Durjoy Bangladesh Foundation: From Here To Eternity (online)
Friday 12 March at 11.00 GMT (on Zoom)
A one-day symposium looking at the social histories featured in From Here to Eternity
In this full day of talks, presentations and debates, hear from artists, curators, activists and theorists as we reflect on the themes featured in From Here to Eternity: Sunil Gupta. A Retrospective. Topics include representations of gender, sexuality and its intersection with race in relation to art and the photographic image; the transnational consciousness in key cities in the United Kingdom, North America and India in the embodiment of queerness; and artistic responses to contemporary forms of social and political change.
Contributors include Fiona Anderson (Art History in the Department of Fine Art at Newcastle University), Allan DeSouza (artist), Gregory Salter (Department of Art History, Curating and Visual Studies at University of Birmingham), Prem Sahib (artist) and Ed Webb-Ingall (Film and Screen Studies at London College of Communication);
Details on how to access the talk will be confirmed upon registration. Please check your junk folders if you haven't received an email from TPG staff confirming your place.
Supported by the Durjoy Bangladesh Foundation
Dr Fiona Anderson is Senior Lecturer in Art History in the Fine Art department at Newcastle University. Her work explores queer preservation and world making, gentrification and the politics of urban space, mostly in the USA and the UK. She is the author of Cruising the Dead River: David Wojnarowicz and New York’s Ruined Waterfront (University of Chicago Press, 2019). From 2016-2019, she was the UK Principal Investigator for Cruising the Seventies: Unearthing Pre-HIV/AIDS Queer Sexual Cultures (CRUSEV) - a special issue of Third Text on the theme of ‘Imagining Queer Europe’, co-edited with Glyn Davis and Nat Raha, is forthcoming in January 2021.
Allan deSouza is a California-based photo-media artist whose works restage colonial-era material legacies through counter-strategies of humor, fabulation, and (mis)translation. deSouza’s work has been shown extensively in the US and internationally, including at the Phillips Collection, Washington, DC; the Whitechapel Gallery, London; and the Pompidou Centre, Paris. deSouza has published two recent books: How Art Can Be Thought (Duke University Press, 2018), examines how art pedagogy and critique can be adapted to new social challenges; Ark of Martyrs (Sming Sming Books, 2020), is a polyphonic, dysphoric rewrite of Joseph Conrad’s infamous Heart of Darkness. deSouza is Chair of the Department of Art Practice at University of California, Berkeley.
Prem Sahib previously studied at The Slade School of Fine Art 2002-06 and has an MA in Material & Visual Culture from University College London (2006-08). Sahib’s practice incorporates both sculpture and painting that appears abstract and minimal, formally clean and precise. However each is work arises from convictions regarding sexuality, intimacy, desire, and community. Most recently his practice has expanded to include installation and event-based work.
Dr Gregory Salter has been Lecturer in Art History at Birmingham since 2016. Before that, he completed a PhD at the University of East Anglia in 2013, took on a post-doctoral role at the Geffrye Museum of the Home in London between 2013 and 2015, and taught at the Queen Mary, University of London, the Courtauld Institute of Art, Birkbeck, University of London, and CAPA: the Global Education Network. Salter is originally from Middlesbrough.
Dr Ed Webb-Ingall is a Senior Lecturer on BA (Hons) Film and Screen Studies at London College of Communication. Webb-Ingall is a filmmaker and researcher working with archival materials and methodologies drawn from community video. He collaborates with groups to explore under-represented historical moments and their relationship to contemporary life, developing modes of self-representation specific to the subject or the experiences of the participants. His current research is looking at the role of video in response to the housing crisis and is in partnership with The Serpentine Gallery, Grand Union Birmingham, LUX Scotland and Nottingham Contemporary.
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