Curzon Building, 10am-5pm
- What challenges do African women working in the media face?
- How are these challenges being addressed? How might they be?
- How are African women represented in the media?
Curzon Building, 10am-5pm
City North Campus, Perry Barr, 9am-5pm
This year’s education conference is entitled Connecting Communities: Creating Spaces for Creativity and Collaboration in Education. The day will be filled with talks, discussions and debates about the many issues and aspects of Education Research particularly around partnerships, collaboration and the role of community in education. Colleagues from across the university are welcome to be involved.
For more information visit the Eventbrite page.
ADM SOARS event and SoA PhD Research Seminar
19th July, 2017
The School of Art will be having two events as part of our SOARS and SoA PhD Research Seminar programme.
SOARS Event, 12:00pm-13:30pm
Venue: Lecture Theatre (School of Art, Margaret St.)
Contemporary Art and Social Activism: The Post-Revolutionary Economy of Image Production in the Middle East
Professor Anthony Downey
SoA PhD Seminar, 17:00-19:00
Venue: International Project Space (School of Art, Margaret St.)
Research as Practice: The Politics of Contemporary Visual Culture in the Middle East Today
Walter Armbrust (Associate Professor of Modern Middle Eastern Studies, at the Faculty of Oriental Studies, St Antony’s College, Oxford).
Dina Matar (Associate Head, Centre for Media Studies at the School of Oriental and African Studies, London).
Oraib Toukan (Artist and Clarendon Scholar at the Ruskin School of Art, University of Oxford).
Jonathan Watkins (Director, Ikon Gallery, Birmingham).
Tirdad Zolghadr (Director of the Summer Academy Paul Klee in Bern and Associate Curator at KW Institute for Contemporary Art in Berlin).
For more information contact Hiu Man Chan.
Hosted by the Centre for Printing History and Culture
Birmingham City University, 9am-5pm
This one-day conference considers politics (of all flavours) and the provincial press from the early modern to present day.
John Freeth was landlord of a celebrated Birmingham tavern and it was his custom to write songs about the news of the day, setting his words to popular tunes, which he sang nightly to patrons. This made Freeth’s Coffee-House one of the most successful in England. Freeth published nearly 400 of his songs, which offer a novel insight into the radical and nonconformist politics of late eighteenth-century Birmingham. In 1783 Josiah Wedgwood printed a series of political leaflets in Newcastle-under-Lyme. An address on the late riots was occasioned by corn uprisings at his factory, when Wedgwood summoned militia to disperse the mobs. Following arrests and one execution, Wedgwood’s leaflet warned against the folly of violence to redress social evils and recommended ‘peaceable’ alternatives, stressing the temporary nature of economic recession. On 27 October 1857, John Bright MP addressed a crowded Birmingham Town Hall. Already a famous politician and orator, expectations were he would deliver a news-worth speech. So much so, The Times chartered a special night train to deliver his text in time for the morning editions. His speech in the provinces, a call for universal suffrage, marked a turning-point in nineteenth-century electoral reform.
Gail Chester, Independent Scholar, The influence of provincial publications in the radical movements of the 1960s-90s;
Tor Clark, De Montfort University in Leicester, The Local Democratic Deficit – how the decline of the regional press has impacted on coverage of local government in the UK;
Judith Davies, PhD Student, University of Birmingham, George Walters, Dudley’s radical printer;
Dr Catherine Ferris, Dublin Institute of Technology, The Freeman’s Journal, Evening Packet and Saunders’s News-Letter: Musical Identities, Political Identities;
Duncan Frankis, PhD Student, University of Birmingham, That Nefarious Newspaper: The Dublin Evening Post, 1789-1794;
Prof Matthew Grenby, University of Newcastle, ‘Ye lovers of freedom, attend to my song’: Eighteenth-Century Election Ballads in Newcastle upon Tyne;
Rachel Hobbs, PhD Student, University of Birmingham, Birmingham’s Biographers: Three Late-Victorian Histories And The Promotion of Civic Identity;
Dr Lisa Peters, Chester University, Getting the boss elected to Parliament: the political campaigns of the Wrexham Guardian;
Susan Thomas, PhD Student, University of Birmingham, ‘Munchausen Unmasked’? George Edmonds versus The Monthly Argus;
Helen Williams, PhD Student, Edinburgh Napier University, ‘Mr O’Connor, famous Chartist, visits town’: reporting Chartism in south west Scotland;
Dr. Paul Wilson, University of Leeds, Hopeful words and the neighbourly order of the world.
For more information and to book visit the website.
In September 2017, Birmingham City University will launch the first Black Studies degree in Europe. But Black Studies has been thriving in the Britain for decades, based in grassroots organisations with activist, artists, teachers and parents developing and sharing Black Studies knowledge to help survive and resist racism. Black Studies has never been, and will never be confined to universities and we are keen to remember and explore how Black education has been, and can be used to further the cause of Black liberation.
Connecting the struggle across the African Diaspora changes the nature of politics protecting us from developing too narrow a focus concentrated solely on the successes of failures within the countries we find ourselves in. Therefore one of the aims of this event will be to make connections to Latin America, a part of the Diaspora that has been underserved in our discussion of Black Studies. The region enslaved millions of Africans, and economy and social system is just as dependent on racism as the Americas, Caribbean, Europe or Africa.
For more information, visit the website.
Wednesday 14th June, 2pm
With Dr Mir Seyedebrahimi (Centre for Cloud Computing)
Radio Resource Management and Interference Control in Wireless Networks: Latest challenges, developments and future scopes
In spite of the enormous popularity of wireless-enabled devices in recent years, the utilization of their radio resources (e.g. RF spectrum, transmission power level etc.) has degraded due to the current dominancy of the decentralized radio resource management schemes. Few state of the art central control solutions are also applying the configurations in a way that the network-wide impacts of the involved parameters and their mutual relationships are ignored. In this seminar, we will talk about these challenges and the latest developments of the technology to tackle the problems (more specifically within the wireless networks and Wi-Fi). As an example, I’ll discuss my recent proposed analytical model and algorithm for jointly adjusting the transmission power levels and optimizing the RF channel assignment of APs in Wi-Fi. I’ll also talk about various stakeholders which are involved in deploying such a solution, the development process and the reason this kind of solutions are delayed and the scopes in the next generation of wireless networks.
For more information and to book your place at any of the seminars please contact Ian McDonald.
Thursday 12 and Friday 13 October 2017
School of Art, Birmingham City University
Margaret Street, Birmingham, B3 3BX, England
The Centre for Chinese Visual Arts (CCVA) at Birmingham City University aims to foster new understandings and perspectives of Chinese contemporary arts, design and visual culture through interdisciplinary practices and theoretical studies. During its first decade, CCVA has established a unique position in the UK to pioneer the research in the field. We are now convening this two-day Annual Conference to invite researchers, curators, art historians, critics and artists at all stages of their careers worldwide to contribute to the topic, marking the 10th anniversary of the Centre.
Historically, in China, ‘art outside the art space’ can be understood as both a cultural and a political proposition. From a cultural point of view, the notion of public ‘exhibition’ is entirely Western, whilst in the Chinese tradition of literati art for example, artworks were made, shared, and appreciated within the form of scholarly ‘elegant gathering’ (yaji), which was essentially a kind of private (rather than public) event within secluded (rather than institutional) spaces. From a political perspective, the ‘outside-ness’ immediately relates to the ‘unofficial’ status of contemporary Chinese art from its early development. For example, the first Star Group exhibition in September 1979 – generally acknowledged as the very first show that marked the beginning of contemporary art in China – was staged in a small public park just next to the China National Art Museum, outside the legitimated and official art space. Today, the situation of Chinese art taking place outside the museum and gallery spaces continues, but with a completely different momentum and agenda.
Art has been produced site-specifically for the spaces other than art institutions in China, including those of working venues, shown in a range of alternative spaces beyond galleries or museums, and has ‘happened’ in the public sphere and become political or social ‘events’, or artistic ‘incidents’, as a special form of ‘exhibition’. Creative curatorial and artistic strategies have been developed to respond to the constraints of art institutions, censorships and at the same time, to push the boundaries of art. Focusing on art made, displayed, performed or executed outside the conventional venues of art museums and galleries, this conference not only offers a unique perspective to understand Chinese art in the contemporary context, but also, more importantly, it aims to critically reflect upon the understandings between art and art exhibition, between artistic productions and audience perceptions, and between art and our daily life.
We invite papers from innovative and interdisciplinary perspectives to develop new understandings of Chinese contemporary art. The following series of relationships in the context of Chinese art and culture is seen indicative, but not limited to the discussions:
Please submit an abstract of up to 300 words, a 100-word biography, contact information and any institutional affiliations, by 31 March 2017 to firstname.lastname@example.org, with a subject titled ‘10th Annual Conference’. Any general queries should also be directed to email@example.com. Conference presentations should last no more than 20 minutes. Successful proposals for conference contributions will be notified in early April 2017. Invited full papers should be completed by 28 February 2018, to be featured in Journal of Contemporary Chinese Art (Intellect) as a special issue in autumn 2018.
Here are this year’s public research seminars by Birmingham Conservatoire. All are welcome to attend.
TUESDAY 14 MARCH
Arena Foyer, Conservatoire
Dr George Kennaway (University of Huddersfield)
Diseased, or Just Vulgar – What is it about Vibrato?
Of all the topics that recur in discussions of historical performance, vibrato remains the most controversial. Whether missing when presumed needed, or present when held to be historically uninformed, it provokes reactions that would never be aroused by, say, contrametric rubato, arpeggiated chords on the piano, or even portamento. In this seminar George Kennaway, Visiting Research Fellow at the University of Huddersfield and professional cellist, looks again at reactions to vibrato and advice on its use from the eighteenth century onwards, not primarily to establish the considerable historical evidence for its restrained use, but rather to explore the feelings surrounding it: vibrato is often criticized as a lack of taste, a disease (or depravity), or as a sign of lower social class. Such terms invite wider speculation about the delimitation of musical discourse. Examples will be drawn from instrumental playing and singing, and reference will be made to modern vibrato controversies as well as historical sources.
Well done to Laura Maguire, a third year PhD researcher in the Faculty of Health, Education and Life Sciences who has been awarded a prestigious grant from the British Sociological Association to hold a postgraduate research event next year. The bidding process was very competitive and the grant is a considerable achievement.
The event will be called ‘It’s a Family Affair: Researching with Families,’ which will reflect on the dynamics of researching with families and/or while with family of your own. Laura herself is a mum of 3.
More details about the event will be announced in the new year.
Research seminar: Contemporary Art Practices and Knowledge Production in the Middle East
24 November, 2016, 2pm-4pm at International Project Space, School of Art
Speakers: Bashir Makhoul, Larissa Sansour and Shadi Habib Allah.
Convened and moderated by Jonathan Harris and Anthony Downey
In a globalised cultural economy, it would appear that art as a practice is increasingly called upon to do something, especially when it comes to making sense of history, conflict, revolution and upheaval. In a period broadly defined as one in which we are experiencing a global crisis, contemporary art is also viewed as a document for producing socio-political, if not historical, knowledge (be it of globalisation, revolution, armed conflict or injustice). These issues remain key to any formal critical analysis of contemporary cultural production within and about the Middle East, nowhere more so than when we consider how visual culture from the region has been historically legitimized through the media-friendly symbolism of conflict.
Throughout this research seminar, international artists, including Bashir Makhoul, Larissa Sansour and Shadi Habib Allah, will consider these issues in relation to their individual practices. Are artists, we will enquire, increasingly expected to produce work that refers to a socio-political landscape, creating, in turn, media-friendly ‘sound bites’ of information that are available for global consumption? Can art, moreover, produce forms of knowledge that disavow the superficiality of such ideas? And if so, what kind of knowledge? This is not, of course, a region-specific issue, and there are international dimensions to these questions of cultural interpretation, critical agency and institutional legitimacy that will be further examined throughout this research seminar.
The event will be convened by Jonathan Harris and moderated by Anthony Downey, and will include film-screenings and individual presentations.
There will be an opportunity for a Q and A with the artists, following the presentations.
Bashir Makhoul (b. 1963) was born in Makhoul in northeast Galilee, by then assimilated into Israel. He is Deputy Vice-Chancellor of Birmingham City University and an artist of international repute. He has exhibited widely around the world and took part, with a show titled Otherwise Occupied, in the Venice Biennale in 2013. More recent shows have included Floating Free at the Palestinian Art Court (al Hoash in partnership with Birzeit University Museum) in 2015. He is also the author, with Gordon Hon, of The Origin of Palestinian Art (Liverpool University Press, 2013) and the editor of Palestinian Video Art: Constellations of the Moving Image (Palestinian Art Court — al Hoash, 2013)
Larissa Sansour (b. 1973) was born in East Jerusalem, Palestine, and now lives and works in London. Her work is interdisciplinary, utilising video, photography, sculpture and installation. Central to her practice is the tug and pull between fiction and reality. In her recent body of works, she uses science fiction to address social and political issues in the Middle East. Recent solo exhibitions include New Art Exchange in Nottingham, Mosaic Rooms in London, Nikolaj Kunsthal in Copenhagen, Turku Art Museum in Finland, Kulturhuset in Stockholm, Wolverhamptom Art Gallery and DEPO in Istanbul.
Shadi Habib Allah (b. 1977, Jerusalem, Palestine; lives and works New York) works with modes of navigation across circulation networks of people, technologies, objects, images and economy to examine ideas of use and value and the structures that hold them in place. Working across film, sculpture, drawing and installation, each project defines its own terms based on research and physical engagement. His work has been exhibited at the Palestine c/o Venice at the Venice Biennale (2009), Art Statements Art Basel 43 (2012), and the New Museum Triennial (2015), amongst other venues. His Films have screened at the International Film Festival Rotterdam, Courtisane Festival Belgium and the 40th Norwegian Film Festival.
Professor Jonathan Harris, PhD, studied art history at Sussex and Middlesex Universities in England (1980-86), and completed a doctorate on the visual arts in New York in the 1930s (published as his first book in 1995 by Cambridge University Press). He has published 20 books and over 200 journal and magazine essays on modern and contemporary art. Harris’s most recent book was The Utopian Globalists: Artists of Worldwide Revolution 1919-2009 (Wiley-Blackwell 2013). His forthcoming book is The Global Contemporary Art World: A Rough Guide (Wiley-Blackwell 2017). With Menene Gras and Bashir Makhoul he is the editor of Contemporary Art in Global Asia (IB Tauris, forthcoming 2017). His work has recently focused on global art worlds in India, China, Hong Kong, South Korea and Palestine.
Anthony Downey is Professor of Visual Culture in the Middle East and North Africa within the Faculty of Arts, Design and Media at Birmingham City University. His research focuses on contemporary art practices and the politics of cultural production in the Middle East and across the Global South. Recent and upcoming publications include Don’t shrink me to the Size of a bullet: The Works of Hiwa K (Walther König Books, forthcoming, 2017); Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East (Sternberg Press, 2016); Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East (I.B. Tauris, 2015); Art and Politics Now (Thames and Hudson, 2014); and Uncommon Grounds: New Media and Critical Practice in North Africa and the Middle East (I.B. Tauris, 2014).