“Tomorrow’s Great Pageant” is an Arts Council-funded project that re-imagines the iconic Suffrage play, “A Pageant of Great Women”, for a 21st Century non-binary context. DashNDem (which includes Goldsmiths Design lecturer Dash Macdonald) and Nicholas Mortimer (also a lecturer in our department) are producing the project in partnership with Bedford Creative Arts and The Place Bedford.
Are you interested in gender and freedom? Are you part of the LGBTQ+ community? Are you inspired by certain individuals or groups who deserve recognition? Are you interested in finding out how theatre can contribute to meaningful change?
“Tomorrow’s Great Pageant” is looking for participants to join the workshop process and help co-author the production. If you would like to get involved, please contact postworkerstheatre[@]gmail.com.
The first batch of students to graduate from our new MA in Design: Expanded Practice had their degree show last week, under the title “Iterations”. The show was open to the public 14-16 December, with a private viewing for industry and press on the evening of 13 December and an evening for family and friends on 15 December.
The opening night of the exhibition was a multi-sensory and interactive experience: virtual reality headsets, archery, the smell of chicken soup coming from a live cooking station.
MA DEP students chose to engage with a variety of complex contemporary issues, social, environmental and industrial, in their final projects. A few projects have already been featured on the Design blog in previous weeks (follow the Iterations tag).Read More »
The first ever graduation show for the MA in Design: Expanded Practice at Goldsmiths will be open to the public on 14-16 December 2018. As we approach the day of the exhibition opening, we’re giving you a preview of the diverse projects that will be on display. Today, we’re looking at the graduation project ofChang Wang, which looks into how we define what is “new” when it comes to fashion and our relationship with the clothes we already have:
“This project introduces the term ‘psychological obsolescence’ as a starting point, indicating that the feeling of ‘new’ can be driven by our ever-changing state of mind and fluid perception toward the same piece of clothing. In this light, our clothes may remain new when they stay alive in their connection with us, as they can keep updated along with the changes in ourselves.
‘Spirits in the Wardrobe’ thus indicate that our clothes are imbued with this energy and aliveness that signify a newness, which challenge the simplistic definition of being ‘new’, and shopping as the major way to acquire the ‘new’. The changing room onsite is a capsule showroom of the project. It can be a screening room, where visitors can watch and listen a mixed group of people getting dressed, with a ritualistic beauty they never recognised before. It is also a meditation room, where they can enjoy the quietness and have an inner conversation with the clothes they are just wearing. Ultimately, it is a room for transformative experiences, in which visitors can be inspired to capture and curate the poetry running through their clothes, and seek autonomy to create the newness with them.”
The first ever graduation show for the MA in Design: Expanded Practice at Goldsmiths will be open to the public on 14-16 December 2018. As we approach the day of the exhibition opening, we’re giving you a preview of the diverse projects that will be on display. Today, we’re looking at the graduation project ofKawisara Anansaringkarn, which aims to maintain the legacy of craft in the digital era by introducing imperfections to the 3D printing process:
“Realising the value of imperfection in the crafting process is an important area of craft production. The aim of making sincere products for craftsmen makes craft provide a beautiful rough hewn aesthetic, which is appreciated by others because of its character and individual value.
Although 3D clay printing has come to play an increasingly important role in craft, using it as a method of accurately materialising a digital model is not part of the craft process. This consideration has led to the exploration and examination of the imperfections in a 3D clay printing process. Attention has shifted from materialised work, which resembles its digital master, to awareness that the process of turning data into a physical form is never seamless. Variation is a common factor that occurs during the craft process. This project uses its own imperfections to inform the new instructions for the machine, at which point the variation becomes apparent. Within this process, variation creates outcomes that emphasise the value of individuality and identity that tend to be associated with the rough-hewn language of craft.”