Staff Profile

Personal Research Plan

Name of Researcher

Louise Wilson

Name of Reviewer

School

Fine Art

Subject/Research Group

Last research leave dates

Planned research leave dates

Academic Year

2017/18

Date of completion

AResearch Projects

(including funding)

Current Projects

(Title)

Please give details of live projects including source and amount of funding (if funded), collaborators, start date, anticipated end date and associated PGRs, anticipated impacts

GAPADO AiR (Artist in Residence) Gapado Island

South Korea.

MARCH-MAY 2018

GAPADO AiR, Artist Residency -South Korea, March-May 2018

Amount of Funding: Support from Hyundai Card Management $ 700.00 USD (KRW 7million) and self-funded.

Source of Funding: Hyundai Card, Hyundai Capital Brand Management.

Collaborators: NA

Start Date: March 2018

Anticipated End Date: May 2018

Associated PGRs: NA

I have been invited on a 3 month, residency in the Southern island called Gappado part of the self- governing Jeju Province run by Hyundai Card who support The Tate Gallery exhibitions and Turbine Hall Commissions. We were nominated byDr Sook-Kyung Lee,Senior Research Curator,Tate Research Centre: Asia.

The other jury members were from MoMA and the National Museum of Modern and Contemporary Art Korea the final selection was of 16 artists.

Each artist will be provided an Individual studio: there will be a visiting Curator Program: review session and seminar with curators from global museums and galleries.

Seoul and Jeju Island Field Trip: Visit to major cultural and art spots around Seoul and Jeju Island (free participation fee, hotel provided)

Support for Exhibition: support for arranging exhibition space in Gapado, Jeju mainland and Seoul.

UNDOINGS_GAPADO ISLAND, 2018 (Proposal)

The Jeju group of islands is an archipelago that includes Gapado Island. These islands co-exist within an interconnected archipelago that also includes Jeju-do Island, once a former site of brutal conflict and military history.

I am particularly interested in what happens when a place with such remoteness and inaccessibility relinquishes control, whether this be to the forces of nature and the environment or to external forces such as military fortification and occupation it becomes a place in which subsequently time and ideology are liberated; a Demilitarized Zone a buffer in face of the

To the south, there is a maritime and territorial conflict in the East China Sea and the South China Sea between China on the one side and Vietnam and the Philippines in the other.

In the midst of these zones of conflict sits, Jeju which is in the process of becoming a Carbon-free Island the ultimate paradox.

During the Gapado AIR residency I plan to make a period of research on the island. Working with photography, digital 3-D stills and video. I also want to work with an analogue medium format camera using wide angle, prism, borescope and periscope lenses to capture the site and to imagine the

I plan to spend part of our time during the residency in Seoul where I will make connections with the arts communities based there. In particular, with the arts and humanities department at Seoul National University the staff and students there, as well as the many important and dynamic contemporary art galleries and museums in the region.

Planned Future Projects (Title)

Please give details of potential funding source, collaborators, anticipated submission date/projected start date

Suspended Island(June 2018-Sept. 2018)

Suspended Island June

Amount of Funding:

Source of Funding: National Lottery, Heritage and Lottery Fund.

Collaborators: GEON (Great Exhibition of the North) The BALTIC Centre for Contemporary Art, Gateshead.

Start Date: June -2018

Anticipated End Date: September- 2018

Associated PGRs: NA

A new commission for a publicly sited artwork on Newcastle Quayside in collaboration with the Baltic Center for Contemporary Art as part of GEON (Great Exhibition of the North).

We want to expand upon the view of a Suspended Island, one which hints at the current political flux and the perception of the North East; closer to Scotland but still remaining part of England, some might argue, as another island within the island of Great Britain. We want to propose that we create a publicly sited video installation, on the quayside as a point of departure, which also hints at the current state of Britain at this moment of BREXIT.

We are particularly interested in what happens when the geography of a location takes on a porous identity, or becomes a place outside its own border. It is this idea of "the suspended island" that we are trying to impress upon the viewer the presence of absence, revealing on one hand a lost urban geography that most people won't see and on the other exploring through moving image the kinetic relationship between the architecture of two distinct sites one still historically visible in the form of Trinity House and the other obsolete in the form of the now abandoned coastal fortifications that once functioned on Governors Island, situated off the coast of Manhattan.

Incorporating a voice over narrative for the film based upon a series of interviews with refugees from Bosnia, Kurdistan, Ukraine and Democratic Republic of the Congo that we recorded at a refugee drop in centre in Derby.

We propose to show this moving image work on an outdoor LED screen. The film will include both new and existing footage as well as a new animation.

We propose to show alongside the LED screen a platform or viewing area, this structure would comprise of two architectural reclaimed diving board platforms, minus their boards as an acknowledgement of their dysfunction. The structures suggest a kind of suspension and at the same time register the sense of misplaced nostalgia for a lost urban geography within an island mentality.

Support Required

B Publications from 01/01/14

(Journal articles, chapters, authored and edited books, creative outputs and other major research outputs only)

Published (since 01/01/14)

Please give details of title, location, type and peer review score

Undead Sun

(Oct 2014- Autumn 2018)

We Put the World Before You

MIMA, Middlesbrough

(Oct 2016- Autumn 2018)

Sealander Focus Gallery, J. Paul Getty Museum, Loss Angeles

(Feb 2017- July 2017)

Royal Academy of Arts, London.

(June - August 2016)

NERIRI KIRURU HARARA

SeMA Biennale Mediacity Seoul

(Sept- Nov 2016)

History is Now: 7 Artists Take on Britain

(Jan2015-April 2015)

Imperial Merasure, Jane and Louise Wilson, Two Person Exhibition, C.Nichols Project

(June 2014-Sept 2014)

Sealander

works included in Ruin Lust at Tate Britain and Conflict, Time, Photography, Tate Modern

(Spring 2014- Summer2015)

-Ruin Lust, Tate Publishing 2014.

-Conflict, Time, Photography

-Future Present

The Collection of the Emanuel Hoffmann Foundation- 2015.

-Blind Landings - Material Memory, paper by Jane and Louise Wilson to be published in Material Memory The Post Industrial Landscape as Site for Creative Practice 2016.

-Art of Collaboration: Phaidon 2017.

Undead Sun 2014

Amount of Funding:

Source of Funding: A.C.E Arts Council of England.

Collaborators: Film and Video Umbrella, Imperial War Museum, MIMA Middlesbrough and Wolverhampton City Art Gallery.

Start Date: October 2014

Anticipated End Date: Autumn- 2018

Associated PGRs: NA

Undead Sun 2014, video, 12 mins 39seconds, gauze cube, gauze wall elements and vertical gauze Fins.

Much of the imagery in the film is inspired by the visual culture of the period. Uneasy, dream-like sequences are acted out against the ominous backdrop of a giant wind tunnel. These staged vignettes offer glimpses of individual, human-scale dramas, as well as intimations of the darker side of the society of the time. The film concludes by referencing a First World War account of an un-named conscientious objector, stripping naked and shredding the uniform that he had been forced to wear. It alludes not only to the First World War, but to protests against subsequent wars.The film was selected for the Rotterdam Film Festival where it received its cinema premiere in 2015.

In order to highlight the hidden and the concealed. The film was presented within a specially constructed architectural setting, in which the viewer

I wanted the film to blend animation, historical photography and staged scenes to underscore the paradoxical relationship between warfare and technological progress, emphasizing the evolving surveillance programme of World War I, as a precursor to current day drone technology.

We Put the World Before You, 2016-17

Amount of Funding:

Source of Funding: Wellcome Trust Small Arts Award.

Collaborators: FaceLab, Liverpool John Moores University, Professor Caroline Wilkinson, Professor Iain Hutchison, The Wellcome Trust Archive, Film and Video Umbrella, Imperial War Museum, MIMA Middlesbrough and Wolverhampton City Art Gallery.

Start Date: October 2016

Anticipated End Date: Autumn- 2018

Associated PGRs: NA

We Put the World Before You 2016 In this recent single-channel video installation, I examined the origins of modern plastic surgery and the surgical innovations that were deployed to treat the horrendous facial wounds that combatants suffered during in the WWI conflict. Consulting with Professor Iain Hutchison (a practicing surgeon specialising in facial reconstruction), and Professor Caroline Wilkinson (a forensic anthropologist who uses computer techniques to restore facial likenesses to people who have remained invisible or gone unrepresented), I compiled a patchwork of newly filmed and historical footage, including rare material from medical archives. The title of the piece alludes to the championing work of the early cinema pioneer Charles Urban, who used micro-photographic techniques to make the unseen marvels of the natural world visible (and entertaining) to the viewing public. These multiple layers of archive material were supplemented by two key scenes. The first of these involved computer graphic sequences of my own face materialising after being 3D scanned. And as a counterpoint to this, the film also featured a number of women undergoing a group hypnosis session, in which their faces are gradually voided of expression. As well as a reference to how hypnosis was used to treat cases of trauma caused by the war, the scene also alludes to how ses were employed, at the time, to make contact with the dead, or husbands and sons who were missing in action.

The finished film was presented within a specioally designed gauze structure and as a single-channel high-definition video.

Sealander2017

Amount of Funding: Cost of shipping works from London to Los Angeles.

Source of Funding: J.Paul Getty Museum, Los Angeles collectors Mark Fehrs Haukohl and Gregory McKeever

Collaborators: Mark Fehrs Haukohl and Gregory McKeever, 303 Gallery, New York.

Start Date: February 14^{th 2017}

End Date: July 2^nd - 2017

Associated PGRs: NA

Jane and Louise Wilson

Two person presentation in the Focus gallery of the J. Paul Getty Museum in Los Angeles, of the work taken along the Normandy coastline, of the bunkers that formed part of The Atlantic Wall, including 3 large scale articulated yardstick measures and film projection of the film installation

The works from the '' Sealander'' series were photographed along the Normandy coastline during the summer of 2006. The images were very much inspired by a text written by J.G.Ballard for the Guardian newspaper, the title of the text was '' A Handful of Dust ''2006, in the article Ballard writes about the bunkers that were built by the Nazi Organisation Todt during W.W.II as part of the Atlantic Wall defense and fortifications. I was inspired by Ballard's writing...where he compares the brutalist architecture of these once functioning bunkers to'' being as indifferent to time as the pyramids''. I was stuck by the compelling dystopia of these modernist brutalist structures a truly failed utopia but at the same time an architecture that was so popular in 1950's Britain with post war brutalist inspired developments in many bomb damaged cities and new town developments.

I shot these works in black and white because I wanted to heighten that sense of abstraction and abandonment, in some of the images its difficult to work out whether the bunkers are falling into the sea from the costal erosion or emerging from it. I felt to document these works in colour with blue skies and yellow sand would trivialize the images and normalize the abstraction and sense of displaced time that I wanted to invoke.

2016

Amount of Funding:

Source of Funding: The Royal Academy of Art, Arts Council England.

Collaborators: Forma Arts, Royal Academy of Art, ArtAv and 303 Gallery, New York.

Start Date: June 2016

End Date: August- 2016

Associated PGRs: NA

The RA Summer exhibition 2016 was curated by Richard Wilson the central concept was to focus on the work of collaborative duo's.
The exhibition comprised of a double hang on either side of the grand staircase entrance to the R.A. Displaying a series of six images called "Atomgrad" (Nature Abhors a Vaccum) (2010), photographic c-type hand prints depicting the abandoned and now almost entirely uninhabited town of Pripyat, situated within the 30km wide Exclusion Zone around the site of the 1986 disaster. The works take their title from term used by Ukrainian locals to refer to the former ed and monitored for radiation.The photographs encourage us to stare back into the past, into the empty manmade spaces, yet the yardsticks (a means of measurement now fallen into disuse, much like the buildings themselves) play with notions of association. Hinting towards the historic relevance of the "future ruin" and manifesting an Imperialist past in the present the measures also point to the architecture of forensics (as well as the obsolete) because of their imperial standard: the yard (0.9144 of a metre), or 36 inches.

NERIRI KIRURU HARARA SeMA Biennale Mediacity Seoul 2016

Amount of Funding: The cost of collecting and shipping works from London, U.K. to Seoul, Korea.

Source of Funding: Seoul Foundation for Arts and Culture, Arts Council England, Sfumato Foundation, PRS Foundation LG Electronics and Hyundai Motor Company.

Collaborators: Forma Arts, Commissions East and the National Trust, Arts Council England, The Whitworth Art Gallery, Manchester and Seoul Museum of Art, Korea.

Start Date: June -2016

End Date: August- 2016

Associated PGRs: NA

The Bienniale featured more than 80 artworks by 61 artists and collectives invited from 24different countries.

The title, NERIRI KIRURU HARARA, is derived from a line of the poem llion Light Years of Solitude

The collection of works exhibited included The Konvas Autovat, The Toxic Camera a bronze cast of the 35mm Russian Bolex camera, the same model of camera that was used by the Ukrainian film-maker Vladimir Shevchenko who made the seminal film documentary Chernobyl: A Chronicle of Difficult Weeks. The tite Shevchenko used during the filming of his documentary in 1986,when his camera became contaminated by radiation and was subsequently buried on the outskirts of Kiev.

We exhibited Blind Landing Lab 4, H-Bomb Test Site, Suffolk, U.K.2014 photographed on the island of Orford Ness, situated off the UK now owned by the National Trust but was once a former Ministry of Defense H-bomb test facility that was operational during the Cold War. Now on the verge of collapse, the laboratories there had once been purpose built for the vibration testing of the casings of the H-bomb. At Orford Ness, I installed a series of sculptures, photographs, and sound works; Blind Landing Lab 4, H-Bomb Test Site, Suffolk, U.K.is one of the photographic works made on this site.

Also exhibited were , (IV & V)both works are large-scale photographsmade in the abandoned facilities of Pripyat, the now contaminated Ukrainian city built in the 1970s to house the Chernobyl factory workers, which was evacuated in the wake of the 1986 nuclear disaster.

works are madeira wood measures of an enormous scale painted in black and white markers. They occasionally appear within the photographic series Blind Landing Lab and Atomgrad, Nature Abhors A Vacuum. This measure is based on the almost obsolete unit of length, the yard (the U.K. standard, equivalent to 0.9144 m or 36 inches), and serves as a reflection upon the meanings of recording, measuring, describing, analyzing, and memorializing.

History is Now: 7 Artists Take on Britain 2015

Amount of Funding: Artist Fee

Source of Funding: Hayward Gallery, Arts Council of England.

Collaborators: Arts Council of England,Tate Gallery,Greenham Common Archive

Start Date: Jan- 2015

End Date: April - 2015

Associated PGRs: NA

The exhibition was a reflection on 70 years of history in the lead up to the May general election, this exhibition will provide a series of focus points for examination and enquiry across this period. 7 artists will be invited to curate sections which bring together a set of thematic ideas and that are generally situated in a particular historical moment.

In this associative exhibition I wanted to explore episodes of social and political unrest that have shaped Britain during the late twentieth century, paying attention to the spaces in which these episodes have taken place and the ways in which artists have responded to them. The earliest site of conflict I examined was the mining town of Peterlee, County Durham. I re-visited the contested legacy of Victor Pasmore's modernist architectural contributions to the town, as well as an artistic intervention led by Stuart Brisley in the late 1970s. During the 1980s thousands of women gathered at Royal Air Force Station Greenham Common, where 96 US missiles were held, to protest against nuclear armaments. While exploring the Greenham Common archive the I was drawn to documentary images of the site's chain-link perimeter fence. These images resonate with other works included in the exhibition, such as Stuart Brisley's 1 = 66,666 (1983) and Rita Donagh's Slade (1980).

Northern Ireland during the Troubles (1966-98) is the third place of unrest tackled, this long-running conflict is explored through works by artists including Rita Donagh and Conrad Atkinson that point to, rather than attempt to resolve, the situation's complexity. Elsewhere in this section, works by artists rarely shown together are united by a shared concern with the ways in which architectural space can become a site of conflict.

The objects and artworks that I selected should not function as artefacts or relics: I hoped by bringing them together to somehow animate the energy and momentum inherent in this extraordinary selection of works and documents, some of whose original context and initial impetus might now seem obscured

Imperial Merasure, Jane and Louise Wilson 2014

Amount of Funding: $10,000.00

Source of Funding: C.Nichols Project

Collaborators: C.Nichols Project, 303 Gallery, New York.

Start Date: June 2014

End Date: Sept - 2014

Associated PGRs: NA

In 2014 I completed a series of new blsack and white photographic collages entitled Imperial Measure

2014

Amount of Funding: N/A

Source of Funding: Collection of Tate Gallery London

Collaborators: Museum Folkwang, Essen and Staatliche Kunstsammlunge, Dresden, Germany.

Start Date: Spring - 2014

End Date: Summer - 2015

Associated PGRs: NA

The large scale black and white photographs from the Sealander series 2006 exhibited at Tate Britain in the exhibition curated by the writer Brian Dillon and in d to Essen and Dresden, Germany and ended in Summer 2015. Both exhibitions have published catalogues.

Ruin Lust Hardcover.Brian Dillon explores the themes of Ruin Lust, The Fragment, The Catastrophic Imagination, Cities in Dust, The Waste Land, and Futures Past, illustrated with works by artists such as J.M.W. Turner.ISBN: 9781849763011

Conflict, Time, Photography Softcover.ISBN10: 1849763208ISBN13: 9781849763202. Publisher:Tate, 2015. View all copies of thisISBNedition: Synopsis; About this title. Vividly illustrated,Conflict,Time,Photographyzeroes in on war and its aftermath, highlighting the fact that time itself is a fundamental aspect of the photographic medium.

-In June 2014 I presented a talk based on our film the

-In February 2015 I was invited to show .

-Future PresentThe Collection of the Emanuel Hoffmann Foundation, 2015,Published by the Laurenz Foundation.
Schaulager Basel, English: ISBN 978-3-906315-01-0

-Blind Landings - Material Memory, paper by Jane and Louise Wilson to be published in Material Memory The Post Industrial Landscape as Site for Creative Practice by Gwen Heely Practice paper by Jane and Louise Wilson Gwen Heeney, Newcastle University Book Publication, by Cambridge University Press, published 2016

-Art of Collaboration: Phaidon Book, Jane and Louise Wilson, one of the featured collaborations by Ellen Mara De Wachter, Phaidon Press. published 2017.

In process

Support Required

CCurrent or Planned Impact Activities

Title

Please give details including which publication/project (past, current or future) the impact relates to, collaborators, existing or future plans to monitor and evidence the impact

Support Required

DPGR Students (current or future known students)

Name

Supervisor Split

Mode of Study (FT/PT)

Current stage

EConference and Seminar Presentations from 01/01/14

Name of Conf/Seminar

Detail

Gerrard O

Jane and Louise Wilson at the Whitechapel Art Gallery

Jane and Louise Wilson Artist Talk 20^{th April 2017, Getty Center, Museum Lecture Hall,}

Los Angeles

Jane and Louise Wilson in the Focus Gallery, J Paul Getty Museum, Los Angeles,

Two person presentation in the Focus gallery of the J. Paul Getty Museum in Los Angeles, of the work taken along the Normandy coastline, of the bunkers that formed part of The Atlantic Wall, including 3 large scale articulated yardstick measures and film projection of the film installation (The J. Paul Getty Trust is the world's largest cultural and philanthropic organization dedicated to the visual arts, it is estimated 1.3 million visitors annually, make it one of the most visited museums in the United States. It is hugely significant for research communities, where there will be a mix of academics, students, artists, filmmakers, archivists, historians, scientists, philanthropists. The Getty Research Institute has a significant library, it has exhibitions and events, a residential scholars program, publications and electronic databases.)

Blind Landings - Material Memory, paper by Jane and Louise Wilson published in

by Gwen Heely

BBCTwo Jane and Louise Wilson 2016 featured in an hour long documentary on the Royal Academy Summer Exhibition

BBCLondonNews interview on Royal Academy Summer Exhibition 2016

MASTER LECTURE SERIES: 2016

In Conversation with Jane and Louise Wilson at Liverpool School of Art and Design

Artist

Artist

ISSUES AND INNOVATIONS IN PRACTICE AND POLICY October 30th 2015

History Is Now,Artist as Historian(taking place, as you will know, Tuesday, March 10, 2015

History is Now: 7 Artists Take on Britain

Hayward Gallery, London, February 2015 -26^th April

Catalogue Published by Hayward Publishing, ISBN 9781853323270.

Erosion and Illegibility of Images - Blocked Vision and Self-Reflexivity in Contemporary Art

Research presentation of Jane & Louise Wilson

Practice paper by Jane and Louise Wilson Gwen Heeney, Newcastle University Book Publication, by Cambridge University Press, publication 2016

Material Memory,The Post Industrial Landscape as Site for Creative Practice

A one-day conference organised by Fine Art, School of Arts and Cultures, Newcastle University.

Keynote Speakers Jane and Louise Wilson

Dr. Tim Edensor

with contributions from:

Prof. Andrew Burton, Prof. Anne Helen Mydland Rowland Byass, Dr. Venda Louise Pollock, Prof. Jeremy Welsh Dr. Ian Thompson, Prof. Wolfgang Weileder Prof. John Kippin,

Dr. Andrew Livingstone & Megan Randall Michael Maziere, Danny Bright

Jane and Louise Wilson - interview with Kirsty Wark featured in an hour long programme televised on BBC2 June10th 2016

-BBCLondonNews- Interviewed by Brenda McManus 6:30pm, 9 June2016

Professor Caroline Wilkinson in conversation with Jane and Louise Wilson, Saturday 28th May, 2016, 2-4pm at the John Lennon Art and Design Building.

Professor Caroline Wilkinson, Director of Liverpool School of Art andDesign, has an on-going collaboration with Jane and Louise through a shared interest in forensic investigation, faces and identity. Caroline has invited Jane and Louise to discuss their artistic practice and the influences and challenges through their career, and the artists will share some of their artwork with the audience http://us10.campaign-archive2.com/?u=1c6e0430581e9593cefec0abe&id=aaf753917d&e=e81132150d

RCA Fine Art Talks, Wednesday 20 April, 2016, 3-5pm, Jane&LouiseWilson

Jane & Louise Wilson in conversation with Erika Balsom, Lecturer in Film Studies and in Liberal Arts, King

Artist

Jane & Louise Wilson - Future Present - Schaulager

futurepresent.schaulager.org/en/program/artists-talks/wilson.html

Auditorium Schaulager. Jane & Louise Wilson in conversation with Erika Balsom, Lecturer in Film Studies ... The artist's talk is included in the price of admission.

An Invitational Symposium for Senior Artist-Endowed Foundation Leaders Hosted by the Museum of Modern Art, MOMA, New York

Panel V

guest speakers Eric Fischl, Jane and Louise Wilson, Technology First-Adopting Artists

2015 Artist-Endowed Foundation Leadership Forum program booklet ...

https://dorutodpt4twd.cloudfront.net/.../AEFI%20-%20Leadership%20Forum%20Pro

The Aspen Institute Artist-Endowed. Foundations Initiative/AEFI ... Friday, October 30, 2015 | 8:30 a.m. Artist-Endowed Foundations Initiative/AEFI. The Aspen Institute ... The Museum of Modern Art | The Lewis B. and Dorothy.

Artists John Akomfrah, Richard Wentworth and Jane and Louise Wilson, together with writer and historian David Kynaston, discuss how artists shape and contribute to our understanding of the past.

Southbank Centre, Belvedere Road, London,SE1 http://tracking.wordfly.com/view/?sid=MTE1XzI5MjI3XzUxNTMzOF82OTYx&l=b05362a9-90c2-e411-8b4e-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=visartstalkssolus6%2f3%2f15&utm_content=version_A

With a foreword by Ralph Rugoff and essays by Cliff Lauson, Adrian Forty, Charlotte Higgins. Jackie Kay and David Mellor. Featuring seven artists (Richard Wentworth, John Akomfrah, Jane and Louise Wilson, Hannah Starkey, Roger Hiorns, Simon Fujiwara) and six writers (including Adrian Forty, Charlotte Higgins, Jackie Kay and David Mellor), this publication gathers artworks, objects and essay that offer idiosyncratic views of a pre and post millennial post war Britain.

New Art Gallery Walsall Fri 31 Oct 2014, 12-4 PM 2014 A day symposium sets out to interrogate the trope of illegibility and erosion in contemporary artistic practice. By looking at painting, photography and sculpture/ architecture the symposium explores the extent to which contemporary art denies

http://www.fineartwolverhampton.co.uk/erosionsymposium/

Centrefor Art, Design, Research and Experimentation) 2013-14 Public Lecture Series at the School of Art and Design within the Faculty of the Arts. University of Wolverhampton, Thursday 21^{st November 2013}

https://www.wlv.ac.uk/research/.../cadre.../cadre-lecture.../jane-and-louise-wilson/

FAgreed Priorities

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