Making, Unmaking and Remaking History: Exhibition Programming at Chisenhale Gallery in the late 1980s

这项研究将挖掘并重新激活20世纪80年代末在奇森黑尔画廊举办的一系列关键但被忽视的展览;包括Essential Black Art（1988），Yellow Peril：New World Asians（1988）以及Donald Rodney和Lubaina Himid的个展（1989）。它将以实践为基础，并通过社会参与艺术家的移动图像和实验技术进行，以参与奇森黑尔相当大的，基本上未开发的档案。基于共同创作和社会实践技术的对话方法论将被用来创造反映奇森黑尔过去和现在的新的、多样的艺术作品。本博士旨在挖掘当代艺术的潜力，为积极的社会变革，借鉴艺术家移动图像专门挖掘和重新激活最近的艺术史。我的研究将通过两个中心成果体现出来：1。一个在线资源，包括新进行的采访，精选的数字化档案材料，移动图像实验和投机性写作。这项工作将结合探索性、多语言写作和实验性图像技术，以多层次的方式呈现档案调查结果，旨在吸引不同的参与者，并以创新的方式吸引他们。因此，我的项目将绘制一个部分和混合的历史奇森黑尔的过去，以突出其重要性，作为一个社会和艺术孵化器。一个新的艺术作品重新参与中心主题在Chisenhale的早期方案和更广泛的伦敦的背景下，它的运作，连接这些与目前的时刻，并专注于中产阶级化，流离失所和当代民权斗争围绕种族，性别，性和阶级。这种方法旨在以挑战和扩展传统纪录片技术的形式呈现过去的可见和经验性的关键时刻。为了实现这一目标，我将从自己的实践中借鉴合作实验的工作方法，以允许艺术家，策展人和观众之间的新形式的互动，从奇森黑尔的过去和现在的时刻。

This research will excavate and re-activate a series of key but overlooked exhibitions held at Chisenhale Gallery in the late 1980s; including Essential Black Art (1988), Yellow Peril: New World Asians (1988) and Donald Rodney and Lubaina Himid's solo exhibitions (1989). It will be practice based and conducted through socially engaged artists' moving image and experimental techniques to engage Chisenhale's considerable, largely unexplored archive. A dialogical methodology predicated on co-creation and social practice techniques will be employed to create new, multiform artworks reflecting Chisenhale's past and present. This PhD seeks to mine the potential of contemporary art for positive social change, drawing on artists moving image specifically to excavate and re-activate recent art history.My research will manifest itself through two central outcomes:1. An online resource featuring newly conducted interviews, a curated selection of digitised archive material, moving image experiments and speculative writing. This work will incorporate exploratory, polyvocal writing and experimental image techniques to represent archival findings in multi-layered ways that aim to attract diverse participants and engage them in innovative ways. As such my project will chart a partial and hybrid history of Chisenhale's past to highlight its importance as a social and artistic incubator.2. A new artwork re-engaging with central themes in Chisenhale's early programme and the wider London context in which it operated, connecting these with the present moment and focusing on gentrification, displacement and contemporaneous civil rights struggles around race, gender, sexuality and class. This approach aims to render visible and experiential crucial moments of the past in forms that challenge and expand on traditional documentary techniques. To achieve this, I will draw on collaborative experimental working methods from my own practice to allow for new forms of interactions between artists, curators and audiences from Chisenhale's past and the present moment.