Unit 1 Reflections

DISCOVERY! That’s what sums up unit 1 for me. 
Rough Guide required my group to ‘map’ Chinatown and Soho. This helped me discover a bit about people on my course, a bit about areas of London I only had touristy knowledge of, and how to work quickly enough to create 100 pages for our book in one evening! Balancing time well has been a key part of this unit- each week our lectures posed new issues to consider and extra tasks to complete alongside our practical work. Immediately I thought- I’ve got to stay on top of all this! Although setting up this blog has been a new venture, I found the format actually encourages good time management. Like an online diary, the ability to create posts that people (like you, hello there!) can instantly access, and to share visually inspiring imagery that helps convey my ideas, quickly appealed. I enjoyed personalising my blog name, banner and the layout of each post; I’m learning that the clarity achieved through selectively refining work is the best way to present a clear concept- both in written and practical terms. 
I’ve also discovered I’m an ideas-led person: my Rough Guide work went from general mapping, to a focus on doors, then specifically intercoms, to the idea of pushing buttons and playing around. I wish I’d been even more ‘posting’-happy when I began blogging, as its fascinating to have a record of all the little influences that have shaped idea development. It’s an aim I’ll work on for the start of my future projects! I’ve enjoyed referring to ‘Pinterest’ almost like a visual source blog, due to the vast amount of imagery it contains, which then sparks off countless other ideas. Visiting lesser-known galleries and exhibitions in link with our lecture series has reminded me that inspiration can be found all over this city…and I can’t wait to keep broadening my perspective and discovering more as the course progresses!

Theory Reflections

Seeing as its a new year, we have a new theme to ponder on our ‘theory fun fridays’ (as I still like to call them!). With this change in mind, I can’t help thinking back to our lectures about ‘The Museum’ last term. The series has definitely raised many lasting questions for me about the role of the museum, and how curator’s inevitably shape the narrative of what we see in a gallery space through their display choices, how things are labelled, the objects that are included…and what is left out! I think Emmanuelle was definitely provoking us to feel cynical and to take on a questioning mindset when we visit exhibitions. At first I was a little unsure how to react- I didn’t want to ruin the enjoyment of going to museums to be inspired, explore and simply SEE by constantly looking at things through a skeptical, critical mindset. Some elements of the lectures just seemed so depressingly negative! But at the same time, it felt empowering to be encouraged to question the narratives we are presented with. To think: who has decided that this is the story I should see? Why have they told the story in this specific way? Does this mean I have the whole picture, or do I need to look further?  If the Museum’s role is to educate, then surely taking this inquisitive approach as a visitor allows us to become much more informed. By actively engaging with the narrative in the space, and consciously considering the curator’s choices, surely we can learn more, find deeper inspiration and ultimately actually enjoy the experience more than if we simply go to observe, passively accepting and quickly forget what we’ve really seen. The idea of ‘mining the museum’ is actually quite exciting! 

In light of this, I started reflecting again on an exhibition I recently went to: ‘Hello My name is Paul Smith’ at the Design Museum. I liked how the Curator’s hadn’t attempted to control and confine the visitor by restricting how you moved around the space. Although there were different themed areas in separate rooms, they surrounded one central ‘hallway’ filled with photos from Smith’s own personal collection. This meant that from the entrance, you could then access any area at any time. As a result it didn’t feel like a linear, set narrative was being forced on you- the visitor could chose the order of the story, and easily return to a space if they wanted to re-engage with the ideas being explored there. Rather than presenting an overly clean, simplified and sanitised story of Smith’s work, the exhibition covered his whole creative process. Some fashion exhibitions and retrospectives seem to focus primarily on displaying countless beautiful final outcomes, but here rooms were made into reconstructions of Smith’s messy office and studio, with only a small area dedicated to showing a selection of finished garments. I thought this worked to give much more of an interesting insight into the process behind Smith’s work. As a result, I felt I understood his finished pieces better, as we’d been given a view into the thinking, struggles and development that led up to it. 

In summary, a few mantras I'll take away from last term's theory are: be inquisitive, question things...and if a museum tries to control and confine you- attempt walking around the exhibition backwards just to defy their prescriptive narrative! 

War In the Museum

After our lecture on ‘War in the Museum’ I visited the National Army Museum and the Imperial War Museum. This week’s task was to look at the stories being conveyed in each of the permanent collections, and consider my emotional response as a viewer.  

At both museums, a narrative begins before you even enter the building itself. Both have similar arrangements of large guns and armored vehicles stationed outside their entrances, immediately giving the visitor a sense of the might of military force. However, once inside, the two museums begin to present quite different narratives. At the National Army Museum, the history of the British Army is told from its origin to the present day, whereas the Imperial War Museum focuses on people’s experiences of conflict in the last century. 

The National Army Museum is laid out chronologically, allowing the visitor to see how the British Army has developed over time. The first gallery space documents the founding of the Army, and has the words ‘The Making of Britain’ displayed in bold lettering on the wall. Arguably, this implies that the curators feel the army has positively shaped British heritage, suggesting that a slight bias towards the achievements of the army may influence the story being presented throughout the collection. In the first (and oldest) area, model soldiers are dotted around in action poses, there is a battle odds game to play, replica 19th century guns to fire, and Red-coat uniforms to try on. These interactive display methods all seem to put the visitor in the position of the solider, encouraging them to understand and appreciate the role of army members. The collection then spreads through rooms on several floors, so as the visitor literally progresses through the space, they also progress further into the modern history of the army. Each set of stairs leading to the next room looks like a timeline, with the name and date of a historical event written on every step. Consequently, even as the visitor moves between galleries, they are constantly reminded of the Army’s relevance to key events throughout Britain’s past. The most recently updated part of the collection is the ‘Conflicts of Interest’ gallery, which centers around modern conflict stories in places like Iraq and Afghanistan. Here, the stark black and white colour scheme used for the display boards alludes to the idea of division and wrong verses right. Alongside factual boards about the Army’s involvement in overseas conflict, there is a comments wall and a poll to vote in, as if the curators aim to put the end of the museum’s narrative in the visitor’s hands, challenging them to think about their opinions of the Army’s place in modern Britain. 

Contrasting to the National Army Museum’s chronological display system, communicating the Army’s role over history, at the Imperial War Museum the permanent collection is split into separate galleries on different themes. As the IWM focuses on wartime experience in recent history, these themed galleries allow the collection to tell a series of several smaller narratives, connecting visitors more intimately with a range of separate experiences. Similarly to how models and replica sets are used in the Army museum, The IWM also uses this style of display. The ‘Family in Wartime’ gallery contains a mock air-raid shelter visitors can sit in, and the ‘Secret War’ section (about spying and espionage) is set out like a secret agent case, beginning in a video ‘briefing’ room. These display choices make the visitor feel like they are part of each of the different stories, helping to create a distinct feel for each gallery. A narrative of extreme human behaviours is explored over the spaces- in the ‘Extraordinary Heroes‘ gallery displaying hundreds of military medals, a story of extreme bravery is given, whereas the Holocaust Memorial exposes the extreme evils of persecution. Stepping into the ‘Extraordinary Heroes’ space is almost like stepping into an action film set, as there is a multitude of film screens, audio clips and bright spot lights surrounding each case of medals, glorifying the soldiers who received them. In contrast, the dim lighting that illuminates fragments of letters, diaries and possessions removed from concentration camp victims in the Holocaust gallery sets a sombre tone, forcing the visitor to reflect on horrific treatment that the people who once owned these objects faced.

Both museums had a thought-provoking effect, and I found as well as learning factual information, there were unexpected elements to each which had personal relevance to me.  I know my Gramps did national service in Cyprus, so when I came across the display dedicated to national service abroad at the National Army museum, I was fascinated to see the sorts of things he was involved with. When picked up, a telephone played audio clips of veteran soldiers talking about their experiences on national service. In particular, this engaged me, as it was reminiscent of talking to my Grandparents on the phone. The poll in the final room, where visitors had the chance to vote whether or not they’d deploy troops into combat in present day also really challenged me. It made me realise that I’m not actually sure what my opinions are. When conflict does break out over corrupt leadership and civilian oppression, is it right for us to intervene with military power, inevitably adding to the violence, even with the aim of eventually bringing about peace?

The Imperial War Museum also left me thinking and questioning. The large dark room in the Holocaust Gallery filled with a model of Auschwitz painted entirely in white had a disturbing and haunting effect, and the image stuck in my mind for a long time after. I felt an instant personal connection to the ‘family in Wartime’ section, which followed the life of a WW2 family living in Stockwell, as their house was just down the road from where my student halls are now. I think it was this insight into the lives of real individuals that made the narratives at the Imperial War Museum seem slightly more easily accessible than those at the National Army museum. The continuous narrative at the Army Museum became a bit overwhelming towards the end due to the maze-like layout of the space, but it will be interesting to see how their redevelopment plans alter how information is presented in the future. After visiting the permenant collections, I then went to the National Army Museum’s current special exhibition, called ‘The Unseen Enemy’. I actually found this had the biggest emotional impact on me out of everything else I’d seen in the two museums' collections. The videos of soldiers in rehabilitation after loosing legs and arms to improvised explosives in Afghanistan made me cry- I thought: this is real, this is what people are going through right now. Why aren’t we all more aware of the conflicts that are impacting the lives of civilians and soldiers all over the world today? I think its good for information like this to be in the museum. It’s a matter far too important to be ignored. 

Obsessive collecting - Baudrillard and Barbie

Tying in with our ‘Box Clever’ project where our studio work is being inspired by the objects we collected, this week’s post-lecture task was to find a video about an extreme collector, and explore it in light of Jean Baudrillard’s text ‘The System of Collecting’. As my box is filled with things to play with, I searched for videos about toy collectors. I soon found this guy who, quite arguably, has rather a lot of Barbie dolls...

Baudrillard suggests that true collecting begins when an object is ‘divested of its function’ (p.8), and the owner starts amassing things not to utilise or use them, but in order to simply possess them. In this video, Stanley’s set of Barbies certainly seem to fall into that category. Covering four whole rooms from ceiling to floor, the dolls are neatly lined up in individual plastic cases on special shelves, giving the impression that they exist purely to be displayed, rather than to ever be taken out and played with- let alone by children! Stanley refers to the rooms as his ‘museum’, suggesting the pride and importance he views his collection with, and linking to Baudrillard’s description of collecting as a ‘passionate enterprise’ (p.8). Although he already has 2,000 dolls, the title of the video itself suggests that his ‘addiction’, and therefore his collection, will only continue to grow. The term ‘addict’ almost makes the video seem confessional, as if by showing his collection to the world, the obsessive behaviour behind it is justified and given reason.

Baudrillard has noted: ‘a single object can never be enough’, and Stanley’s nickname as the ‘Barbie-man’ illustrates how his obsession has even become to define him as a person. His blunt declaration that he would ‘never stop collecting’, implies the extent to which his habit has become ingrained into him. There is no sense that Stanley is collecting in order to reach an end or a target, rather, he seems to be collecting because it has become his way of life.The way Stanley ‘welcomes’ the viewer to his collection at the start, and then gestures to different Barbies of note throughout the video, fits with Baudrillard’s observation that the collector’s ‘fullest satisfaction... [is in] the prestige the object enjoys in the eyes of other people’ (p.18). The video also seems to be a way to showing off and receiving admiration for the collection. But, then, with a collection of this size- why not, I suppose?!

Biblography
Text-
Baudrillard, J. (1994) The System of Collecting. In: Cardinal, R. ed. Elsner, J. ed. The Cultures of Collecting. Cambridge, Massachusetts: Harvard University Press.
Video-
Barcroft TV (2013) I'm addicted to Barbie [Internet] Available at http://www.youtube.com/watch?v=EV6ENrtXjuA [Accessed 7/11/13]

Mining the Museum

Here is my reflection on our theory task this week...


The first gallery space you encounter upon arriving at the V&A’s Grand Entrance, is labelled ‘Medieval and Renaissance Europe: 1350-1600’. The title of the gallery naturally leads the viewer to expect a collection of objects from early European history. However, academics have often noted that museums are ‘a machine for transmission’ (Keenan, 1995), not simply preservation; and arguably the narrative set before us in this room serves to illustrate the power and wealth of our mighty European ancestors, rather than merely presenting an objective view of life at the time. 

The shiny gold signs used to display information around the space immediately suggest a focus on luxury and riches. There is a strong sense that the curators have chosen to tell the story of the elite, upper classes, as a sign labelled ‘Cityscape’ mentions how cities were “dominated by handsome buildings...express[ing] the social and political life of the community”. There is mention of how “beyond the city walls, the wealthy built villas in emulation of the the classical rural retreat” (gallery signage, V&A), but there is nothing- written or visually- to suggest how the rest of society lived. The room contains well basins from the courtyards of private palaces, and sculptures that were sent abroad as diplomatic gifts, but there is a complete absence of everyday, functional objects.  It is as if the curators have ignored, or deemed unworthy, the need to represent the life of the rest of society. By selecting only the finest of objects to display, the curators have arguably detached the individual pieces in the collection from their original contexts in history, to create a vision of history that only shows the exquisite and luxurious.  

As Carol Duncan has argued, ‘installation design has increasingly sought to isolate objects’ (Duncan, 1995, p.17). Here, the pieces are not only removed and isolated from the context of the whole society that they once existed within; they are also isolated from their original physical context. It is quite odd to see the ends of a staircase from the Palazzo Gondi in Florence fixed to a wall in the room alongside a doorway from France. Although they may both be beautiful objects to look at, they were never designed  to be hung on a wall together. Duncan argues that the ‘creation of [a] collection depends on the destruction of something else’ (Duncan, 1995, p.17), and it makes you wonder how the pieces would have looked and functioned in their former settings, before they were removed and their original purpose was destroyed. However, if it wasn’t for works being collected together in galleries like this, would we ever get the chance to be exposed to such things? Curators will inevitably always be selective about the stories they tell in an exhibition space, as they are influenced by their own personal agendas and beliefs. But if we as individuals notice gaps in the narrative then surely it is a good thing - forcing us to become more inquisitive, to question what we see and work out for ourselves what the story truly is, of the objects we are being presented with in a museum. 

References

Books:
Duncan, C. (1995) Civilising Rituals: Inside Public Art Museums. London: Routledge. 

Gallery Space:
Medieval and Renaissance Europe: 1350-1600 London: Victoria and Albert Museum. Visited 22/8/13

Electronic Sources:
Keenan, T No Ends in Sight in Matthew, S (2012) Aide-Mémoire. The New York Inquiry [Internet] Chap.2 Available at http://thenewinquiry.com/essays/aide-memoire/ [Accessed 23/09/13]

Getting lost and Flanerie

Our first 'theory-Friday' (as I like to call it!) lecture was entitled 'Psychogeography: alternative ways of mapping'.  It was centred around the idea of reimagining the City, asking how a space impacts on our state of being, and thinking how we might find ways to see an area differently. 

The lecture introduced us to the idea of 'the Flaneur'. As I found during my Rough Guide research, cities are places of movement. The pace of life in London is generally fast, and standing around to sketch for the Rough Guide did get me some odd looks, as people are usually aiming to reach a certain destination as quickly as possible. The concept of Flanerie, however, is to slow down and observe. Rather than being part of the bustling crowd, lost in a flood of tired looking commuters, the aim is to rediscover the detail and wonder of the City that is already around us. So as the lecture ended, we were sent out to do just that: to go and be a Flaneur in London!

Placing my bottle at random on a map of the area and drawing round it to dictate our route, Helen and I set out to go and rediscover the City. There wasn't much chance of getting caught by the speed camera at our nice, leisurely pace.

We soon came across some very peaceful spaces just away from the main road, that we'd never passed before...and the sun was actually shining, making the walk very enjoyable! 

Tying in with this week's lecture, I visited the Museum of London, which boldly declares "London- the City of the People" on one gallery wall. So, as we walked around, I was interested in stopping to talk to people, and looking for places where people had tried to personalise the space somehow. We met one elderly lady who we were able to help open a tin that she had been struggling with, and went into a bakery to speak to the shop assistant after noticing that one of the cakes in the window had fallen over. Simply walking and observing gave us the oppertunity to have these encounters, which we would have probably missed on a planned journey somewhere. I really liked this little star decoration we spotted hanging outside someone's door. If Flanerie is about breaking away from normality and finding fun in the familiar with fresh eyes, then surely little artistic interventions like this are exactly what we need more of in the City!

After getting on a random bus for four stops, then continuing to follow our route, Helen and I found ourselves the other side of the river. And guess whose street we came across...? (mine!)

As I'm using the idea of 'playing around' for my Box Clever project, this exercise in disrupting the normality of being in a space, was quite useful. It was a reminder of the interesting and unexpected things that can happen when you retain a playful approach and take the time to notice what is really around you.