Analogue has included a number of one to one dialogues with practitioners – from makers and choreographers, archaeologists and meditation experts, writers and visual artists. These recorded sessions are available here.
Helen Carnac and Russell Martin, 11 December 2008
The talk covers some of the basic, early premises of the exhibition concept as artists were being confirmed, as well as exploring the methodologies of dialogue and how the Analogue project will mesh with the exhibition.
Furniture designer and maker David Gates has run a studio / workshop designing and making furniture, working speculatively for public showing and to commission on domestic, public and commercial pieces since 1992. Choreographer Aletta Collins has been at the forefront of dance for the past 20 years, building a worldwide reputation for producing some of the most stylish, innovative and critically acclaimed choreography, opera, film and theatre.
This dialogue covered a spectrum of themes, mostly around the similarities and differences between object making and live practices, such as the rehearsal and its importance, methods of control in making and choreography, processes of research, Morton Feldman’s views on composition as activity, dance notation and notebooks, filming dance and problems faced in this and the notion of craftspeople as practicing a kind of dance in the studio.
Linda Sandino and Russell Martin, 19 May 2009
Linda Sandino is an oral history researcher and lecturer in the history and theory of the applied arts at Camberwell College of Art in London, specialising in the representation of crafts and the applied arts in word and image. As Keeper of the Camberwell/ILEA Collection of Design and Craft, research and teaching has concentrated on this area with a recent shift into Oral History after completing extensive and intensive life histories recordings for the National Life Story Collection at the The British Library National Sound Archive interviewing artists, architects, craftspeople, and designers.
This dialogue touches on Johannes Fabien notion of the ‘ethnographic present’, makers’ ‘monograph’ works and audience, visual arts and self-expression, the hierarchy between the ‘visual arts’ and ‘crafts’, the Collect 2009 exhibition at the Saatchi Gallery, practice and the art market and the differences between the visual arts and crafts in relation to ‘dream time’ – open research phases with no expected or intended outcomes.
Linda also contributed a thoughtful blog submission in summer 2008 to this site.
Ingrid Soren and Russell Martin, 3 September 2009
Ingrid Soren has been a writer and yoga and meditation practitioner for over 30 years, practicing both of these strands of her practice daily. Ingrid is also a recognised expert on Dante Alighieri, presenting numerous lectures and papers to conferences in Cambridge and elsewhere.
In this dialogue, Ingrid reflects on how her practices interleave with and enrich one another, how a recent meditation experience has further deepened her commitment to finding new ways of practicing this, and how the practice of meditation has altered her view of what her practice – and career – should focus on.
Wessie Ling and Russell Martin, 17 September 2009
A dialogue with Wessie Ling, senior lecturer at London College of Fashion and visual artist. Her academic background and practice intersects and informs her visual arts activities, notably in her 2007 Fusionable Cheongsam publication and related exhibitions.
Here, Wessie and Russell discuss her two sometimes conflicting, sometimes complimentary practices, how they inform each other and the pace of working activity between academia and the visual arts.
Caroline Juby and Russell Martin, Friday 13 November 2009
“Life’s too short”
Considering time in an expanded sense, and looking at alternative practices as a way to reconsider contemporary craft, this dialogue is with and Caroline Juby, a PhD researcher in the geography department of Royal Holloway, University of London, who I contacted after reading an article she had written for the London Archaeologist. I had assumed her practice – specialising in the Paleolithic past of London – is experienced in a very different way to most crafts makers, but there were subtle similarities, such as the way touch can provide access to different cultures and modes of thought, and an extension of the object’s existence past the lifetime of the practitioner.
Her dialogue, one of the longest one to one dialogues in the project, covers a huge range of topics, including:
- Climate change as an ongoing phenomenon spanning thousands of years
- Where modern peoples fit in the ‘narrative’ of history
- Haptic methodologies of experience and community
- The human species as one amongst many, simply trying to survive
- How even very ancient objects continue to accrue meaning and significance through the biographies and provenance of their owners
- The need for opportunism by the archaeological community in London
The dialogue took place in the Museum of London, which hosts the exhibition London before London on London’s Paleolithic past. We also reference the October 2009 In Our Time Radio 4 programme on the Geological Formation of Britain.