Sluice Biennial, 12 October 2017

Salon 63 | ‘Eros’ by Stasis

'Eros' by Stasi Galitzine (formely Galitzine Mackenzie) will hold their fifth exhibition project Salon 63 in April 2018. Fourteen artists will be paired up with different hair & beauty salons along the number 63 bus route. Each artist will collaborate with the salons to create site-specific works that aim to include and engage each salons’ clientele and local community. For a sneak peak before next year, Galitzine is participating in the artist/curator led Sluice Biennial. Salon 63 participant Freddy Tuppen has created a special salon space conducive to enabling social interactions and discussions often inherent in salon culture. Over the Biennial the salon will be a site for professional beauty treatments, performances and work from a selection of our Salon 63 participants. ‘

Eros’ by Stasis will be livestreamed from Salon 63 at 5.30pm Monday 2nd October.

“A trio of neon pink swimsuits seek answers to the perennial problems of love and loss. Caught in the melodrama of Dusty Springfield’s ‘You Don’t Have to Say You Love Me’, they crawl their way to enlightenment or something more mercurial. Space becomes meat market as the soundtrack moves to darker realms, dragging the swimsuits into sinister dances and ritualistic debasement. Exploring the line between coercion and abandonment, enticement and repulsion, it all spells trouble in the not-so-straightworld of Stasis’ making.”

Schedule

  • Tue 30 April 2019

    RCA | SoAH Research Presents: Documents | Speaker: Tom McCarthy

    ‘The Psychotic Document’

    What if a document functioned not as a solid anchor serving to fix a reality but, on the contrary, as a lure, a mirage, vortex into an abyssal space in which reality itself unravels? Novelist Tom McCarthy considers the function of the photographic document in Julio Cortazar’s 1959 story ‘The Devil’s Drool’ and Michelangelo Antonioni’s celebrated adaptation of it in his 1966 film ‘Blow-Up’. Olivier Richon responds.

    Tom McCarthy (Stirling, 1969) is a novelist whose work has been translated into more than twenty languages. His first novel, Remainder, won the 2008 Believer Book Award and was recently adapted for the cinema. His third, C, was a 2010 Booker Prize finalist, as was his fourth, Satin Island, in 2015. McCarthy is also author of the study Tintin and the Secret of Literature, and of the essay collection Typewriters, Bombs, Jellyfish. He contributes regularly to publications such as The New York Times, The London Review of Books, Harper’s and Artforum. In 2013 he was awarded the inaugural Windham Campbell Prize for Fiction by Yale University. He is currently a Fellow of the DAAD Artists-in-Berlin Programme.

  • Tue 7 May 2019

    RCA | SoAH Research presents the acclaimed writer, Ali Smith, for readings and in conversation.

    Participating

    Juliette Blightman is an artist, her recent exhibitions include at Maureen Paley, London (hosted by Felix Gaudlitz) and O-Town House, Los Angeles. Her PhD at the RCA researches the relevance of feminist literature of the last one hundred years to creative practice, technology and motherhood.

    Sharon Boothroyd is an artist and lecturer. She exhibits internationally in venues including Venice Exchange, Tate Liverpool, Encontros das Imagem, Braga and Centre for Photography, Clement Ferrond. Her PhD research at the RCA looks at hysterical narrative as agency.

    Marita Fraser is an artist and writer, her recent exhibitions include Moore Contemporary, Perth and Gallery Layendecker, Santa Cruz de Tenerife. Fraser’s PhD by practice examines how performative feminist texts operate as score in contemporary art practice and writing.

    Kate Paul is an MRes student at the RCA, and is currently undertaking practice-based research on experimental teaching tools. Before coming to the RCA, she worked in primary schools and completed a degree in Comparative Literature.

    Chair Rebecca Fortnum, Lead Research Programme, School of Art and Humanities and Professor of Fine Art

    Ali Smith was born in Inverness in 1962 and lives in Cambridge. Prior to becoming a full-time writer, she was a lecturer at the University of Stratchclyde. Her first collection of short fiction, Free Love and Other Stories, won the Saltire First Book Award in 1995 and she has written four further collections since, most recently Public Library and Other Stories.

    Her first novel, Like, was published in 1997. Her second, Hotel World, won the Encore Award, the East England Arts Award of the Year and the Scottish Arts Council Book of the Year Award and was shortlisted for both the Orange Prize and the Booker Prize. Her third, The Accidental (2005), won the Whitbread Novel Award and was also shortlisted for both the Orange Prize and Booker Prize. There but for the was published in 2011, followed in 2014 by How to Be Both, which was shortlisted for the Man Booker Prize and won the Bailey’s Women’s Prize for Fiction, was shortlisted for the Folio Prize and also won the Goldsmiths Prize and the Costa Novel of the Year award.

    In 2007, she published her contribution to Canongate’s Myths series, Girl Meets Boy, a retelling of the transformation of Iphis from Ovid’s Metamorphoses.

    Autumn, which was shortlisted for the 2017 Man Booker Prize, is the first in a planned quartet, and is a meditation on a world growing ever more bordered and exclusive, on what richness and worth are, on what harvest means; it’s about time and who we are, what we are made of. Immediately following the Brexit vote, the United Kingdom is in pieces, divided by a historic once-in-a-generation summer. Love is won, love is lost. Hope is hand in hand with hopelessness. It is a beautiful meditation on ageing and time and love and stories themselves.

    Winter, now out in paperback, tells the story of conformist Sophia and her rebellious sister Iris both as elderly ladies in the present day and in flashbacks to their earlier years, and Sophia’s son, Art, who writes a nature blog. All three, plus a young woman brought by Art, converge on Sophia’s house for what turns out to be an eventful Christmas.