Lunchtime Talk: A Scatology of Sewage
A Scatology of Sewage with Dr. Gayle Chong Kwan & Dr. Randa Kachef
Alongside our exhibition Vital Signs: another world is possible join our free Lunchtime Talk with artist Dr Gayle Chong Kwan and Dr Randa Kachef, Research Affiliate in the Department of Geography, King's College London. They will share their creative and science-based approaches to issues of environmental degradation and waste management.
Dr Gayle Chong Kwan's work features in the exhibition and you can explore her work, I am the Thames and the Thames is Me on Floor 1 of the gallery. The work calls attention to the management of the waste that we ourselves create, and its impact on the health of the river that sustains us and the city in which we live.
Using Chong Kwan's installation as a starting point, their short talk will explore histories of waste and it’s management and explore how knowledge is produced in this area. Finding avenues to reconnect with artistic and indigenous perspectives, they will rethink systems from their roots.
They will talk for 20 minutes, and then invite questions from the audience.
Science Gallery London’s lunchtime talk programme inv
Gayle Chong Kwan – interview: ‘I’ve made a connection between displays of constructed power and childlike play’
The artist talks about using sand and sugar to make historic and contemporary connections between Mauritius and the Isle of Wight and between colonial power, indentured labour, leisure and childhood
Gayle Chong Kwan interrogates legacies of extraction and exploitation and histories of oppression in her expanded and embodied art practice, using sensory experience, material objects and collective ritual to reflect on the past and envisage alternative futures. In A Pocket Full of Sand, now at John Hansard Gallery in Southampton, themes of colonial power, indentured labour, leisure and childhood meander and crisscross through the mediums of film, sculpture and collage.
Unexpected, fruitful connections are drawn out between two islands at opposite ends of the British empire: the Isle of Wight and Mauritius, the birthplace of Chong Kwan’s father. The London-based artist homes in on the materiality of sand and sugar, the mainstay of Mauritius’s colonial economy, harvested initially by enslaved people, and subsequently by indentured workers. “By thinking about colonial time
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What is a castle?
Worldwide, castles have had many purposes and meanings. They may be coveted possessions of strategic and political importance, symbolising power, sovereignty and conquest. They are sites of attack, defence, vigilance; places of imprisonment, but conversely also of protection, sanctuary and refuge. They may conceal mysteries, secrets, even atrocities within their walls, or become museums committed to revealing hidden stories of the past.
This Curation responds to a loan from the National Gallery, London of The Fortress of Königstein from the North by Bernardo Bellotto () to Norwich Castle Museum in summer It explores some of the themes above, using a wide range of artworks from medieval to contemporary.
Artists featured in this Curation:Bernardo Bellotto (–), William Henry Crome (–), Aelbert Cuyp (–), John Sell Cotman (–), Marwan Rechmaoui (b), Gerard David (c–), John Berney Crome (–), Gustave Moreau (–), Briton Riviere
The Circulating Department ()
Photographs, wooden stands, simanay, thread.
V&A Museum
London
Gayle Chong Kwan was Artist in Residence in Photography at the V&A between - , during which she explored the museum as process, movement, and as a force of deterritorialization in relation to objects, people, and collections, and developed a series of photographic, wearable, and sculptural work, which was installed at the V&A.
I became fascinated by the V&A’s historical Circulation Department, which lasted between and , after which objects in its collection were dispersed throughout the wider collection. Its archives are kept at Blythe House, where objects not on display at any of the V&A museums are stored. Unlike the rest of the V&A which had a ’year rule’, whereby only work that was over 50 years old could be collected, the Circulation Department collected contemporary work. The Circulation Department was the first ‘travelling gallery’ in the UK, and loaned original works and copies to provincial and national museums, libraries, galleries, art colleges, and schools. The department had a higher than usual intake of women, many of its staff were educate
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