LIQUID LAND.
The curation of the group exhibition aimed to open out the debate beyond the physical environment of the region of the Fens, by bringing together a group of ten contemporary artists whose works consider the complexities of landscape and the environment. The research includes the exhibition and the artist’s film ‘The Flaming Rage Of The Sea’.
- Submitting institution
-
Anglia Ruskin University Higher Education Corporation
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 920
- Type
- M - Exhibition
- Venue(s)
- Ruskin Gallery, Anglia Ruskin University, Cambridge, UK
- Open access status
- -
- Month of first exhibition
- -
- Year of first exhibition
- 2018
- URL
-
https://figshare.com/s/b8c006e3ddc9d8b04f29
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This research includes two outputs: the curated group exhibition Liquid Land and the artist’s film The Flaming Rage of the Sea. These were commissioned by the Debating Natures Value Network (DNV) (funded by AHRC), led by the Philosophy department at University of East of Anglia, Norwich and the Global Sustainability Institute, Anglia Ruskin University, Cambridge. It brought together an interdisciplinary group of researchers, practitioners, ecologists, economists and policy-makers to collaborate and debate the issues around ‘natural capital’, exploring the unique environment of the Fens in the first instance.
The curation of the group exhibition aimed to open out the debate beyond the physical environment of the region of the Fens, by bringing together a group of ten contemporary artists whose works consider the complexities of landscape and the environment. The exhibition conceived as a site for constructing interlocking, simultaneous narratives and time frames, was
informed by Daniel Birnbaum’s essay Crystals (2005) in which he discusses contemporary artists using split screen or multi-channel video works as a new enhanced form of Deleuze’s ideas on the crystal-image in cinema (Cinema 2: The Time-Image, Gilles Deleuze, 1985).
Shown in the exhibition, my film The Flaming Rage of the Sea, considers the constructed and everchanging landscape of the
Cambridgeshire Fenland, a region below sea level, through the embodied experience of landscape. The video features
choreographed stilt performers, and footage of the folk tradition of the Whittlesey Strawbear festival. The poetic non-linear
film creates a crystal image of time whereby timeframes are layered in a single image sequence. The film explores the
specific local environment of the Fens as an outlier for the future global impact of sea-level rise and Climate Change and has
been presented extensively internationally.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
