Art is a key arena for the reinterpretation and transformation of material culture – whether as commentary on objects and collections, in response to associated issues and events, or for the conception of something entirely new. Art can employ and react to objects which belong(ed) to other people, as with the Joseph Cornell dioramas about to go on display in London or with the work of our conference artists. Or it can employ the most personal of belongings, as with Tracey Emin‘s best-known installations or our Danny Braverman’s incorporation of family drawings into his one-man play Wot? No Fish!!.
In recognition of art’s frequent contributions to and commentary on material transitions, Objects in Motion will exhibit visual, ceramic and film art and present talks about art and theater. Artist Jane Watt, a Senior Lecturer in Fine Art at University Campus Suffolk, brings her Cabinet of Curiosities project to record Cambridge inhabitants’ valued possessions. The objects were transformed into cyanotypes, which will hang in the Alison Richard Building, and into audio and video recollections which can be viewed in a mobile art studio along with further cyanotypes and a short documentary film.
Chris McHugh, Ceramic Artist in Residence at the National Glass Centre at the University of Sunderland, will exhibit his George Brown Series in the Alison Richard Building. These ceramic vessels were a response to the George Brown Collection – more than 3000 ethnographic specimens collected while Brown was a missionary in Oceania between 1860 and 1907 and “one of the most mobile collections in the world” – and to the material culture of both colonizers and colonized.
Artist/anthropologist Jade Gibson of the Wits City Institute at the University of the Witwatersrand in South Africa, will install her short silent film (in collaboration with cinematographer Gareth Jones) Wish You Were Here in the Alison Richard Building and at the Museum of Archaeology and Anthropology. The film draws upon the material culture of early European ethnography but also turns Gibson into an “ethnographic art object” herself, assuming 19th- and early 20th-century imagery in order to explore and explode reactions to her own half-British and half-Filipino ancestry.
There will also be a showing of the short documentary film La Nuvola e Issìone – produced by the University of Foggia, directed by Pino Casolaro, and written by Casolaro and Corinna Guerra. Shot on location, the film explores the story of a cast of a woman’s breast made from the ash at Pompeii during the eighteenth century, which became famous across Europe and has been interpreted differently by different actors and eras. Casolaro is an actor, director, and professor of Fine Arts at the University of Foggia while Guerra is an Honorary Fellow in History of Science at the Università degli Studi di Bari.
In addition to these art and film installations, there will be a number of talks at the conference on art. This includes art both historical (as with Elsje van Kessel on temporary exhibitions in early modern Italy) and modern (as with Braverman’s play, and Simon Kaner and Liliana Janik discussing modern artists’ reengagement with ancient Japanese pots).