In his book Landmarks, the English nature writer Robert McFarlane advocates for the creation of “a glossary of enchantment for the whole earth, which would allow nature to talk back and would help us to listen.”* While cataloguing the earth might prove too daunting, this two-day writing workshop with guests Kate Briggs and Kate Pullinger offers a modest step…
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A Two-day Quick & Earthly Prototyping Session with the Realities in Transition Artists in Residence (March 7-8, 2023) “I do believe it to be true that the land here is demonstrably alive; that it does not exist solely, or even incidentally, as a stage for the enactment of human history; that it is [itself] a…
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During quarantine, the Slow Readers met weekly from January through May 2021. Reading at a snail’s pace and experimenting with different forms of collective learning, traces were gathered into an online archive composed of notes, reading methodologies, glossaries, scraps of thoughts, and fieldnotes. While far from representing all of the group’s activities, the site captures…
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One of the challenges of making The Warp and Weft of Memory was bringing a sense of materiality to the digital. After all, clothing and textiles are tactile. Taffetas are crisp and rustle when moved, wool is rough or soft depending on how it has been treated, and silk is smooth and light to the touch.
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I recently submitted a video proposal to give a talk on rendering inspired by a set of old botanical drawings. They fascinated me because, at that time, I was working with photogrammetry to document plants in my garden. With my phone and an app’s aid, I would take multiple photographs of a plant from as…
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In April 2022, the artist and writer Jouke Kleerebezem sent me a small black book. The words on the cover, to no end—the drawing that keeps on drawing, were an invitation if not a provocation. However, even with its seductive and beckoning blank pages, it was perfectly complete as an object, so much so that…
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A table can facilitate conviviality or become a dividing barrier. What are you staging: a dinner, debate, conversation, interrogation, or arm-wrestling competition? Notes on Cooking & Eating Together, Claire Binyon and Renée Turner (p.109), Avinus Academia, 2023. Together with Claire Binyon, Senior Lecturer at the Faculty of Music and Performing Arts, ESMAE, Polytechnic of Porto, we…
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In his essay, The Archival Space of Herengracht H401: Artistic Research as Productive Archiving, Lars Ebert elaborates on the layered and complex history of the house of Gisele. He also explores the archival impulse through three artists, Amie Dicke, Ronit Porat and Renée Turner, whose artistic research at H401 unveils and generates other narrative and aesthetic…
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Tuning Transdisciplinary Education is a part of a larger Erasmus+ project that took place from 2019 to 2022. Initially, we, somewhat naively, planned to design a curriculum which would lay the grounds for transdisciplinary teaching. However, as we hosted different events, conducted interviews, gathered keywords, and reviewed related literature, projects and teaching practices, we realised transdisciplinary education is…
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Learning grounds with M
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For many years archives are hot both as a theme of academic discussion and as a space for the creative and investigative processes of many artists. This is a stark contrast to the traditional image of an archive as a dead place or the stereotypical archivist: a grey specialist with glasses and sleeve protectors. Let’s…
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Situationer Workbook/Situationer Cookbook, a transformative pedagogy reader initiated by Michelle Teran and published by Research Center WdKA and Publication Studio Rotterdam publishers. Bringing together experimental practices of learning otherwise, my contribution is a letter to Michelle about the pedagogies of my kitchen.
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As a part of their inquiry, the SLOW READERS are organising a two-day event filled with afternoon collective readings and evening talks by guests Alicia Juarrero and Alexandra Mason. The aim is to sketch the scope and entanglement of AI systems to plot spaces of mobility, agency, and refusal.
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In my garden, colonial legacies reside in the hydrangeas and japonicas. They were originally brought back from Japan by Philipp Franz von Siebold who worked for the Dutch East India Company. An Acanthus mollis, whose leaves characterise Corinthian columns, continues to spread through a network of subterranean rhizomes. Abortifacients, such as Bishop’s weed, artemisia, and woodruff, are present too.
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