Of Other Spaces: Where Does Gesture Become Event?
- Submitting institution
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University of Gloucestershire
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 24
- Type
- M - Exhibition
- Venue(s)
- Cooper Gallery, Dundee
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- October
- Year of first exhibition
- 2016
- URL
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- Supplementary information
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- 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
-
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This portfolio submission has three principal elements that all relate to ‘Of Other Spaces: Where Does Gesture Become Event?’. This was a two-chapter contemporary art exhibition and event programme at Cooper Gallery in Dundee (2016–17), curated by Sophia Hao. Cullinan Richards’ contribution was both a means of research prior to the exhibition and a platform on which other parts of the exhibition and other practices were performed or presented. The three elements of this submission are as follows:
• Exhibition design entitled ‘A Modular Infrastructure Acting in Concert with Cooper Gallery’.
• ‘Tales from Europe: A Staged Event’, an installation and performance following an artist-in-residence at the Jute Museum in Dundee and prelude to ‘Of Other Spaces’.
• ‘12 Hour Action Group International Symposium’: a set of performances inspired by feminist ‘action groups’ in the 1970s and 80s.
Each of these links to a central, overarching interest within Cullinan Richards’ practice in the feminine. The emphasis throughout this project is on the capacity of the feminine to critique disenfranchisement, particularly of those without access to power, dependent, or who perform hidden acts of labour. To this end, the project explores: How an exhibition’s structural design activates a non-hierarchical zone for different types and categories of display and performance. How the artist’s approach to research-as-material relates to a mode of practice and of knowledge production that entwines scholarly research with artistic activity. How performance, symposium, and exhibition infrastructure as artwork explore modes of collaboration that usher in new attitudes to form and display.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
