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

这项研究将挖掘和重新激活一系列重要但被忽视的展览，这些展览于20世纪80年代末在Chisenhale画廊举行；包括《本质的黑色艺术》（1988）、《黄祸：新世界的亚洲人》（1988）以及唐纳德·罗德尼和卢巴伊娜·希米德的个展（1989）。它将以实践为基础，通过参与社会活动的艺术家的动态图像和实验技术来参与奇恩黑尔的大量未被探索的档案。以共同创作和社会实践技术为基础的对话方法将被用来创造新的、多种形式的艺术作品，反映Chisenhale的过去和现在。本博士旨在挖掘当代艺术的潜力，以积极的社会变革，借鉴艺术家的移动图像，具体挖掘和重新激活最近的艺术史。我的研究将通过两个核心成果来体现：1。一个在线资源，以新进行的采访为特色，精选的数字化档案材料，移动图像实验和推测性写作。这项工作将结合探索性、多声音写作和实验图像技术，以多层次的方式呈现档案发现，旨在吸引不同的参与者，并以创新的方式吸引他们。因此，我的项目将描绘出奇恩黑尔过去的部分和混合历史，以突出其作为社会和艺术孵化器的重要性。这是一件新的艺术品，它重新融入了Chisenhale早期项目的中心主题，以及它运作的更广泛的伦敦背景，将这些主题与当前时刻联系起来，关注中产阶级化、流离失所和当代围绕种族、性别、性和阶级的民权斗争。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可见和体验的关键时刻。为了实现这一目标，我将从我自己的实践中借鉴合作实验工作方法，允许艺术家，策展人和观众之间从过去到现在的新形式的互动。

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.