Social and Educational Foraging and Gleaning: Only free open access events and activities get listed on the website…
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Edinburgh is known as one of the most haunted cities in Europe, with a past of murders, witchcraft and plague. Its wynds and closes have witnessed the two sides of the city: beauty and horror.
Edinburgh’s dark side also included body snatching, public executions, gruesome jails and tortures. Come to the FREE 1.5 hour Ghost Tour and hear ghostly tales and sinister stories that will transport you back to the terrifying past of old Edinburgh as we walk spooky shadows and haunted alleyways.
Mark Wallinger will be in conversation with The Fruitmarket Gallery director, Fiona Bradley about his practice and his exhibition, in two parts which runs at The Fruitmarket Gallery and Dundee Contemporary Arts from 4 March – 4 June.
Known for a practice as stylistically diverse as it is politically engaged, Mark Wallinger creates work that encompasses painting, sculpture, photography, film, installation, performance and public art.
This exhibition, presented in two parts, one at The Fruitmarket Gallery and the other at Dundee Contemporary Arts, has been brought together in the context of his newest body of work, the id Paintings. A selection from this series of vast paintings, each 360cm high (twice Wallinger’s height) and 180cm wide (his height again, and also the extent of his reach with both arms outstretched) is on show in each part of the exhibition.
These paintings bring identity into focus as a recurring theme within Wallinger’s practice. Painted by hand (and simultaneously by each hand, the left mirroring the right) they bridge image and action. They move his way of working, as Wallinger has said, from ‘painting ‘I’s’ to ‘I paint’.
The standing figure (the subject who stands – and stands up – for something) is one of the most powerful ways in which Wallinger explores identity. This exhibition brings together several such figures, including the bear of Sleeper and the myriad ‘I’s of the Self Portrait paintings. It also moves beyond the standing figure to look at the importance of naming, marking and symmetry in the artist’s work.
In multiple sclerosis there is damage to the myelin sheaths of nerves (demyelination) which reduces the ability of nerves to conduct electricity and makes them prone to degeneration.
The brain can regenerate the myelin sheath (remyelination) which restores electrical conduction and protects the nerves. However, in people with multiple sclerosis, this repair system fails and we do not understand why.
In her inaugural lecture, Professor Anna Williams will discuss how studying human multiple sclerosis brain tissue and laboratory models of remyelination can increase our understanding of how this repair process works and why it fails. Understanding this better may lead to new therapies to improve remyelination and reduce disability in multiple sclerosis.
Rembrandt Harmensz van Rijn (1606–1669), who spent his entire career as a painter, draughtsman and printmaker in the Dutch Republic, enjoyed considerable fame beyond his home country and throughout Europe during his lifetime and has continued to ever since. In recent decades, his imagery has become ubiquitous, making him a global brand like few other artists in history. Tico Seifert, curator of Rembrandt – Britain’s Discovery of the Master will introduce the exceptionally rich story of Rembrandt’s art in Britain, and of how it inspired collectors, artists and writers from about 1630 until the present day.
This talk will be live captioned for deaf and hard of hearing visitors.
Image: (detail) Rembrandt (Rembrandt Harmensz van Rijn) A Woman in Bed 164[7?] Photographer: Antonia Reeve
Come along to The Castle Hotel (66 Oldham St, Manchester M4 1LE) from 7pm. Come along for some food, some socialising and a two talks in an informal setting…
What is feminism? Ask ten people this question and you might get ten different answers. It’s not that I claim to have the one right answer but rather that I do have one I have settled on and I am pleased to share it with Ragged members. My generation of women has seen enormous changes in our lives. I hardly recognise myself as the young woman who always sat quietly in one corner or another. To me, that is proof of feminism as an agent of personal growth and empowerment; one more reason to share what I know about it.
Feminism to me is a political sisterhood because it aims to challenge the dominant social force generally known as patriarchy. Some people get very precise and define it as capitalist patriarchy or imperialist capitalist patriarchy, even imperialist patriarchal capitalism. I suppose one’s view is always determined by where one stands.
My talk therefore aims to clarify what a plain and simple patriarchal society is, how it is structured and how feminists have over time risen to the challenge of the ways in which patriarchy disempowers and even harms women as a sex class; a thing feminists call patriarchal oppression. Moreover, whilst women are doing different things differently today than they did fifty years ago they are still doing it for themselves and often for men as well. Mine will be a whistle-stop tour through an immensely rich and complex cultural landscape but I hope there will be enough time left to take questions.
During the break we have a bite to eat and a chance to socialise. Everyone is welcome to bring an item of food to put on the table to share and take away what is left at the end so nothing goes to waste
In this presentation I hope to share my story of researching ICT integration in education with rural female teachers from an island in Bangladesh. I will particularly focus on how I attempted to tap into teachers’ own ways of seeing, feeling and expressing life.
Firstly, I will talk about how I used multimodal artefact production- a method through which teachers have shared significant day to day experiences with me,- through a mode and genre of their choice-sometimes they chose images, sometimes video clips, audio clips while sometimes poems and journal entries.
Then I will talk about the distinct Bengali genre of ‘golpo/ adda’ (informal chatting) which I used in my research as an attempt to enable my participants’ experiences to emerge through their own discursive style. I will conclude by sharing how these two processes made me aware of my own ‘gaze’ and maybe helped me understand my participants from the position of a female-the position of a teacher- rather than the power position of a researcher.