FeedbackHome page story
Attending the Khamseen Symposium
[enlarge]
'Caryll in the studio'. Photo: Sophie Helas-Kwo. Courtesy: Sophie Helas-Kwo.
[enlarge]
Susan Hefuna, 'Grid'. Courtesy: Galerie Peter Herrmann.
Susan Hefuna is one of the artists making a presentation at the Khamseen Sympossium.
[enlarge]
'Screen Shot', digital projector on VHS tape, dimensions variable, 2009. Photo: Caryll Jack Dawber.
Installation shot from Caryll's degree show at the University of Sunderland.
[enlarge]
Caryll Jack Dawber, 'from 'A TRACKING SP'', video installation, 2009. Photo: Artist. Courtesy: Caryll Jack Dawber
Forming ideas for curatorial practices: Introducing the reviewer
Forming Ideas is a development programme for curators who want to work on challenging craft projects. In offering a Degrees unedited contributor to attend their recent Khamseem Symposium in South Kensington (8 - 9 July), blogger and recent graduate Caryll Jack Dawber made her appearance to produce a review of the conference, adding to a-n's growing 'unedited' user-generative content.
The symposium focused on how art and craft practice in Cairo impacts on society through the work of contemporary practitioners and innovative art projects. Khamseen (a dry, hot and dusty local wind blowing in North Africa and the Arabian Peninsula) confronted how society can nurture traditional skills whilst remaining open to innovation and explore how in Cairo today the recognition of the value of traditional skills is in resurgence and is playing a pivotal part in the regeneration of artistic practice across the Middle East.
Chaired by Janis Jefferies, Khamseen brought together leading artists and professionals to discuss the context for change and how it might relate to contemporary practice here in the UK. Speakers included Dr Amr Abdel Kawi - editor of Magaz design magazine, Glen Adamson, Head of Graduate Studies, Research Dept V&A, William Wells - Director of The Townhouse Gallery and Dina Bakhoum - Aga Khan Cultural Services-Egypt.
Introducing: Caryll Jack Dawber
Caryll is a Scot who moved to the North East of England after graduating with an MA(Hons) in Mental Philosophy from the University of Edinburgh in 1996. Following a short career in the police force, which ended abruptly after a road traffic accident, she found herself in the position of reassessing life-goals.
In developing her interest in art into a career to be passionate about she is due to graduate this month with a First class BA (Hons) in Fine Art from the University of Sunderland. Concerned with the human trait of using objects and places to form identity and trigger memory, Caryll's practice confronts the disappearance of the past; considering its imperfect recollection in present memory and notions of value, memorial and deterioration. Her work is directed by research into the very idea that drives it encompassing a wide range of media: such research has been thoroughly covered in her project blog on Degrees unedited.
Caryll is due to move back to Scotland with her young family at the end of July "an exciting and daunting prospect which [somewhat] complicates the 'what next' matter". Due to family circumstances Caryll is uncertain about which course she will be able to follow and may be unable to continue in higher education until next year. Nevertheless, following her newly acquired BA, she intends to investigate options to pursue PhD research based upon her practice and concerns:
"...the role of the curator is pivotal in the modern art sphere with artist curators being particularly keen to progress and develop new ways of presenting and producing art. I firmly believe that artists must adopt a global view when considering their practice and that opportunities to learn about international contemporary practice must be taken when they arise...."
Caryll comes from a country with a strong history of craft and tradition that "...often defines the cultural expectations of its visitors" and having traveled to Egypt has come across similar probabilities in societal experience: "...[such] pigeonholing that artists have begun to struggle to overcome". Hence Caryll has a particular interest in the Khamseem symposium and its focus on cultural, architectural and geographical repercussions inherent in contemporary art practices:
"Parallels can be drawn between the marriage of craft and art in modern Cairo and that of the Glasgow School of Art at the time of Macintosh and his contemporaries, with the latter paving the way for Glasgow to become an important centre for contemporary art as it stands today. It would be interesting to discover how the perception of Egyptian artistic practice has changed in relation to the opening of numerous private galleries in Cairo within the last fifteen years. Although there are government run projects/galleries in existence, the introduction of art as commodity within the private gallery circuit must have affected the way artists now direct their careers..."
Although a necessary trip south to London precedes her final move north to Scotland Caryll is taking her next step in the direction she feels she needs to go: "Ideally, I would like to find a PhD studentship which meets my geographical needs as well as my research concerns as ultimately I would like to work in academia". Another career decision written ahead; but first comes family, the Khamseem symposium and a review that enlightens its readers as well its author.
First published: a-n.co.uk April 2009
© the artist(s), writer(s), photographer(s) and a-n The Artists Information Company
All rights reserved.
Artists who are current subscribers to a-n may download or print this text for the limited purpose of use in their business or professional practice as artists.
Parts of this text may be reproduced either in accordance with the provisions of the Copyright Designs and Patents Act 1988 (updated) or with written permission of the publishers.
Back to top