Student Medina Mukhayer explains how the initial event came to be: “We were given a brief by the Wellcome Trust to create alternative narratives around mental health and to reach out to demographics that are least likely to engage with medical institutions in regard to their well being. In discovering that Afro-Caribbean barbers had taken on the role of unofficial counsellors in their communities, due to social political histories, we wanted to accredit and utilise the organic power by these spaces.
Last week’s BA Design show “The Milk Has Turned Against Us” brought cricket pizza, virtual reality, green giants and performances to Copeland Park in Peckham; the show was open to the public from 14 to 17 June.
We highlighted a few projects from the show on the blog in the weeks leading up to the exhibition; you can find them (again) by following the tag The Milk Has Turned Against Us. The video team at Goldsmiths shot a promo on Aaron Panesar’s project on masculinity:
An article featuring some of the projects from the show has also appeared on the ARTSTHREAD website.
More photos can be found on our Facebook page.
This year’s Design Degree Show, “The Milk Has Turned Against Us”, opens to the public on 14 June at Copeland Park in Peckham. In the weeks leading to the show, we’re giving you a peek at the work that will be on display. Today, we’re highlighting the graduation project of Noriyoshi Bernard Hitachi:
“My project began with investigating the question “Why can’t icons last forever?” a supposition predicated on the notion of longevity and tension between iconicity and ephemerality. Contextually belonging to the Waste Isolation Pilot Project (1979), designers investigated how the present would use icons to visually communicate risk and danger to the future. In order to define the boundaries of what an icon is, I initially looked at graffiti as it were an abundant and accessible urban icon. However, over the course of the project, I identified that cultures and rituals are more effective iconic entities, since the vehicle itself implicates the necessity for active maintenance in its preservation, therefore proposing that ways of preserving meaning and communicating ideas over time belong not within objects but in repetition of behaviors and actions.
Iconicity is built from the repetitive behaviors of collective ephemeral actions. Having this as a foundation, I used the graffiti artist as an urban performer, an anonymous character that people play into. In this role, the choices that are made are merely in accordance with how people expect a graffiti artist to act. I created the robe as a catalyst object, a costume that allows users to belong within a larger collective narrative and performance of graffiti. I am interested in this particular relationship between the graffiti and robe as an ephemeral object, and the performance of graffitti-ing as an iconic behaviour. The aim of the project is to unfold this question through creating a series of objects that interact within the space and generate points tension.”
This year’s Design Degree Show, “The Milk Has Turned Against Us”, opens to the public on 14 June at Copeland Park in Peckham. In the weeks leading to the show, we’re giving you a peek at the work that will be on display. Today, we’re highlighting the graduation project of Sam Warren and Maja Nordblom:
“What A Wonderful World?” is a sensory led, immersive adventure. Multiple pathways are available within the narrative of a fragile dystopian future, where our climate has become increasingly volatile. In this scenario, London has begun to flood due to rising sea levels and more irregular weather patterns.
The experience takes place within a custom set, built to take the appearance of a kitchen within a small apartment in Central London. We have used projectors, multiple computers and a number of sensors and webcams to create a fully functional, standalone space for three people to experience at a time.
The thesis behind this project is that our everyday choices in life are often neither conscious nor thought out; rather they are spontaneous and instinctual. Therefore, creating an immersive experience that asks people to consider their unsustainable actions in life, must also have a narrative driven by unconscious human actions.
Consequently the multiple pathways this narrative can take are guided by emotional recognition software and sensors that read the natural stress levels of the body. By allowing these instinctual, bodily outputs to guide the path this story takes, we believe we are better reflecting how we act in our everyday lives, forcing the audience to actively reflect upon their unsustainable, unconscious choices, more consciously.