Fotografiska, the Swedish photography museum, has self censored images on its Facebook pages to avoid them being deleted by Facebook for contravening its rules
Here is one of the major problems with putting your content on Facebook, you allow Facebook to dictate what you can and can’t post, discuss and read. They mediate the Internet experience more than it is already mediated by laws.
People (and businesses) need to take care of their own content and stop being lazy and allowing Facebook to control their content and Internet experience.
Looking at the programme I seemed to have missed Harriet Plewis even though I had thought I had covered everywhere you could in the Fine Art department, though the building is a wonderful maze of rooms and stairways.
Again in no real order of preference the works that stood out the most for me were:
Kate Stobbart: a deconstruction of five speeches into the physical acts that accompanied the words of the speech. On five large sheets of paper suspended from the ceiling the physical twitches and moments of the person were typed out and onto this was projected a film of the artist re-enacting these physical movements in a dead pan fashion. The whole was extremely haunting and stark. I enjoyed this interpretation of what is seen but not seen when words are of secondary importance to the physical.
Rosie Morris: four large canvases each of a single colour, though an extreme ranges of shades from almost white to almost black, were used. Though not figurative as such figures were discernible in the works. Each colour had a definite set of emotions and feelings linked with it; blue was melancholic and sad, the figure felt that it was turning away; green had a feeling of strength and growth as though the figure was going to grow beyond the canvas; yellow was bursting with energy, running figures; and red was sleazy, debauched. Completely immersed in this room, great deal of though and work went into this to deliver such raw emotions.
Charlotte Stubbs: initial thoughts were, meh, but as I turned round the dresser the feeling of fantasy, dreams and loss hit me and almost had me in tears, there was definitely a feeling of departure and times past in this work, though there was a definite celebration of fantasy and imaginings.
Anita Ebenhofer: “For Now We See”, I’m having to get over my desire not to go into really dark places and this work was worth it, the combination of light and sound was hypnotic, but also thought provoking what was I hearing and seeing? Visceral bass caught right at something primeval even.
Rachel Lancaster: I enjoyed the photographs of theatre lights juxtaposed with constellations of lights from a city and a constellation from the sky, each picture was sparse and used a lot of negative space around the main subject.
A happy accident and will be planning to see this show each year, along with the degree show.