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no.w.here summer school
Forcible Frames




Studies for a Head, 2012 by kennardphillipps

24th June - 18th August 2013.
Monday - Friday, with independent study and extra events
This 8 week course is £1000 for members, and £1300 for non members


****** THIS COURSE IS FULL ********

Forcible Frames
no.w.here’s summer school Forcible Frames is an 8-week programme that builds on our reputation as a vital community and site for the production, discussion and dissemination of practices engaged with the moving image, politics, technology and aesthetics. The no.w.here summer school is not interested in reproducing the structures, canons and learning models on offer in Higher Education; equally we are not an autonomous free school. Though no.w.here cannot operate outside the rampant privatisation of education we can provide a pedagogical environment that grounds itself on egalitarian, non-profit terms. Forcible Frames will offer participants a combination of theoretical seminars, student-led activities, field trips, guest workshops led by artists and theorists alongside an intensive programme of hands-on film and video making. These components are reliant upon and reflective of one another in a manner that allows practice to enlighten theory, collective experimentation to inform individual production.

The school runs Monday-Fridays, 10-5.30pm, with Thursdays reserved for independent time in the lab. There will be 2/3 confirmed guests each week including: Larne Abse Gogarty & Josefine Wikström, John Akomfrah / Smoking Dog Films, George Barber, Leah Borromeo, Evan Calder Williams, Marine Hugonnier, Peter Kennard & Cat Phillipps, Omar Kholeif, Esther Leslie, Melanie Manchot, Mosireen, Joshua Oppenheimer & Andrea Zimmerman, Lee Patterson, Vanda Playford, Frances Rifkin, Aura Satz, John Smith, Milica Tomic and Jelena Petrovic / Grupa Spomenik (The Monument Group), Gee Vaucher.

Each week kicks off with a theory seminar led by Brad Butler on Monday mornings.

“The Forcible Frame is a term I first encountered in Judith Butler’s landmark text Frames of War (2009). In this essay she argues that “To learn to see the frame that blinds us to what we see is no easy matter ... And if there is a critical role during times of war it is precisely to thematise the forcible frame, the one that conducts the dehumanising norm, that restricts what is perceivable and, indeed, what can be”.

This continues to resonate with me; that the neoliberal project in particular restricts and imposes constraints on what can be heard, read, seen, felt and known. My seminars in this summer school will intertwine experimentation with theory & practice to get inside the power dynamics of images and the film apparatus to understand and subvert how we as artists and/or filmmakers are identifying with what we see, as well as what we don’t see. What forces are in operation in the connection between the viewer and the image? What power do we have to reclaim these processes through the imagination and/or Art? How can we experience problems of film representation beyond the image? What can we learn from past work that has pushed at the edges of a Forcible Frame? As Judith Butler states, seeing the frames that blind us is no easy matter, and so inevitably the seminars running as a thread through the 8 weeks will rarely be conventional film screenings. Rather, together, we will seek other ways to problematise the condition of seeing”




no.w.here FORCIBLE FRAMES POSTER/PROGRAM
no.w.here Forcible Frames poster



Guest workshops led by artists and theorists

The guest artists for Forcible Frames have been chosen because of their strong practices and positions that will accumulate to create a tension across disciplines, ideas and thematics. Each guest has been asked to present an aspect of their recent practice or current thinking, and to think through interrogations of the form of their address. As will become evident during Forcible Frames, it is impossible to communicate the entire breadth and scope of the practices of each guest in a few sentences, so the following is meant as a cartography we can later problematise in situ:

In different ways both John Akomfrah and John Smith have established bodies of work considered among the most distinctive in contemporary Britain. John Smith’s work is widely celebrated for its humour, documentary insight, conceptual rigour and formal ingenuity whilst Akmofrah's equally innovative body of subversive and thought provoking work has been committed to giving a voice and a presence to the legacy of the African Diaspora in Europe from the Black Audio Film Collective to his current work on the legacy of Stuart Hall.

Narrative and found footage are at the centre of much of George Barber’s work; either deconstructing it or trying to evolve an approach that is contradictory to the maker's original intention. Whilst Leah Borromeo works as a radical activist and ‘situationist journalist’ whose forthcoming feature documentary "Dirty White Gold" on Indian farmer suicides & fashion which will be experienced in both (non) linear narrativity.

Larne Abse Gogarty & Josefine Wikström have been researching performance art as a category of labor and community art and collective practice. Interests that could also be applied to Frances Rifkin who has studied Theatre of the Oppressed with Augusto Boal and worked for 30 years as a director in Political and Community Theatre. Rifkin will be inviting us to work with her, as will the international art-theory group Grupa Spomenik (Monument Group) gathered around the problem of the impossibility of constructing and naming monuments of the war(s) of the 1990s in Yugoslavia, that perceive a relation in-between violence and heritage as a symptom of the Permanent War.

Marine Hugonnier practice centres on film and photography and demonstrates an interest in the anthropology of images, and how the imagery of a culture develops. Whilst Vanda Playford is an artist and medical doctor currently exploring the nature of different medical practices in the context of symptoms, story telling and ritual. She is interested in how affect within video installation can reflect the affect of healing rituals.

Peter Kennard & Cat Phillipps are a collaboration working since 2002 to produce art
in response to the invasion of Iraq. The work is made as a critical tool that connects to international movements for social and political change. Gee Vaucher’s equally subversive images were seminal to the protest art of the 1980’s (with the Anarcho-punk band Crass) continuing through to her current art practice.

Joshua Oppenheimer & Andrea Zimmerman have worked together and separately over a number of years with a sustained dedication to public and private memory and violence. This has led to a number of significant works including The Globalization Tapes, Prisoner of War and The Act of Killing.

Omar Kholeif is a widely published critical writer and is Senior Editor and Curator of Ibraaz.org and Ibraaz Publishing with the particular interest area in the film and visual culture of the Arabic-speaking world, civil protest, collaboration and interfaces of authorship and production. These are also practices of huge concern to the media collective Mosireen who have self organised and are self publishing videos following their coming together in the media tents of Tahrir Square in the Arab Spring.

Esther Leslie is Professor in Political Aesthetics at Birkbeck. Her research interests include Marxist theories of aesthetics and culture. Whilst Melanie Manchot’s practice employs photography, video and film to explore performative situations, often looking at the individual in relation to cultural and social
conditions as well as to public space.

Primarily concerned with the sound of things, Lee Patterson attempts to understand elements of his surroundings and culture through the act of listening. Whilst Aura Satz is an artist whose work encompasses film, sound, performance and sculpture. Her works pay close attention to the materiality of technologies, the resulting sound patterns and how these destabilise paradigms of writing and readership.



Forcible Frames is unique as it also combines theory with extensive hands on production workshops in our lab

The Summer School also supports hands on workshops experienced in the Lab at no.w.here. This practice is crucial to the summer school, as we both highly value the experience of ‘thinking through and by the camera’ that will come through this contact time as well as the value of learning through making, practice as research. We are pleased to announce that I-Dailies have agreed to support the summer school with 16mm colour processing and telecine. 




Summer School Timetable
Summer School Timetable 2013

A record of the last summer school can be found here by looking at past posts in 2012 for June / July / August:
nowhere open studio blog



How to apply
The no.w.here summer school is now open for applications, which will be received on a first-come first-served basis. This course is open to 22 participants and we expect to fill the places quickly; if you are keen to join us please book promptly in order to avoid disappointment.


To book please call no.w.here on 0207 729 4494 or email james.holcombe|at|no-w-here.org.uk Payment can be made by card over the phone.


• Prices
This 8 week course is £1000 for members, and £1300 for non members

• Can I pay through instalments?
Yes. We know that for many people signing up to the Summer School is a financial commitment. We are therefore happy to take payments in three planned instalments. In order to secure your place, we will need a £400 deposit at the time of booking. Following that payment, we will take a second payment on 25th May and a final payment of by 25th June. The instalment payments will be for two lots of £300 or £450 for non members. Payments will need to be arranged by card or standing order.

• Where is my money going?
no.w.here is a not-for-profit organisation and the money generated from the fees for the Summer School go directly back into the running costs for the school (staffing, guest workshops, lab materials, studio space, film hire & screening costs). Forcible Frames is priced so that it is self sufficient and can run without being dependent on corporate or commercial sponsorship. The fees go directly back into the teaching and facilitation and not into administration or other projects.

• Why does this year’s Summer School cost less than last year’s?
This year no.w.here was successful in getting a small grant from Tower Hamlets, and we felt this was a good way to pass this small saving directly to our constituency.

• What can I expect?
A record of the last summer school can be found here by looking at past posts in 2012 for June / July / August:
nowhere open studio blog



• Who is teaching on this course?
Brad Butler, Karen Mirza and James Holcombe (from no.w.here) with Larne Abse Gogarty & Josefine Wikström, John Akomfrah / Smoking Dog Films, George Barber, Leah Borromeo, Evan Calder Williams, Marine Hugonnier, Peter Kennard & Cat Phillipps, Omar Kholeif, Esther Leslie, Melanie Manchot, Mosireen, Joshua Oppenheimer & Andrea Zimmerman, Lee Patterson, Vanda Playford, Frances Rifkin, Aura Satz, John Smith, Milica Tomic and Jelena Petrovic / Grupa Spomenik (The Monument Group), Gee Vaucher.



• Is this only for film makers?
The course is open to all; participants without prior experience in film making will gain new skills in the lab, whilst those who have experience can build on both their practical and theoretical knowledge. But the course itself is designed for those wishing to deeply work on contemporary moving image practice and the interface of film and video with art, documentary, politics and other disciplines through theory and practice.

• How often can I access the lab?
Alongside a teaching session in the lab on Wednesdays (see timetable for details), the lab is open to summer school participants on Thursdays. Access to the lab on Thursday needs to be booked in advance individually or as groups; everybody will have a chance to do this during the eight week school. 



• Can I volunteer to help out?
This year we were again overwhelmed by volunteers and so these posts have already been filled.

• Can I take the course in modules?
The course is not available in a modular format; participants are asked to attend the whole programme. 



• Do you provide accommodation?
Unfortunately we simply do not have the resources available to provide accommodation.

• Is this course accredited?
The Summer School is not accredited.

• Can you help me with my visa?
Unfortunately we do not have the capacity to support visa applications.

• Cancellations policy
In the event of no.w.here having to cancel or postpone a course you are entitled to a full refund. In the event that you cannot attend the summer school having booked a place, a 100% refund is available up until 10th may, 50% refund is available if you cancel by the 25th May. We are sorry but absolutely no refunds can be made after this date. 


• Am I a no.w.here member once I have joined the school?
If you sign up and pay for membership at the same time.

• Does no.w.here offer an alternative to the Summer School?
While the Summer School is unique in its intensity, no.w.here also runs courses, screenings, critical seminars and artist workshops throughout the year and we remain committed to our basic ethos, that our lab and facilities can be accessed by anyone for £120 a year.



FOR PARTICIPANTS WHO HAVE ALREADY MADE A PAYMENT - REGISTER IS NOW REQUIRED VIA THE FORM BELOW





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