|
|
|
Teacher Bios
Eleanor Chiari is currently teaching Italian, French and Religious Studies at Harrow School. She taught on the Public Memories strand of the MA in Cultural Memory at the IGRS for four years. She was Lecturer in the Italian Department at UCL for two years, and at the IGRS for one year. Her main areas of interest are cultural memory, oral history, protest movements, the political lives of dead bodies, dark tourism and material culture. She completed her PhD at UCL, her MA in Cultural Memory at the IGRS and has a BA in Anthropology from the University of Chicago. Her PhD is currently being prepared for publication for the series Italian Modernities edited by Robert Gordon and Pier Paolo Antonello at Cambridge University.
back to top
Richard Daniels has been Senior Archivist at the University of the Arts London’s Archives and Special Collections Centre and specifically responsible for the Stanley Kubrick Archive since October 2007. Before that he worked for the London Borough of Hillingdon’s Archives and Museum Service working on a digitisation and cataloguing project. His prior experience includes the London Borough of Brent’s Archive and working on the London Missionary Society Papers at the School of Oriental and African Studies Archives and Special Collections Centre. As an avid film fan he was very pleased and somewhat amazed to get the job as Stanley Kubrick Archivist and despite many and various challenges relating to managing such a unique and high profile archive he is still chuffed to be the Stanley Kubrick Archivist, able to give access to a phenomenal and inspiring archive, encourage new creative responses to it and facilitate new approaches to the subject of the great film-maker Stanley Kubrick.
back to top
Akane Kawakami is Lecturer in French at Birkbeck College University of London. She teaches and researches French literature of the 20th and 21st Centuries. Her interests include contemporary French and francophone fiction, travel narratives, critical theory and interactions between literary and visual culture. Before coming to Birkbeck in 2006, she taught at the Universities of Cambridge and Warwick. She has published extensively in the field of modern and contemporary culture, with numerous articles in refereed journals on a variety of writers and two monographs: A Self-Conscious Art: Patrick Modiano's Postmodern Fictions (Liverpool University Press, 2000), and Travellers' Visions: French Literary Encounters with Japan, 1881-2004 (2005). She has also published two books of essays in Japanese. She is currently working on a book provisionally entitled The Act of Writing: Gestures and Creation in the French and Francophone Imagination, 1897-2009, about the physical manifestations of writing in the 20th and 21st centuries.
back to top
Derek Keene is Honorary Fellow and Professor (comparative metropolitan history), at the Institute of Historical Research (School of Advanced Studies, University of London), where he was founding director of the Centre for Metropolitan History. He has published extensively on medieval and later cities and related topics, including London industries and the Thames.
back to top
Patrick Keiller is a filmmaker, writer and lecturer. His films include London (1994) and Robinson in Space (1997), a study of the UK's landscape extended as a book in 1999. Recent works include Londres, Bombay, an exhibition at Le Fresnoy: Studio national des arts contemporains, Tourcoing (2006), featuring a 1000m2 30-screen moving-image reconstruction of Mumbai’s Chhatrapati Shivaji Terminus, and The City of the Future, at BFI Southbank, London (2007-8), a five-screen navigable landscape of the UK in c1900. A forthcoming film was photographed during 2008.
back to top
Joe Kerr is Head of Department of Critical & Historical Studies at the Royal College of Art. He holds a first-class honours degree in the History of Art from University College, London, and an MSc in the History of Modern Architecture from the Bartlett School of Architecture, London. He was a Senior Tutor in the History and Theory of Architecture at Middlesex University and the University of North London before joining the RCA in 1998, where he established the Department of Critical and Historical Studies in 2001. He is responsible for teaching history and theory to students in the Departments of Architecture and Vehicle Design. He is also a London bus driver, working out of Tottenham Garage.
back to top
Gabriel Koureas is a lecturer at the department of History of Art and Screen Media at Birkbeck College, University of London. He specialises on representations of trauma, gender and national identities in relation to conflict and reconciliation in the twentieth and twenty-first centuries. His monograph Memory, Masculinity and National identity in British Visual culture, 1914-1930, was published by Ashgate (2007). Other publications include ‘‘Desiring Skin’: Eugenics, Trauma and Acting Out of Masculinities in British Inter-war Visual Culture’, in F. Brauer and A. Cullen (eds.), Art Sex and Eugenics: Corpus Delecti, (Aldershot: Ashgate, 2008); ‘Visualising an Open Wound: Nicosia, a Divided City in an Expanded Europe’, Peter Martin (ed.), City in Art, (Warsaw: Institute of Art, Polish Academy, 2007), pp. 215-226 and ‘Simplicity, Uniformity, Class and Discipline in the Commemoration of the First World War’, in Szulakowska U. (ed.), Power and Persuasion, (Warsaw: Henry Moore Foundation and the Polish Institute of Art, 2004), pp.155-174.
back to top
Robert Lumley is Professor of Italian Cultural History at University College London. He researches cultural history of 20th-century Italy and is currently working on cultural history and visual culture. Hi publications include The Museum Time-Machine (ed, 1987); L'industria del museo (1989, 2005), Culture and Conflict in Postwar Italy (ed. with Zygmunt Baranski, 1990), Umberto Eco, Apocalypse Postponed: Writings on Media and Culture (1994), States of Emergency: Cultures of Revolt in Italy 1968-78 (1990); Dal '68 agli anni di piombo (1998), Italian Cultural Studies: An Introduction (ed. with David Forgacs, 1996), Italian Journalism. A Cultural Anthology (1996), The New History of the Italian South (ed. with Jonathan Morris, 1997); Oltre il meridionalismo (Carocci, 1998), Italian Cityscapes. Culture and Urban Change in Contemporary Italy (ed. with John Foot, 2004); Citta' visibili (Il Saggiatore, 2007), Arte Povera, Tate Publications, 2004, Marcello Levi: Ritratto di un collezionista/Marcello Levi: Portrait of a collector. Dal Futurismo all'Arte Povera/From Futurism to Arte Povera,Turin, (with Francesco Manacorda,2005 ).
back to top
Ruth Maclennan is a visual artist whose work includes video installations, photography, bookworks, drawings, live events, debates and curatorial projects. Her single and multi-channel video installations explore the collision of perspectives, both in terms of performance happening in front of the camera, and the behaviour of the camera itself. In recent videos including Three Short Films on Hawks and Men for the exhibition Interspecies, she has been exploring the relationship between hunters, birds of prey and the landscape, and the understanding and representation of wildness.
While artist fellow at Byam Shaw School of Art, Central Saint Martins, Ruth Maclennan developed the collaborative art institution Polytechnical Institute for the Study of the Expanding Field of Radical Urban Life, which interrogates the present and speculates on the future through an engagement with site using performance, film, and events in the city. (see www.archwaypolytechnic.org for past and upcoming events). Archway Polytechnic was opened in Archway in October 2007 and the first term included performances and events by artists Mikhail Karikis and Eva Weaver, Eva Weinmayr, Uriel Orlow, Ruth Maclennan, Richard Wentworth, Marcia Farquhar and Roman Vasseur. In The Hawk and the Tower, made for the Department of Eagles of Archway Polytechnic, a trained hawk flew with a camera on its back through a derelict shopping mall. The buildings’ and humans’ relationship with the ground is altered. The view is neither human, mechanical, nor animal, but in-between. Perspective shifts away from the human, conjuring a transformed and disconcerting city in which we are no longer the measure of all things.
Ruth Maclennan’s work examines power relations, and the ways that people inhabit and perform within a physical, linguistic and social architecture. She has also developed projects inside institutions, making work and curating projects that examine existing relations between art and institutions, and between art and other disciplines, as well as speculate on the future.
Ruth Maclennan has a Masters in Fine Art from Goldsmiths’ College, University of London and an MA in Modern Languages from Cambridge University. She has exhibited in Europe, the United States, Russia, Australia, Japan and Central Asia, in museums, galleries and film festivals, including A Foundation, Rochelle School (Interspecies 2009), Cornerhouse, Manchester, Ian Potter Museum, Melbourne, Foxy Production, New York, John Hansard Gallery, Southampton; the ICA, London, Munich Künstverein, and Kunsthalle, Vienna with the artist group Szuper Gallery. In 2005 she devised the cross-disciplinary project State of Mind at the London School of Economics, with artists, scientists and social scientists investigating recent developments in understanding and representing the human brain. Other recent exhibitions include Arts Catalyst’s Artists’ Airshow 2, at Gunpowder Park (2007), and the film We saw it—Like a Flash, commissioned by the Wellcome Trust and shown in Medicine Now at the Wellcome Collection. She is currently developing a new video project in Kazakhstan, with the support of John Hansard Gallery, Southampton and Film and Video Umbrella.
back to top
Junko Theresa Mikuriya is Lecturer in the Department of History and Philosophy of Art at the University of Kent. After completing a BA degree in French at University College London and an MA in French literature at the University of Paris-Sorbonne (Paris IV), she studied photography at SPEOS, the Paris Photographic Institute.
Theresa has worked for many years as a freelance photographer in the fashion and music industries, shooting editorials for Elle, FHM, GQ, Marie-Claire, Men’s Uno and album covers for clients such as EMI, Sony Music and Virgin Records. In Taipei and Hong Kong, she shot the album covers for Jackie Chan,Takeshi Kaneshiro and Karen Mok.
From 2001-2003, Theresa taught as Visiting Artist and Lecturer in Photography at the School of Creative Media, City University of Hong Kong. In 2003, her interactive photographic installation Push – the Quest for a Voice, In Search of a Body, with Linda Lai, was selected for the Hong Kong Arts Biennial. She is co-author with Linda Lai of Cryptoglyph: Dialogues in Many Tongues in the Hidden Crevices of an Open City (2004), a book that explores the relationship between photography and writing.
back to top
Richard Osborne is Lecturer in Popular Music at Middlesex University and Research Fellow at the London Consortium, Birkbeck. He has recently completed a doctorate on the history of vinyl records, and his writing on music has appeared in the journals Critical Quarterly, Réseaux and Popular Music History. He currently lectures on the music industry and popular music at Middlesex University and researches films at the Imperial War Museum archives for the project ‘Colonial Film: Moving Images of the British Empire’.
back to top
Katia Pizzi is Senior Lecturer in Italian at the Institute of Germanic & Romance Studies (University of London) and director of the centre for the Study of Cultural Memory. Her book A City in Search of an Author: The Literary Identity of Trieste (2001) discusses authors from Trieste within their wider cultural and historical context and addressed issues of identity formation linked to memory, nationhood, gender, ethnicity and confession. She has since taken her research further into the domain of cultural memory and is a member of the European research project ACUME. Her work and publications on children's illustration and comics have developed into a wider interest in the Futurist avant-garde and she is researching a book on the Futurists' sustained interest in dynamism and machines (e.g. arte meccanica) together with their international mindset, which led to contacts and extended residence outside Italy.
back to top
François Quiviger works at the Warburg Institute as assistant librarian and webmaster. He also contributes one yearly seminar to the Warburg Institute's MA in Cultural & Intellectual History as well as to the V&A / RCA course on the history of design.
Since 2002 he develops the Institute website and digitisation programme which aims at creating an online electronic library of facsimiles of out-of-print source material on Medieval and Renaissance studies freely available worldwide.
http://warburg.sas.ac.uk/mnemosyne/DigitalCollections.htm
http://warburg.sas.ac.uk/
He has studied and written on early modern ideas and beliefs about images. His current research focuses on the relation that representational arts bear to ancient and modern theories of the mind and of sensory perception.
back to top
Ricarda Vidal is lecturer in Visual Culture at the Institute of Germanic & Romance Studies (University of London).
Her research interests lie in 20th/21st-century visual and literary culture. She wrote her PhD (London Consortium, University of London) on the obsession with speed and the fascination with the car and its crash in 20th-century Western culture. While she is currently preparing her thesis for publication, she has also started to work on a new project for which she focuses on gentrification and urban development (in particular in London's East End) and artistic practice as a countermovement to the commodification of culture and tradition. Ricarda’s articles explore the legacy of Modernism and Romanticism, speed, the car and driving as cultural phenomena as well as artist film and video. Apart from her academic work, she also works as curator for video art and is founding director of the international shortfilm competition "Betting on Shorts: More than a Eurovision of Shortfilm".
back to top
|
|
|
