Lise Autogena is an artist and Professor of Cross-disciplinary Art at Sheffield Hallam University. Her practice-led research has involved large scale performances, site-specific works, and multimedia installations, usually developed in collaboration across many specialist fields. These projects have used custom built technologies and visualisations of global realtime data to explore how the economic, geographic, technological and societal systems we are creating, impact on our human experience and sense of self in the world. Her current research into Nuclear Time: Micro-global perspectives on the arctic with Joshua Portway investigates the Greenland Inuit perspectives on the Arctic region as it plays an increasingly strategic geo-political role on the world stage. Their work focuses on the complex Danish-Greenlandic relationship and the small Inuit population’s attempt to gain economic and political independence, aided by the possibility of huge untapped resources of uranium. The artists spent summer 2016 travelling to Greenland (Narsaq and Nuuk) meeting sheep farmers in the mining regions, and research communities and organisations connected to Kvanefjeldet, the controversial geological site and focus of uranium mining. The project will contribute to current debate in Denmark and Greenland on issues of colonialism, independence, global power asymmetries and inclusive and informed decision making processes. http://www.shu.ac.uk/research/c3ri/people/lise-autogena
Bernadette Buckley is a scholar in art and politics, interested in the complex relationships between art, war and terrorism within theoretical, artistic and curatorial practices. Her research includes an investigation into the relationship between ‘curating’ and ‘creating’ and the ontology of curating from the perspective of the ‘event’. Buckley brings a critical reflection to the Nuclear Culture Research group to consider how our artistic and curatorial practices sit within a wider discourse of art and politics, particularly the tensions around positivism and impact. Dr Buckley is the course leader of the MA Art & Politics, in the Dept of Politics, Goldsmiths.
Ele Carpenter is a curator, writer and researcher in politicized art and social networks of making. She is curatorial researcher in Nuclear Culture with The Arts Catalyst in partnership with Goldsmiths College, where she is a Senior Lecturer MFA Curating. The research and development stage of the Nuclear Culture project was supported by an AHRC Early Career Research Fellowship 2012-13, and the Arts Council of England. The Nuclear Culture Project involves field research, commissioning new work and curating exhibitions, film screenings and roundtable discussions. She is curator of Perpetual Uncertainty, Bildmuseet, Sweden 2016-17, and editor of the Nuclear Culture Source Book published by Black Dog Publishing in partnership with Bildmuseet and Arts Catalyst (2016). Ele is convenor of the Nuclear Culture Research Group. http://nuclear.artscatalyst.org/
Alison Craighead & Jon Thomson work as a collaborative artistic practice using technology as a means to reformulate the changing socio-political structures of the Information Age. In their works, time is treated with a sculptor’s mentality, as a pliable quantity that can be moulded and remodeled. Their Temporary Index art project is a series of live decay-rate counters, markers of time as well as place. The work investigates how data can be presented publicly through a series of numeric counters which countdown the probabilistic decay of radioactive materials in seconds. The result is an array of counters for simultaneous exhibition, animated objects of contemplation; representations of time that far outstrip the human life cycle, providing a glimpse into the vast time scales that define the universe. Alison Craighead is Lecturer in Art Practice, Goldsmiths and Reader in Contemporary Art & Visual Culture at the Univerisity of Westminster. Jon Thomson is Reader in Fine Art at the Slade, UCL.
Nick Crowe and Ian Rawlinson are based in Berlin and Manchester and have worked collaboratively since 1994. Their artwork is primarily concerned with the languages of power, with its grammar and with its rhetoric. Their projects address questions around faith, politics, national identity and the environment and their video and sculptural works create an encounter with the viewer that focuses on the complexity of objects and actions in relation to their social contexts. Their film ‘Courageous’ is inspired by the artists’ tour of the decommissioned nuclear submarine, HMS Courageous. This subtly poetic film explores the submarine as an object within its own terms, moving beyond the powerful but familiar narratives of functionality and social context. Instead the film captures the unknown ‘self ‘ of the submarine, a space of being that is difficult to grasp. The subject of the film is the physical qualities of particular spaces on the boat introduced by a former submariner. Nick Crowe is Senior Lecturer in Fine Art Practice, Dept of Art, Goldsmiths. Ian Rawlinson is Senior Lecturer and Leader of the MFA in Fine Art, Manchester School of Art.
Dave Griffiths is an artist and Senior Lecturer in Interactive Arts at MMU, Manchester. He is a PhD candidate at MIRIAD, exploring chronotopes of extinction events, using the material potential of archival microfilm. His research based artwork Deep Field [UnclearZine] documents field research in Mol and Dessel in Belgium, two neighbouring rural communites co-existing with nuclear workers and radioactive waste repositories. The microfiche assembles and miniaturises photographs, out-sourced poetry and illustrations, and interviews with state scientists and a citizens monitoring group. For the benefit of far-future readers, he attempts to translate the contemporary repository as a folkloric site of conflict and unknowing. By using an analogue media durable for only 500 years, Griffiths highlights problems around the survival and reception of complex nuclear-security knowledge in the face of material, linguistic and political ruination. The microfiche proposes a gesture to future citizens, that could be re-translated and reproduced many times through deep-time subject to a decision: to remember, or to delete?
Kyoko Iwaki is a Lecturer at Goldsmiths, University of London, specialising in contemporary Japanese theatre. Her research interest lies at the intersection of sociology, politics and theatre: specifically, on how Japanese post-war theatre has shifted through the constant interaction with nuclear catastrophes. For the past fifteen years, she has also worked as a theatre journalist. She has also been working as an independent artistic advisor, contributing to organisations such as Festival/Tokyo and National Theatre Wales. In 2015, she was appointed the Chief Director of Scene/Asia project: a pan-Asian researcher’s platform consisted of partners from five Asian regions. She was appointed Associate Creative Partner of Kanagawa Arts Theatre in 2010. Kyoko Iwaki’s recent publications include, Ushio Amagatsu:Des rivages d’enfance au bûto de Sankai juku (Paris, Actes Sud) and Tokyo Theatre Today (Tokyo and London, Hublet Publishing). Her latest article, Japanese Theatre after Fukushima: Okada Toshiki’s Current Location was published on New Theatre Quarterly (Cambridge University Press). She is also the co-author of Fukushima and the Arts: Negotiating Nuclear Disaster (London, Routledge, 2016) and A History of Japanese Theatre (Cambridge University Press, 2016).
David Mabb is an artist with a longstanding interest in the legacy of William Morris’ work. Remarkably, the Nuclear Culture Project has uncovered the fact that the Ministry of Defence commissioned Morris furnishing fabrics for its nuclear submarines for over 30 years. David Mabb is currently investigating the link between Morris and the nuclear, which in many ways seems antithetical and profoundly contradictory to the broader understanding of Morris’ designs and politics, drawing on the work of historian E.P. Thompson (1955/76) and his work for the Campaign for Nuclear Disarmament in the 1970s and 80s. The research has led to a new series of works called A Provisional Memorial for Nuclear Disarmament, where signs and texts are painted onto projection screens where the white screen fabric is replaced with William Morris fabric. The work evokes the atomsphere of a demonstration, but a protest where it is not exactly clear what the viewer is looking at: the image is suggested as ephemeral, requiring projected light, but is actually painted, fixed, and stuck in time. David Mabb is Reader in Art and Programme Leader, MFA Fine Art (Studio Practice), Goldsmiths.
Dr Jahnavi Phalkey is a filmmaker and historian of science based at King’s College London. She is the author of Atomic State: Big Science in Twentieth Century India (2013) and director of Cyclotron, a documentary film about the world’s oldest functioning particle accelerator. Jahnavi has written an essay called “The Atomic Gift” for The Nuclear Cultures Source Book (2016).
Susan Schuppli is an artist and writer. Her research practice examines media artefacts that emerge of sites of contemporary conflict and state violence to ask questions about the ways in which media are enabling or limiting the possibility of transformative politics. Her exploration of nuclear materiality includes writing and filmmaking investigating the ways in which radiation is made visible through photographic and material processes from the accident at Chernobyl to the more recent Fukushima disaster. Susan Schuppli is Senior Lecturer and Deputy Director of the Centre for Research Architecture, Goldsmiths. http://susanschuppli.com/research/nuclear/
Nicola Triscott is a cultural producer and writer, specialising in the intersections between art, science, technology and society. She is the founder and Director of The Arts Catalyst, one of the UK’s most distinctive arts organisations commissioning artists that engage with science, and leading critical discourse in the field. The Arts Catalyst programme includes investigations into nuclear culture such as the Atomic exhibition, James Acord, Young, Mark Arial Waller (1998), Nuclear: Art & Radioactivity, Kyprous Kyprianou, Simon Hollington & Chris Oakley (2008); more recently working with Ele Carpenter on the Nuclear Culture Symposium (2013), Panning for Atomic Gold Symposium (2014), Actinium exhibition, forum and field research in Japan (2014) and the Material Nuclear Culture exhibition at KARST, Plymouth, 2016. Triscott lectures and publishes internationally, including books on art and technology in the Arctic, art and space, and ecological art. She blogs at www.nicolatriscott.org on the critical inter-relationships between the arts, humanities and our technoscientific society.
Andy Weir is an artist and writer. He has been interested in nuclear temporality since making artwork on geological repository sites, Deep Time Contagion, in 2012. Since then, he has developed research around problems and potentials of using art to ‘interface’ long-term radiological futures, focusing on concepts, affects and politics of ‘deep time’ in relation to geotrauma, futurologies, subjectification and the time of contemporary art. More recent work, The Plureal Deal, proposes a dia-chronic material fiction of Plutonium-239 through a loose remake of the Toyota car ad The Real Deal, taking in, among other things, glitched 3D-printed raving pestilent demons, computational models and corporate trendcasts. Recent texts from this research include ‘Thick Dia-chronic Crash. Incision Into Delay’, in Realism Materialism Art, ‘Cosmic Alreadymades’ in Journal of Curatorial Studies, and ‘Instituting Art at The Outermost’ in Project Anywhere. He is Senior Lecturer in Fine Art at Art University Bournemouth, PhD Research Student and MFA Graduate at Goldsmiths, http://andyweir.info.
Robert Williams is Professor of Fine Art at the University of Cumbria Institute of the Arts. Robert has regularaly collaborated with artist Mark Dion since 1998. Most recently, their project An Ordinall of Alchimy (2010) was commissioned by Cabinet Magazine and collaborated with Fellows from the Mildred’s Lane Project (MLP) in Pennsylvania; and The Academy of Things (2015) Dresden, Germany. In 2013 Robert worked with Bryan McGovern Wilson (USA) to produce an archival exhibition and publication of their performative research into the relationship between Cumbria’s nuclear industry, landscape, archaeology and folklore. The project includes a series of drawings, photographs and archives that explore complex and speculative relationships between objects, humans, materials, landscape and beliefs overtime. The work brings together artefacts that form a time line of nuclear folklore, from the region’s pre-nuclear history and megalithic monuments to speculative nuclear futures. Thomas Sebeok’s proposal for an ‘Atomic Priesthood’ is performed on the Cumbrian Hills, evoking the need for powerful ritual to pass knowledge onto future generations. The work incorporates visions of local scientific luminaries such as: the originator of modern atomic theory John Dalton; physicist Michael Faraday; and Sir Richard Owen, founder of the Natural History Museum, London.
Guests include: Gair Dunlop, Dundee University; Matthew Flintham, Kingston University; Neal White, Westminster University; Dr Liam Sprod, philosopher; Claudia Lastra, Programme Manager, Arts Catalyst; Ils Huygens, Curator, Z33 Belgium.