FEEDBACK

LOOK INTO:
Found footage and how different artists have used found footage / photography
Fleemarket
How to create specific narratives
How to reinterpret what is found there
Artists that have worked like that

REFERENCES:
Book: the shape of evidence sophia berrebi
Museum for photography
Eye museum Amsterdam
Books on found footage
Stedelijk
De werkplaats typografie (masters)

EMILIO: FEEDBACK ON PLUS PLAN

02.02

16.02

MIGUEL PERES ANTUNES DOS SANTOS
SARA SALLEM

: FEEDBACK & TIPS CA4

REFERENCES:
Édouard Glissant -
Concept of Opacity & Analysis of the Caribbean colonial rule

Sim Chi Yin

TIPS
Don't give up on discovering your identity
Explore photographic and oral archives
The relationship between fact and fiction is what makes it so interesting
If I find out more about my identity, I can have more of a focus on my artistic vision, it will make more sense

LOOK INTO
What is the relationship with textiles in Guyana?
Is there a specific technique that gets used there?
How religious cultures identify with textiles and colours

24.02

KIMMY GROUP FEEDBACK

PROJECT
Define what an archive is to me
Keep an open mind to techniques -> if project takes a turn

EXTERNAL PARTNERS
Textielmuseum
Rotterdam City Archive
- approach with precise questions

RECOMMENDATIONS
Encanto (movie)
the plantation of our parents (podcast about the history of slavery in NL)
the weight of tribes and tribe history in Africa

10.03

PRIS ROOS

PRACTICE
- when looking into colours, think of colours that come naturally (associated to william or mom?)
- keep the final presentation in mind -> will people be able to sit, does the work spread out into space?
- presentation will be very important

HOW TO GATHER PERSONAL CONVERSATIONS
- record with a camera from further away on a tripod -> can create a more comfortable environment
- use audio recording
- with mum -> record conversations first and then tell her afterwards (that way conversation is more natural)

EXTERNAL PARTNERS

Lizan Freijsen

17.03

PEER FEEDBACK

NOTES FROM PEERS
Gathering memories from family, the space between fact and fiction, exploring subjectivity in storytelling
What her parents don't talk about (case of maternal grandfather), a cause that has trauma lingering
Only info about him as that he liked the outdoors. He had a greenhouse
Tufting and screen printing portrait of him, the value of an image based on seleciton (the same way a museum gives value to images)
A landscape is created on the other side of the image of his portrait
Flowers as dye of the yarn
Insight into how other people collect in archives, reconstruct the story of a person
Check out Quinsy Gario

What do you want the viewer to take away from your project?
How do people interact with the piece? Do you leave space for them to create narrative about him?
Will a person looking at the final result know the questions you are dealing with in their process? How will they understand memory and family archives as a result?
Think about incorporating research questions for the understanding of the project, they could be a part of the project instead of aside from it


SECOND ROUND
The screenprinting and tufting together makes it more tangible.
All the senses get touched if you design the environment around it; soil on the floor, certain smells that are a reminder to your grandfather.

Designing the space around the project could help you into to feel the emotions around the project. Giving meaning to different kinds of senses could help to engage more with the story (a certain smell, the touching of the fabric of the tufting, a sound of for example birds in a garden.)

Reconstructing Joy Crookes grandmother's home also in a studio as a memory: https://www.youtube.com/watch?v=NpEt0YjgBLE

Book: Dick Wittenberg - Wat doen we met de spullen?

21.03

TEANA

TIPS FOR RD

METHODOLOGIES
- conversation as research method
- photo-elicitation
- in RD: explain the methodologies used and reflect on which ones worked which ones didn't

WHEN HAVING CONVERSATIONS
- start with something personal, so others feel safe to open up
- if recording, talk about something in the room , etc to distract from the fact that it is getting recorded
- afterwards -- send to interviewee to check notes, make sure i didn't miss out on something, misinterpret etc

TALKING TO MUM ABOUT PROJECT
- think about sending a letter to explain why it is important to me
- think of a way to communicate to her that gives her space/ not too invasive

24.03

KIMMY

HOW TO APPROACH THE DIFFERENT PERSPECTIVES
- each perspective as a new add-on and not a separate perspective -> each narrative builds upon the narrative I carry with me

REFERENCES
- Annet Dekker 'Lost and Living in archives'
- Ursula Le Guin 'The carrier bag' (theory)
- Renee Turner 'The warp and weft of memory'
- CHECK OUT CYANOTYPE

TO THINK ABOUT
- what is the umbrella goal
- grids are associated with systems that are usually quite rational -> how can it break free from the grid -> memory is ephemeral and non linear, how can i show this?
- think about the storyline -> what is the narrative?

12.04

JULIE

history of ambrotype and how it relates
what it means to use a certain technique
what does the technique bring? why is it not being used so much anymore?
what is the effect of categorisation with crowdsourcing -> QUESTION FOR DIG IT UP

20.04

TEANA

REFERENCES
stuart hall -> dominant nareratives

REFLECT
what is the relationship between the theoretical lenses (do they meet?)
if i add a perspective explain why

link dominant narrative to me -> not being able to explain
one dimensional = master narrative
family narratives are missing something not my family

CHANGE STRUCTURE
- add methodologies in intro to avoid breaking text
- add practical project in methodology
- relationality

Structure could be:
literature
methods
research -> refer to theory

COMPARING THEORISTS
what literature -> who -> how do they react
why am i adding a theory -> is there something missing

21.04

STANDALONE PRESENTATION

MAIN POINTS FROM FEEDBACK:
- how is memory and storytelling connected to identity? make this connection more clear
Overall confusion of how family impacts identity -> make this clear from the beginning

10.05

KIMMY

QUESTIONS TO ASK MYSELF
why am i doing this personally, professionally, in the world?
how does this relate to graphic design?
position fo the person looking at this, what do they take away?
(does not need to align with my goals)

publication is hiding harder to find
what do i need to add to trigger curiosity
maybe steps of how it came to be -> still from video

what text connects to the whole and what connects to the smaller parts
big title and small titlles?
is there a timeline?
extra layer to add info?

APPLICATION
- installation as the index in the publication?
- extra info/guidance on the acrylic stands?
- create a story through different depths of positioning?

REFERENCES
- fotomuseum
- glaslab den bosch

13.05

BIBI

- doesn't think i need extra explanation with installation
- portrait should allow for personal interpretation and pondering