposed this once abandoned room into an artistic installation with higher importance, creating a sacred and encasing atmosphere with its delicate sapphire blue crystals, almost as if it were an undiscovered cave thriving within nature and it’s natural elements. Hiorns has left this unusual environment he has created to our own interpretation, rather than having a definite meaning towards the installation. The title in itself, ‘Seizure’, can stunt many onlookers as they try to comprehend the meaning behind such a name linked to a dazzling environment such as this. It can be suggested that the shattering and glinting shine of the fragile blue crystals can be very overwhelming to behold for the senses, implying a seizure.

Installations are known to challenge a type of political or controversial meaning; another suggestion that could be linked towards ‘Seizure’ is the idea of drug abuse and addiction. The drug methamphetamine, otherwise known as crystal meth, has a similar blue colour and crystallised texture as the crystals formed on the walls of the installation. Seizures are a common result of drug abuse, causing changes of consciousness, feeling and movement; it’s possible that the overwhelming environment could reflect the episode of a seizure from drug use. Furthermore, having the room originally come from a council flat could suggest the idea struggling finances past occupiers might’ve been in; they could’ve resulted to drugs in order to feel comfort within the harsh realities of life.

Overall, Hiorns has successfully created an unusual environment by repurposing a room that was destined for demolition, transporting the once rough, neglected living space onto a grand landscape to be admired significantly by thousands. It gives a great sense of Hiorns’s artistic intentions within his work as you are immersed in this own creative environment.

Images:

Image 1: https://www.artscouncilcollection.org.uk/sculpture-longside/seizure-roger-hiorns

Image 2: https://kevinpollard.com/blog/seizure-roger-hiorns/

Image 3: https://www.wallpaper.com/art/seizure-by-roger-hiorns-re-opens-in-london/amp

[litercurious]

THE MYSTERY OF THE EXPLODING TEETH

Author’s Bio

Thomas Morris was a successful radio producer for the British Broadcasting Company (BBC) for many years. He is now a freelance writer and medical historian. His first book, The Matter of the Heart: A History of the Heart in Eleven Operations, wonthe Royal Society of Literature and the Jerwood Charitable Foundation award. The award is one of three annual awards, one of £10,000 and two of £5,000, offered to authors on their first works of non-fiction. Mr. Morris now lives in London.

Who is the target audience?

This book is for everyone 16 or older. The Mystery of the Exploding Teeth is written for the masses and not just for those who want to learn about historic medicine. The book is full of individual cases hand-picked through time to provide the reader with a glimpse of common medical procedures, some uncommon medical procedures, and allot of very interesting cases.

Synopsis

The Mystery of the Exploding Teeth: And Other Curiosities from the History of Medicine, is a sojourn into some of the most interesting medical cases and the procedures used in those cases. It is told through the eyes of the people who were actually there. This book is a conglomeration of notes, letters, personal views of the doctors, and sometimes the patients. The author does a great job of finding the most interesting cases in history. There are some interesting cases that include various items escaping the bodies from all different places, some not very good places. How about the surgeries where the patient is not anesthetized and is an active participant? There is a chapter of patients who survived extreme injuries, some lived normal lives after their injuries.

Conclusion

After reading this book, I listened to the audible version and the narrator added so much more to the enjoyment. He does a great job with the inflection of his voice and the bits that are in French. The little jokes he throws in are awesome. This tome, at times, had me laughing, cringing, crying, and always wondering about the historic doctors and their sometime weird practices. The cases offer a wide variety of injuries and maladies; the causes of some of these will haunt me. I would definitely recommend this book to a friend.

[astinginthetalechloebennington]

Seizure by Roger Hiorns

In 2008 Roger Hiorns, commissioned by Artangel and the Jerwood Charitable Foundation, transformed an empty council flat in Southwark, London, into a sparkling blue environment of copper sulphate crystals. Seizure was created using 75,000 litres of liquid copper sulphate, which was pumped into the former council flat to create a strangely beautiful and somewhat menacing crystalline growth on the walls, floor, ceiling and bath of the abandoned dwelling.

This building was going to be demolished which gave roger the opportunity to test this experiment out. He then created this master piece which has now been extracted from the flat and into a museum for more viewings. This is a really gorgeous piece of work and how you can create amazing art from natural chemicals and causes. This shows that nature can be really strong and powerful.

This gives me different ideas on what I could create in my own work and gives me ideas on how I could create a fantasy magical world.

[thinkingimages]

Ryan L. Moule | Chemically unfixed silver gelatin photographs, Installation View, Vessels & Vestiges, 2017. Commissioned for Jerwood Visual Arts Project Space, supported by Jerwood Charitable Foundation. Image: Anna Arca

[stopoutadverts]

SBTV: Music: If I Ran The Country I Would.. Feat. Yung Filly | Sortition x SBTV youtu.be/4VoIFiBHr44 Imagine the government has been dissolved. 12 people have been chosen at random and invited to run the country. You are selected – WHAT WOULD YOU DO? We’ve teamed up with the Arnolfini in Bristol and 14-18 NOW to help create Sortition a project by artist Selina Thompson, as part of a series called Represent, which looks again at the centenary of some women gaining the right to vote – but only to those over the age of 30 and with certain property rights. See your ideas turned into Art... AGED 18-30? LOTS OF OPINIONS BUT DON’T ALWAYS GET HEARD? FREE TO TAKE PART IN A CREATIVE WORKSHOP, JULY 23RD-27TH ? IF SO, THEN PLEASE SIGN UP HERE: ift.tt/2KslAZU Selina especially wants to hear from you if you feel your voice isn’t normally heard. It doesn’t matter if you’re loud or quiet and you don’t need to be a political expert, we’re not experts either! All she asks is that you come willing to be open, and willing to be brave. We’ll take care of the rest! Check out other programmes in this series #RepresentNOW Sortition is co-commissioned by 14-18 NOW, the UK’s arts programme for the First World War centenary, and Arnolfini. Supported by Jerwood Charitable Foundation. ---- Make sure to subscribe & never miss a video! bit.ly/NeverMissSBTV SBTV is one of the leading online youth broadcasters & is the only place you need to be going to get the best coverage in and out of the music scene. Based in London, SBTV provides a platform to discover and break emerging artists, enjoy your favourite acts and unearth incredible talent. We’re constantly bringing you the exclusives so make sure to follow us on all our social media platforms to be in the loop with who we’ve been filming with! If you would like to feature on the channel or have any other enquiries, please get in touch -info@sbtv.co.uk Share. Build. Teach. Vibes. ---- ► Follow SBTV Twitter - twitter.com/SBTVonline Instagram - ift.tt/1DDM15V FaceBook - ift.tt/2iFqB7U Website - www.SBTV.co.uk SoundCloud – ift.tt/1vSa1Qu ► Check ArnolfiniArts twitter.com/arnolfiniarts ift.tt/1DLCWXy ift.tt/2tARD3A ----- Thanks for watching!

[heathaakosuaphotos]

So Many Reasons is back and we're on tour but will first have a run at the wonderful @camdenpeoplestheatre! Back working with the talented Racheal Ofori we have been awarded the the Jerwood Charitable Foundation Home Run Commision and will headline the feminist festival Calm Down Dear. Here are the dates below and huge big ups to @fueltheatre. Part of Calm Down Dear, a three-week festival of innovative feminist performance. The festival runs from Mon 15 Jan – Sun 4 Feb. Take advantage of our double bill ticket offer, and book two different shows on the same night for just £16! Simply add the tickets into your basket and we’ll do the rest. Created by Racheal Ofori and Heather Agyepong, presented by Fuel and Camden People’s Theatre 12+ My Mum said to me ‘if you ever have children, don’t have girls. They give you too much of a headache.’ So Many Reasons is a story about the unique influence our mothers have on how we understand the world, from the perspective of a first generation British Ghanaian woman. Exploring cultural and generational shifts in how women see themselves and each other, this sassy and soulful new show asks what happens when we realise mums don’t always know best. Tickets in bio! #feministtheatre #cdd18 #newwriting #blackgirlmagic #newtheatre #londonbabes #fringetheatre #actorslife #creatives #africandiaspora #feministfestival #onewomanshow

[whileiamdying]

“I don’t want to feel like it’s only me. I know it’s not only me, because there are others out there…” ‘I Don’t Protest, I Just Dance In My Shadow’ is a short visual essay film by artist animator, Jessica Ashman, about navigating the visual art and animation world as a black face in a white space. Using animation and recorded interviews of eight other women of colour artists, ‘I Don’t Protest, I Just Dance In My Shadow’ is an abstract confessional from the director herself: a visualisation of the joy, frustration, wishes and dreams of what it feels like to be a black women and a woman of colour artist, creating and existing. Developed by Animate Projects and funded by Arts Council England, 'I Don't Protest, I Just Dance In My Shadow' also screened as part of a 10 day installation at the Four Corners Gallery, June 2017, designed by Jessica. The installation was created to accompany the film and showcased in depth the artists interviewed and experimental abstracts from the film-making process. Exhibition Produced by Tega Okiti Sound Design by Seb Bruen AV technician: Andy Jenkin Sound Installation Support: Par Carlsson Project Assistants: Jonathan Long, Leni Kauffman, Jen Hanlon and Sameer Shastri. Featuring the words and voices of artists: Annlin Chao, Ng’endo Mukii, Maybelle Peters, Jessica Knights, Airelle Ray and Suraya Raja. Supported by Animate Projects, Jerwood Charitable Foundation and Arts Council England Selected for: Factional Animation Film Festival 2018 Encounters Film Festival 2018 Blackstar Film Festival 2018 - Nominated for Best Experimental Flatpack Film Festival 2018 Fighting Talk - Group Show, 35 Chapel Walk (2018) Brooklyn Women's Film Festival 2018 - Winner of Best Experimental Single Frame Film Festival 2018 Cardiff International Animation Festival 2018 Underwire Film Festival 2017 Diaspora Dialogues - Group Exhibition, Winns Gallery

[artwalktv]

“I don’t want to feel like it’s only me. I know it’s not only me, because there are others out there…” ‘I Don’t Protest, I Just Dance In My Shadow’ is a short visual essay film by artist animator, Jessica Ashman, about navigating the visual art and animation world as a black face in a white space. Using animation and recorded interviews of eight other women of colour artists, ‘I Don’t Protest, I Just Dance In My Shadow’ is an abstract confessional from the director herself: a visualisation of the joy, frustration, wishes and dreams of what it feels like to be a black women and a woman of colour artist, creating and existing. Developed by Animate Projects and funded by Arts Council England, 'I Don't Protest, I Just Dance In My Shadow' also screened as part of a 10 day installation at the Four Corners Gallery, June 2017, designed by Jessica. The installation was created to accompany the film and showcased in depth the artists interviewed and experimental abstracts from the film-making process. Exhibition Produced by Tega Okiti Sound Design by Seb Bruen AV technician: Andy Jenkin Sound Installation Support: Par Carlsson Project Assistants: Jonathan Long, Leni Kauffman, Jen Hanlon and Sameer Shastri. Featuring the words and voices of artists: Annlin Chao, Ng’endo Mukii, Maybelle Peters, Jessica Knights, Airelle Ray and Suraya Raja. Supported by Animate Projects, Jerwood Charitable Foundation and Arts Council England Selected for: Factional Animation Film Festival 2018 Encounters Film Festival 2018 Blackstar Film Festival 2018 - Nominated for Best Experimental Flatpack Film Festival 2018 Fighting Talk - Group Show, 35 Chapel Walk (2018) Brooklyn Women's Film Festival 2018 - Winner of Best Experimental Single Frame Film Festival 2018 Cardiff International Animation Festival 2018 Underwire Film Festival 2017 Diaspora Dialogues - Group Exhibition, Winns Gallery

[facualva]

I Don't Protest, I Just Dance In My Shadow (2017) from Jessica Ashman on Vimeo.

“I don’t want to feel like it’s only me. I know it’s not only me, because there are others out there…”

‘I Don’t Protest, I Just Dance In My Shadow’ is a short visual essay film by artist animator, Jessica Ashman, about navigating the visual art and animation world as a black face in a white space.

Using animation and recorded interviews of eight other women of colour artists, ‘I Don’t Protest, I Just Dance In My Shadow’ is an abstract confessional from the director herself: a visualisation of the joy, frustration, wishes and dreams of what it feels like to be a black women and a woman of colour artist, creating and existing.

Developed by Animate Projects and funded by Arts Council England, 'I Don't Protest, I Just Dance In My Shadow' also screened as part of a 10 day installation at the Four Corners Gallery, June 2017, designed by Jessica. The installation was created to accompany the film and showcased in depth the artists interviewed and experimental abstracts from the film-making process.

Exhibition Produced by Tega Okiti Sound Design by Seb Bruen AV technician: Andy Jenkin Sound Installation Support: Par Carlsson Project Assistants: Jonathan Long, Leni Kauffman, Jen Hanlon and Sameer Shastri.

Featuring the words and voices of artists: Annlin Chao, Ng’endo Mukii, Maybelle Peters, Jessica Knights, Airelle Ray and Suraya Raja.

Supported by Animate Projects, Jerwood Charitable Foundation and Arts Council England Selected for:

Factional Animation Film Festival 2018 Encounters Film Festival 2018 Blackstar Film Festival 2018 - Nominated for Best Experimental Flatpack Film Festival 2018 Fighting Talk - Group Show, 35 Chapel Walk (2018) Brooklyn Women's Film Festival 2018 - Winner of Best Experimental Single Frame Film Festival 2018 Cardiff International Animation Festival 2018 Underwire Film Festival 2017 Diaspora Dialogues - Group Exhibition, Winns Gallery

[ozkamal]

“I don’t want to feel like it’s only me. I know it’s not only me, because there are others out there…” ‘I Don’t Protest, I Just Dance In My Shadow’ is a short visual essay film by artist animator, Jessica Ashman, about navigating the visual art and animation world as a black face in a white space. Using animation and recorded interviews of eight other women of colour artists, ‘I Don’t Protest, I Just Dance In My Shadow’ is an abstract confessional from the director herself: a visualisation of the joy, frustration, wishes and dreams of what it feels like to be a black women and a woman of colour artist, creating and existing. Developed by Animate Projects and funded by Arts Council England, 'I Don't Protest, I Just Dance In My Shadow' also screened as part of a 10 day installation at the Four Corners Gallery, June 2017, designed by Jessica. The installation was created to accompany the film and showcased in depth the artists interviewed and experimental abstracts from the film-making process. Exhibition Produced by Tega Okiti Sound Design by Seb Bruen AV technician: Andy Jenkin Sound Installation Support: Par Carlsson Project Assistants: Jonathan Long, Leni Kauffman, Jen Hanlon and Sameer Shastri. Featuring the words and voices of artists: Annlin Chao, Ng’endo Mukii, Maybelle Peters, Jessica Knights, Airelle Ray and Suraya Raja. Supported by Animate Projects, Jerwood Charitable Foundation and Arts Council England Selected for: Factional Animation Film Festival 2018 Encounters Film Festival 2018 Blackstar Film Festival 2018 - Nominated for Best Experimental Flatpack Film Festival 2018 Fighting Talk - Group Show, 35 Chapel Walk (2018) Brooklyn Women's Film Festival 2018 - Winner of Best Experimental Single Frame Film Festival 2018 Cardiff International Animation Festival 2018 Underwire Film Festival 2017 Diaspora Dialogues - Group Exhibition, Winns Gallery

[trebuchetuk]

Hanging Offence : Jerwood Charitable Foundation

Hanging Offence : Jerwood Charitable Foundation

Shonagh Manson, director, Jerwood Charitable Foundation, replies to Trebuchet’s questions about art, controversy and artists.

  What first drew you to art?

Drawing, from a young age. And music. My parents wouldn’t describe themselves as artistic, but home was definitely full of things being made or played. I studied fine art, but I’ve always been far happier to be on the practical side of…

[vandanatheartist]

Brief Biography

Vandana, born in Haryana, India, has completed her MFA in Fine Art from London, UK, after attending Rachana Sansad Academy of Fine Arts & Craft for three years in Mumbai, and achieving Masters degree in English from New Delhi following her Bachelors degree from Haryana, India . She has exhibited her work in India(Mumbai, New Delhi, Gurgaon & Kolkata), Switzerland(Rapperswil Jona), United Kingdom(London, Bath, Leigh & Bournemouth) and South Korea.

SELECTED AWARDS & HONOURS

Kingston Award GOLD, Kingston University, London, 2018

Third Prize, pratyagati-Journey Home, exhibition cum competition juried by artists Subodh Gupta & Shilpa Gupta, organized by Stiftung Futur, Switzerland, 2017

GREAT Scholarship Award, by Kingston University & British Council, London, 2015

Creative Artist Award, by Gallery Sree Arts, 
India, 2014

Excellence Award-First Prize, by Rachana Sansad Academy of Fine Arts & Craft
, 2011

Best Artist Award, by Adarsh Mahila Mahavidyalaya-MDU in addition to University Rank #13, 2003.

Publications

Issack Kim, a r e v o l u t i o n f r o m m y b e d YAP’17 – Press Release, November 2017.

Issack Kim, a r e v o l u t i o n f r o m m y b e d – YAP’17, November 2017, 15, 52-55, 133 (exh. cat.).

Esther Windsor, Water Is Wet – Press Release, September 2017.

Esther Windsor, Water Is Wet, September 2017, 2, 35, 36, 42 (exh. cat.).

Kingston University, text quoted in Essential Guide for International Students, September 2017, Cover Page

Eva Pfirter, “Von der kraft der Frauen“, Zürichsee-Zeitung, e-newspaper & printed version, March 17 2017.

Stiftung Futur, Distant Mirrors, Altefabrik brochure, March 2017.

Beatrice Carey, BLACK IS THE SAME BLACK – A Seat at the Table, February 2017, 3, 32-35 (exh. cat.).

Stiftung Futur, pratyagati – Journey Home, January 2017, 8, 47-50 (exh. cat.).

Jerwood Charitable Foundation, Jerwood Drawing Prize 2016 – Press Release, September 2016.

Jerwood Charitable Foundation, Jerwood Drawing Prize 2016, September 2016, 64, 75 (exh. cat.)

“5 Minutes with Vandana” – interview, NCS The Challenge Newsletter, September 2016, 3.

Kingston University, Postgraduate Prospectus 2017-18, 2016, 70.

Minna George Studio, Minna George The Collection Volume 1 1996-2016, (Publication Prep. work) July 2016.

Saurabh Sengupta, “When Water becomes Art”, Zoom Delhi, May 2, 9, 16, 23 2014.

Patrizia Kuriger, “Rituale und Grenzen“, Zürichsee-Zeitung, June 13 2013.

Vandana, “Search for Silence…“, Research Monograph, March 2011.

Rachana Sansad AFAC, Group Show , December 2010, (exh. cat.).

MDU, ‘University Rank Holders’, Nav Bharat Times- New Delhi, Summer 2003.

SELECTED EXHIBITIONS

Solo

2016

Audience & Speaker, The Swan, Kingston University, London (Live Performance)

2013

rituals of self, Stiftung Futur, Kunst Zeug Haus, Switzerland (Live Performance)

Group

2017

a r e v o l u t i o n f r o m m y b e d, YAP 2017 (Young Artists Project), Daegu Art Fair, EXCO Daegu, South Korea

Water Is Wet, MFA Final Show, Stanley Picker Gallery, London

Distant Mirrors, Stiftung Futur, Altefabrik, Rapperswil Jona, Switzerland (Live Performance)

BLACK IS THE SAME BLACK – A Seat at the Table, Stanley Picker Gallery, London

pratyagati – Journey Home, Stiftung Futur in collaboration with Sir J. J. School of Art, Mumbai, India (Live Performance)

2016

Jerwood Drawing Prize 2016, Jerwood Space, London(Sept-Oct) and then touring around the UK to The Edge Arts, University of Bath, Bath(Nov-Dec); Turnpike Arts Centre, Leigh(Jan-March 2017); The Gallery, Arts University Bournemouth, Bournemouth(March-April 2017)

Call It Swan, The Swan & Knights Park, Kingston University, London

lust alien, Naming Rights, London (Live Performance)

2015

Window Project Christmas Week, The Swan in collaboration with Stanley Picker Gallery, London

Group Performance for Oreet Ashrey’s webseries – Revisiting Genesis, Stanley Picker Gallery, London

Fake Show, The Swan & Knights Park, Kingston University, London (Live Performance)

Group Show, The Swan, Kingston University, London (Live Performance)

Greenathon, Gallery Sree Arts & Romain Rolland Gallery, New Delhi, India

Concepts of Cultural Identity, Stiftung Futur, Sir J. J. School of Art, Mumbai, India

2014

Aqua Aegis Fete, Gallery Sree Arts & Indira Gandhi National Centre for the Arts Gallery, New Delhi, India

Intuitive Reservoir of Memories & the Medium for Conceptual Reflection, Stiftung Futur, Sir J. J. School of Art, Mumbai, India

2013

Join, Gallery Sree Arts & Romain Rolland Gallery, New Delhi, India

2012

roots, Gallery Sree Arts & Epi Center, Delhi NCR, India

UNTITLED, Gallery Sree Arts & Epi Center, Delhi NCR, India

Country of Cards, Epi Center, Delhi NCR, India (Theatre Performance)

Pictorial Invention, Stiftung Futur, Sir J. J. School of Art, Mumbai, India

2011

Annual Group show, Rachana Sansad Academy of Fine Arts & Craft, Mumbai

2010

Group Show, Piramal Gallery, Mumbai, India

Group Show – Golden Jubilee Celebration of R.S.A.F.A.C., Rachana Sansad Academy of Fine Arts & Craft , Mumbai

Annual Group show, Rachana Sansad Academy of Fine Arts & Craft, Mumbai

Group Show, Stiftung Futur, Rachana Sansad Gallery, Mumbai, India (Live Performance)

2009

Annual Group show, Rachana Sansad Academy of Fine Arts & Craft, Mumbai

Sculptures out of Waste, Chowpatty Beach, Mumbai, India (Life size public sculptures created with remains of the biggest festival of Mumbai, ‘Ganapati Immersion’)

2008

Group Show, Stiftung Futur, Sir J. J. School of Art, Mumbai, India

2001-2003

Annual Group Shows each year, Adarsh Mahila Mahavidyalaya, Haryana, India

1999

Manishika National Painting Competition – Position#8 (out of ten selected), Kolkata, India,

Group Projects

2016

EU-UK (IN) Campaign run by the artist Kathrin Böhm during the publication fair, Turbine Hall – Tate Modern, London

2009

Project-Dharavi,  painting murals on the walls of the schools situated in the biggest slum of Asia, ‘Dharavi’, involving the school children in the painting & other fun activities, Mumbai, India

[georgeartanddesignblr20-blog]

funding

After looking at suitable  sources of funding i made a short list; Arts impact fund- between £150,000 and £600,000 Arts council-between  £1,000 - £100,000 Jerwood charitable foundation- Small Grants – up to £10,000/ Large Grants – £10,000 and over Elephant Trust Grants- approx  £2,000

[farsightcorporation-blog]

Geomancer Chapter 3: Archaeology of the Future Extract for Transmediale 2018 // Face Value

Geomancer is a CGI film by Lawrence Lek about the creative awakening of artificial intelligence. On the eve of Singapore's 2065 Centennial, an adolescent satellite AI escapes its imminent demise by coming down to Earth, hoping to fulfil its dream of becoming the first AI artist. Faced with a world that limits its freedom, Geomancer must come to terms with its militarised origins, a search that begins with a mysterious syndicate known as the Sinofuturists...

Featuring HD video game graphics, a neural network-generated dream sequence, and a synthesised vocal soundtrack, Geomancer explores the implications of post-human consciousness.

-- jerwoodvisualarts.org/projects/jerwoodfvu-awards-2017-neither-one-thing-another Press Release: fvu.co.uk/projects/geomancer --

CREDITS Geomancer by Lawrence Lek Executive Producer - Steven Bode, FVU Production Managers - Ilona Sagar & Polly Wright, FVU Production Supervisor - Susanna Chisholm, FVU Animation - Clifford Sage Architecture - Johnny Lui World Design - Lawrence Lek AI-Generated Footage - Terence Broad Music - Lawrence Lek Sound Design - Seth Scott Written & Edited by Lawrence Lek Script Advisor - Ned Beauman Voice of Geomancer - Joni Zhu Voice of Dealer - Jennifer Ka Yan Lam Voice of Master Rui - Xiaoyi Nie Voice of Master Wu - Gary Zhexi Zhang Mandarin Translator - Joni Zhu Cantonese Translator - Jennifer Ka Yan Lam Production Accountant - Sophie Luard, FVU Production Insurance - Integro Entertainment Special Thanks To Oliver Fuke, Jerwood Visual Arts Sarah Williams, Jerwood Charitable Foundation Alix Taylor Commissioned for the Jerwood/FVU Awards 2017: Neither One Thing Or Another A Collaboration between Jerwood Charitable Foundation and FVU FVU is supported by Arts Council England © Lawrence Lek 2017