Keyword: materiality

Patrizia Costantin

What is the material agency of digital decay and how is it revealed through curatorial practice?

The concept of decay has been commonly associated with still life in art practice. Since the 1980s, the presence of digital technology in art has grown and notions of matter, the medium and immateriality had to be reconsidered in order to address art practices that deal with new materials. Building on Jussi Parikka’s idea of ‘geology of media’ (2015), the PhD aims at reconsidering the concept of decay and its intrinsic nature of material process, following new parameters of matter and time brought into discussion by digital technology. Considering materiality as materials immersed in an instable flow means to think of both software and hardware obsolescence as crucial elements in defining decay as a form of agency.

Marianna Tsionki

The role of curatorial practice in rethinking nature, posthuman and media environments in the Anthropocene

My research engages with critical debates on the Anthropocene focusing on recent discourses of media ecology and materiality creating a trajectory between hidden toxic territories in China and our technocapitalist societies. My work pays particular attention on the ‘curatorial’ as a mode of theorisation as well as a research methodology. The project will deploy through a series of talks, a conference and a final exhibition at the Centre for Chinese Contemporary Art (CFCCA) based in Manchester.

 

Laura Guy

Manifestos: Feminist genealogies, queer art histories

This thesis turns to manifestos produced since the late 1960s, through which important intersections between aesthetics and radical gay, lesbian and queer politics become legible.

Alice Kettle

Creating a space of enchantment: thread as narrator of the feminine

The research concerns the role of enchantment and narrative in my artistic practice. It is based on a body of monumental pictorial works in the medium of thread. Thread offers a particular narrative voice that can be appropriated for feminine needs of concealed meaning, but I will argue that it also serves to clarify the movement between metaphor and realisation that is essential to artistic creation.

Sarah Eyre

Opening up the Wig: An exploration of the wig using photographic and sculptural strategies to reveal the relationships between the wig, the self, society and the construction of female identities.

My practice is situated in the intersection between sculpture and studio-based photography and will employ a range of strategies to unpack the function and definition of the wig, and interrogate the social context that currently produces and values it. This will involve investigating both the intention of the wig – representing, idealising and projecting the ‘feminine’ – and its material origins – the physicality of it and the cultural context that produces it. The female wig in particular offers a space for public and private ideas of femininity to interact. Women’s wigs can act as a metonym for the female body as both an artificial construct (the ideal female body), and an absence (the intended wearer, or, in the case of natural hair, the persons whose hair it was).

Liz Mitchell

‘Believe me, I remain…’: Meaning and Materiality in the Mary Greg Collections at Manchester Art Gallery

As a museum curator turned researcher, I am interested in the histories and uses of art museum collections, with particular respect to decorative art and craft. My PhD research considers the changing values, status and meaning of ‘everyday’ objects within the art museum, through an investigation of the Mary Greg Collections at Manchester Art Gallery.

Sara Davies

Creating Images of Belonging through Diasporic Touch

My research project examines issues of belonging in the Swedish diaspora in the north of England bringing a minority discourse into the public realm. I am developing a notion called diasporic touch exploring how a combination of seeing, touching and creative writing opens up an imaginary space where ‘there and then’ is ‘here and now’, and where the process of making art generates a sense of belonging.