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DRIFTING TO ACCESS-STEPHEN COPLAND

The animation video, “Drifting to access” created for the Biennale of Contemporary Art 2019, Universal Data at the Museum of Modern and Contemporary art, Alita/ Byblos, Lebanon.
Many thanks to the curator, Sarah Schaub for selecting me as well as the team at MACAM.

https://www.facebook.com/events/552569665154076/

It was great collaborating with my friend and wonderful editor Pierre Laba Sakis again after our working together for the commissioned work, ‘Dream of Ghosts for the Cowra Regional Gallery in 2017. https://vimeo.com/237668169
ARTIST STATEMENT
In the work I am focusing on the concept of human rights, migration and the digital universe. Juxtaposed with this will be how connectivity via mobile phones, (text and camera) and humans seeking asylum have altered the space and conversation of the human move- ment.
French philosopher Michel Foucault’s 1967 essay “Des espaces Autres” (Of another Space) maintains we cannot “disregard the fatal intersection with time and space” (Foucault 1986:22) and that we are in the epoch of space, simultaneity, and juxtaposition, near and far, side by side and of the dispersed. He discusses utopias as sites with no place, without home and no relation to society and as places without reality. In contrast heterotopias are real places found within cultures and the site in between these is like a mirror.
The proposed video will use film, music and animation will create a digital space investiga- ting the potential of connectivity to connect globally, to mobilise and make empathy, kno- wledge and highlight circumstances of human rights violations.
Gericault’s famous nineteenth-century painting The Raft of the Medusa (1819) has been a prime historic and social reference point for me.
Concept and artworks: Stephen Copland Editing: Pierre Laba Sakis

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Art Talk—How Egyptian Art Works with Jen Thum



Discover Egyptian art with curatorial fellow Jen Thum as she introduces one of her favorite works of art at the Harvard Art Museums.

TAKE A CLOSER LOOK:

+ “Tomb Relief of the Official Ptahshepses, Also Called Impy,” 2323-2150 BCE, Old Kingdom, Dynasty 6, Egypt, carved limestone, Harvard Art Museums/Arthur M. Sackler Museum, Gift of Nanette Rodney Kelekian in memory of George and Ilse Hanfmann,1993.222: https://www.harvardartmuseums.org/collections/object/303779?position=0

+Coloring Ancient Egypt—An Activity Book for Kids of All Ages: https://www.harvardartmuseums.org/article/coloring-ancient-egypt-an-activity-book-for-kids-of-all-ages

+ Art Talk—The Ushabti of Princess Maatkare with Inês Torres: https://vimeo.com/425581617

Speaker: Jen Thum, Assistant Director of Academic Engagement and Assistant Research Curator, Division of Academic and Public Programs, Harvard Art Museums.

This video is part of our https://vimeo.com/channels/1557966 series in which curators, conservators, fellows, and graduate students share short, informal videos that offer an up-close look at works from our collections.

© President and Fellows of Harvard College. Video: Jen Thum. For questions related to permission for commercial use of this video, please contact the Department of Digital Imaging and Visual Resources at am_divr@harvard.edu.

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Norway Museum Says Edvard Munch Wrote ‘Madman’ On ‘The Scream’



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COPENHAGEN, Denmark (AP) — Norway’s National Museum says a small, barely visible sentence written with a pencil on Edvard Munch’s 1893 masterpiece “The Scream” was penned by the Norwegian painter himself.

The painting which shows a waif-like figure cradling its head in its hands with its mouth agape, has become a global icon for the expression of human anxiety. The sentence — “can only have been painted by a madman” — was scribbled in the top left-hand corner.

The painting is being prepared to be exhibited at the new National Museum of Norway that is due to open in Oslo, the Norwegian capital, in 2022. In this connection, the canvas has undergone research and conservation.

“The writing is without a doubt Munch’s own,” Mai Britt Guleng, curator at the National Museum, said in a statement Monday, adding it was compared to the painter’s own scribbling in diaries and letters.

“The handwriting itself, as well as events that happened in 1895, when Munch showed the painting in Norway for the first time, all point in the same direction,” Guleng said.

The writing on the canvas was added after Munch had completed the painting but for years it has been a mystery, the museum said in a statement. Speculation has ranged from it being an act of vandalism by an outraged viewer to something written by Munch himself.

Guleng said the inscription was likely made “in 1895, when Munch exhibited the painting for the first time.”

The painting at the time caused public speculation about Munch’s mental state. During a discussion night when the artist was present, a young medical student questioned Munch’s mental health and claimed his work proved he was not sound.

“It is likely that Munch added the inscription in 1895, or shortly after, in response to the judgment on his work,” the statement read.

Munch was profoundly hurt by the accusations, returning to the incident again and again in letters and diary entries. Both his father and sister suffered bouts of depression and Munch was finally hospitalized after a nervous breakdown in 1908, Guleng said.

The National Gallery was temporarily closed in 2019 to secure a safe moving process to the new National Museum, which is currently under construction in downtown Oslo. The museum will exhibit 400,000 objects ranging from antiquity to the present day and includes paintings, sculpture, drawings, textiles, furniture and architectural models.



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