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Category Archives: art in place and the place of art
Remotely Sensing Cape Farewell
I recently gave a presentation at the RGS-IBG annual conference where I creatively presented a series of 35mm slides from my dad’s 1972 mountaineering expedition to Cape Farewell, Greenland. I gave the presentation in a session entitled “Me, my self … Continue reading
Posted in art in place and the place of art, Cultural Cartography, Cultural Geography, Curation as Spatial Practice, Curatorial Concerns, Exhibitions, Experimental Geographies, Experimental Historiography, Geographer-artists, Maps and Mapping, Sound Art, Spatial Theory
Tagged archival practice, Art and Climate Change, Cape Farewell, critical historiography, Derek McCormack, Greenland, Ideas of North, Jim Patchett, loss, love, mountaineering, Nigel Thrift, non-representational and performative art practices, Non-Representational Theory, Royal Geographical Society
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My Winnipeg at La Maison Rouge
This summer, la maison rouge (Paris) is launching a new series of exhibitions focusing on the arts scene in major provincial cities. The first of these cities will be Winnipeg, the capital of Manitoba in Canada. At a time … Continue reading
Posted in art in place and the place of art, Creativity in the City, Events, Presentations, Happenings etc., Exhibitions
Tagged Border Crossings, Canadian Art, Creativity in the city, geographical location shapes artistic production, Guy Maddin, La Maison Rouge, Manitoba Museum, My Winnipeg, Paris, Royal Art Lodge
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Understanding the Creative City Through New Digital Mapping Technologies
Human geographer Dr. Chris Brennan-Horley is visiting Edmonton next week and is giving a presentation at the City-Region Study Centre entitled: Where is creativity in the city? Understanding the creative city through new digital mapping technologies Chris Brennan-Horley asks us to … Continue reading
Posted in art in place and the place of art, Creativity in the City, Cultural Geography, Experimental Geographies, Geographer-artists, Maps and Mapping, Spatial Encounters, Spatial Theory
Tagged City-Regions Study Centre, Creativity in the city, Dr Chris Brennan-Horley, GIS technology, mundanity, new digital mapping technologies, suburbs, Telus Centre, University of Alberta
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Urban Undercurrents
Friend of Experimental Geography in Practice Adeola Enigbokan, of archivingthecity, will be participating in Urban Undercurrents part of the Urban Festival organized by The New School. If you are in or visiting New York come out on the evening of April 21 (Thursday) … Continue reading
Becoming Geographer-Artist…
Although unfortunately unable to attend in person, slide-shows documenting 2 creative projects I have instigated and collaboratively created and curated are being shown in a session entitled “Geographer- artists: creative practice as research tool?” at the annual meeting of the … Continue reading
Posted in art in place and the place of art, Creativity in the City, Cultural Geography, Curation as Spatial Practice, Curatorial Concerns, Events, Presentations, Happenings etc., Exhibitions, Experimental Geographies, Geographer-artists, Public Art, Sound Art, Spatial Encounters, Spatial Theory
Tagged AAG Seattle, Adeola Enigbokan, Andrea Roe, art-geography collaborations, audiencing, audio-visual installation, collaborations, creative geographies, creative practice, curation as spatial practice, experimental approaches to fieldwork, Fashioning Feathers exhibition, feathers, fshion, garment workers, Geographer- artists: creative practice as research tool?, geographer-artists, geographical research methods, geopolitics of art production/consumption, institutional critique, Kate Foster, Liz Gomez, marginal arts organizations, Material Culture Institute, merle patchett, mobile exhibition space, mobile installation, Office of Experiments, participatory geographies, radical knowledge production, Terrible Karma: reverberations of the Triangle Shirtwaist Fire, Thomas Jellis, Triangle Shirtwaist Fire
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Terrible Karma: reverberations of the Triangle Shirtwaist Fire
This week I am travelling to the city of New York to premier the audio-visual installation Terrible Karma: reverberations of the Triangle Shirtwaist Fire that has been created and curated by Adeola Enigbokan and myself. Terrible Karma is a mobile audio-visual … Continue reading
Posted in art in place and the place of art, Creativity in the City, Cultural Cartography, Cultural Geography, Curation as Spatial Practice, Curatorial Concerns, Exhibitions, Experimental Geographies, Experimental Historiography, Geographer-artists, Public Art, Sound Art, Spatial Encounters, Spectral Geographies
Tagged Adeola Enigbokan, audio-visual installation, Cultural Geography, Cut Make Trim (CMT), David Toop, Dhaka Bangladesh, Garment factories, Garment factory fires, Garment Unions, Industrial Disaster, March 25th, merle patchett, mobile exhibition space, New York, Oral History, Phnom Penh Cambodia, Qingyuan China, Remember the Triangle Fire coalition, remember the triangle walk, sound art, Sound as Haunting, spectral geography, Terrible Karma, Terrible Karma: reverberations of the Triangle Shirtwaist Fire, triangle fire, Triangle Fire Centenary, Triangle Shirtwaist Fire
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Where is Fort McMurray?
I recently accompanied a friend (and fellow social researcher) Andriko Lozowy on a trip to Ft McMurray to help him set up an exhibition of photographic work – Where is Ft McMurray? – that he and his collaborators are presenting … Continue reading
Posted in art in place and the place of art, Creativity in the City, Cultural Cartography, Cultural Geography, Curation as Spatial Practice, Exhibitions, Experimental Geographies, Geographer-artists, Spotlight
Tagged Andriko Lozowy, Community, Fort McMurray Public Library, Photographic exhibition, Sense of Place, University of Alberta, Where is Fort McMurray?, Youth Photography
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SymbioticA’s Adaption Program Showcases Art-Geography Collaborations
SymbioticA is an artistic laboratory dedicated to the research, learning, critique and hands-on engagement with the life sciences. Under the direction of Oron Catts, SymbioticA’s emphasis is on experiential practice. SymbioticA facilitates a thriving program of residencies, research, academic courses, … Continue reading
Posted in 'Slow Art' and Sustainability, art in place and the place of art, Cultural Geography, Curatorial Concerns, Exhibitions, Experimental Geographies, Geographer-artists, Mapping Sound and Sounding Maps, Public Art, Sound Art
Tagged ADAPTION, Animal Afterlives, art and ecology, art science geography, art-geography collaborations, BioGeoGraphies, Blue Antelope, dead animal parts, Dublin, experiential practice, geographer-artists, GPS spatial sound walking project, Hayden Lorimer, interdisciplinary, Kate Foster, Lake Clifton, life manipulation, merle patchett, object histories, Perdita Phillips, Science Gallery, SymbioticA: artistic laboratory, The Sixth Shore, The Summer Flurry, unruly ecologies: biodiversity and art, Visceral: the living art experiment, zoological collections, zoological specimens in art
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Future Exhibitions: Spatial Encounters (and the production of space)
Future Exhibitions is an annual publication about exhibition making and curatorial concerns, both in Sweden (where it is published) and globally. The theme and title of this year’s issue is Spatial Encounters: “We will focus on the visitor as we … Continue reading
Posted in art in place and the place of art, Curation as Spatial Practice, Experimental Geographies, Spatial Encounters, Spatial Theory
Tagged abstract space, curation, curation as spatial practice, differential spaces, experimental exhibitions, Future Exhibitions, Henre Lefebvre, Kilma X, Norwegian Museum of Science and Technology, Rodney LaTourelle, space, Spatial Encounters, The Production of Space, white cube gallery
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MAP: Movement Art Public/Make Art Public
I have recently been introduced to MAP: Movement Art Public/Make Art Public. Founded in January 2006, in Montreal Quebec, MAP is a non-profit organization dedicated to the promotion of art and culture in everyday life. MAP applies an innovative strategy … Continue reading
