Save the date: Stuart Hall Library Research Network 20 February 2014

Join us at our next meeting Thursday 20th February 18:30. The presentations will be followed followed by a question and answer session.

     

Still from the video Postcard Choreographies 2013, Dan Munn

Please book your place online The event is free but we would be grateful if you could let us know if you book and then cannot attend.

Laura Preston, art critic and curator will present Next Spring

A reading from "Next Spring," a story that departs from living in a government housing project in the North East of Japan in early 2012, post-tsunami and nuclear disaster. Tracing recent time-based-film and photographic-works made by artists in Japan and connected to the energy politics of this island state, the text considers the possibilities of imaging an invisible threat.

Laura Preston is currently on residency at the Cité internationale des arts, Paris. Her practice as an art critic questions understandings of time and the production of space. As a curator she endeavours to present different models for publishing. She has worked at May contemporary art journal, Paris, 2013; Portikus, Frankfurt am Main, 2012; Adam Art Gallery, Victoria University of Wellington, 2008-2012; Witte de With, Rotterdam, 2007; and Artspace, Auckland, 2006. She continues to work for the Adam Art Gallery as Curator-at-Large.

Dan Munn, artist and writer  will present
Where in time is Europe's last wilderness?

Just over a year ago I took a trip to the town of the indigenous capital of Karasjok in Norway's Far North. I was curious as to how climate defines natural and cultural geography, specifically in regard to producing difference for the tourist market. Through recollections from this trip and a screening of Postcard Choreographies, 2013, which I produced on my return, I ask a series of questions including:
How has distance been replaced as the main signifier of remoteness?
Why did my bottle of Corona cost so much?
What kind of time do Far North cultural activities produce and what is it about traditional technologies that affects our experience of time?
Ski vs. phone: what does it mean to get nowhere?

Dan Munn is an artist and writer based in London. He recently completed an MA in Fine Arts at Goldsmiths College and has contributed to Art New Zealand, thisistomorrow, C Magazine, and Eyecontact, with work forthcoming in Magazine Issue 3 and The Pantograph Punch.

More information

Please book your place online (see above) Enquiries library@iniva.org 020 7749 1255

Save the date - Stuart Hall Library Research Network meeting, Thursday 30 January 2014, 6.30-8.00

Thursday January 30th : our first Research Network meeting of 2014.

Performance poet, life model, writer and photographer Ursula Troche will present 

Ursula Troche performing at the Notting
Hill Arts Festival, August 2013

Dialogues on Otherness in Research and practice
 'In my own (performance poetry based) research, I am ‘dealing with myself’ as an othered person of a kind that still needs explanation – hence another kind of otherness. In my case, this means explaining what it means to be ‘neither Black nor British’, why this is relevant, and how this is part of the postcolonial debate even if I do not originate from a colonised country. I do not therefore speak from the margins or the centre (e.g. hooks 1984), even though this framework is important for my location; I speak from the ‘boundary’ – as yet another kind of ‘Other’. This also leads me to an investigation of the psychological aspect of this debate, which shares with postcolonial studies an analysis of ‘otherness’, if from a different angle (i.e. Lacan). This then, is another investigation of and on otherness, which build on Stuart Hall’s investigations of around this theme, specifically his notion of ‘new ethnicities’. Lastly, I want to come back to the question of dialogue: how can (this) research contribute to open up the wider need to continue to break silences around ‘otherness’ and ‘race’ and critiques of dominant discourses.'

Also, artist, teacher and writer Jenny Jones will present 

Gatekeepers (2012)  © Jenny Jones

Re-imagining Old Chestnuts
'In this talk I present questions arising from paintings I made as part of the group show "Lodgistics" made in response to College Lodge in Dulwich Park, South London. The renovated Lodge, now a 'multicultural' arts centre run by the charity Whippersnappers, stands opposite the Dulwich Picture Gallery, the oldest public art gallery in Britain. The paintings depict 'Black' cherubs together with conkers, the seeds of the horse chestnut tree.
My artwork has always arisen from lived experience and the perceived 'trouble' with this research is threefold. Firstly: is there or isn't there a sense of taboo in a 'White' (working class) woman picturing 'Black' figures, from her own imagination? (eg: the perception of appropriating 'Black' art?). Secondly, the histories I researched in the making of the work: Kemet, the Bible, the Formorians and Rudolf Steiner's writings are all marginalised knowledge, discounted as mythological, unscientific or transcendent. Thirdly, the models for 'White' picturing 'Black' in visual representation have often been heavily criticised. One example being how Parisian avant garde artists' 'Negrophilia' in the 1920's was seen to be associating 'Black' people with the 'primitive'. I will be using this painting to open up discussions around 'transgressive texts' (Toni Morrison), aesthetics and self-racialization. Finally I want to raise the question: How do 'White' artists work to indicate their allegiance with anti-racism and critique 'White' privilege without being 'happy' or 'proud' (Sarah Ahmed).'

Listen to a recording of the event via the link below

The Second Stuart Hall Library Animateur for Iniva: Call for Proposals

© Christa Holka

1 February 2014 – 31 December 2014

Voluntary position, with expenses paid

Following the success of Iniva’s first Animateur Roshini Kempadoo (2013), Iniva’s Stuart Hall Library is seeking proposals for the second Animateur to work with the Library over a period of up to ten months during 2014.

Aims
The role is intended to establish an exchange of knowledge between the artist, curator or researcher, Iniva and its Library staff. The Stuart Hall Library Animateur will have the opportunity to:

• Explore the Library’s printed, archive and audio-visual material for the artist/researchers/curator’s creative and scholarly publishing/exhibition ambitions.

• Generate intellectual and creative activity in collaboration with Library staff.

• Further develop networks of existing and potential Library users.

• Assist in identifying how the Library’s collections and archive can be made more widely available

This voluntary role would suit a researcher/artist/curator whose current work resonates with that of Iniva and the Stuart Hall Library. We are looking for someone who has:

• Experience of using archives and special collections libraries for research and artistic purposes.

• Interest in collaborating with Library staff to promote the Stuart Hall Library and its collections, including contributing towards talks and events.

• Knowledge of Iniva’s history, its activities, the Stuart Hall Library and its collections.

We recommend that the Animateur commits their time to the Library for the equivalent of one day per week to undertake their research and liaise with Library staff, contributing towards projects and events.
 
Please submit a CV and a proposal of 500 words to Sonia Hope (Library Manager) and Roshini Kempadoo (Photographer, Media artist and Lecturer) detailing the ways in which your role as the second Stuart Hall Library Animateur would:

• Expand an artistic/scholarly research project you are developing.

• Strengthen existing, and establish new networks between the Library, its users and other institutions, locally and internationally.

• Promote the Library collections through talks, events and other communication channels. 

‘My work here in the last year has not only been a pleasurable experience but also an inspirational one. Working from the Stuart Hall Library facilitated a crucial creative thinking space to work through my own ideas whilst developing a better international perspective on visual art and culture. As an artist, sources of inspiration for my own projects were artists’ and art critics’ material – such as the recent exhibition catalogue Caribbean Art at the Crossroads of the World (2012), or Zineb Sedira’s artwork Silent Sight (2000) found in the Iniva audio-visual archive. As a scholar working on current chapters and articles for publication, conceiving and helping to develop the Stuart Hall Library Research Network and symposium as an inter-generational place for discussion of artists and critics work – has been invaluable to generate and listen to current conversation and thinking about the visual arts. 
Being based in the Library through the year is not only a quiet, comfortable and supportive alternative to a studio or office, it is more crucially, a knowledge base and specialised resource about the question of international visual art that engages critically with its circulation, production and cultural agency. The role of the Animateur is one I would recommend to anyone who is interested in international arts based research whether critic, scholar or artist.’
Roshini Kempadoo (December 2013) – 1st Stuart Hall Library Animateur for Iniva

For further information see the Iniva website and the Stuart Hall Library Blog.

Deadline for proposals: Friday 31 January 2014
Please send to Library@iniva.org 

Guest blog post: Jenny Jones, Stuart Hall Library volunteer

Jenny Jones, Stuart Hall Library volunteer

On just being in the library

I have been a volunteer at the Stuart Hall Library since first volunteering during Library Closed week in August 2013. After visiting the powerful Kimathi Donkor exhibition Queens of the Undead, I attended the Reading Group, several Research Network meetings and the Stuart Hall Library Symposium.  

The Stuart Hall Library supports exhibitions at Iniva by providing a display of reading matter and a bibliography related in theme to the current artists on show. The space designed by David Adjaye, features an installation by Ansuman Biswas that is sensitive to the movements of its inhabitants and I always find it unfailingly exhilarating and expansive here. Walking through the door makes me feel in touch with international artists all over the world and those from the past. No matter what my duties are that day, whether the satisfaction of shelf tidying, listing archive contents or merely perusing books, journals and zines I come across, the propensity for synchronicity and inspirational connections is extremely stimulating.

To say that the library gives an opportunity to study the histories and geographies of art that my BA in Fine Art did not cover is a huge understatement. My intention is to use the library to expand upon and question my existing knowledge of the myriad ways art is inflected and shaped by notions of race, ethnicity and culture. This encyclopaedic collection and gentle, inviting space nurtured by Library Manager Sonia Hope, is a much needed sanctuary for such an inquiry. 

I have recently enjoyed helping to list some of the backlog of archive material the library holds. This included fascinating documentation of the arts organisation OVA: Organisation of Visual Arts. This organisation based in South London during the 1980s, 1990s and 2000s, supported artists working on the margins of the mainstream Western Art during the development of ideas of the “Global Turn”. This term describes a wider recognition and acceptance of “multiple modernities” and the fact that art and culture had been negotiated locally in every culture whilst the West’s gaze had been turned inwards at itself.

A useful book for understanding these ideas is The Global Contemporary and the Rise of New Art Worlds, edited by Hans Belting, Andrea Buddensieg and Peter Weibel (library shelf no. 430.127 GLO).  This enabled me to piece together the various fragments of what I knew from my education in fine art, feminism and cultural studies about Modernism and the Other. I discovered just how overridingly the West had produced an interlocking system of capitalism, colonialism, slavery and racism that created 500 years of hegemony. The revelation that “Modern Art” as the sign of creative destruction and innovation was its cultural expression and therefore insidiously and inextricably tied in with something as seemingly disconnected as racism was an eye-opening connection. The fact that domestic, everyday and institutional racism is an ideological justification for this system’s strategic inequality and drive to politically control and engineer the world’s agricultural, mineral and labour assets, is mindblowing.

It was a privilege to get an insight into the day to day running of OVA through its correspondence between artists, curators and staff at various galleries in Britain, Canada and Japan.  There were artists CVs, slides, artists flyers and catalogues, also copious evidence of grant applications. I gleaned a picture of how publications and large scale, influential exhibitions came into being; shaping our cultural and historical field. In this sense, the functioning of OVA can be seen as an incredibly important project illustrating ideas of the “postethnic” whereby art is seen as drawing on the formal language and intellectual tradition of its country of origin, whilst being simultaneously embedded in international discourses. The careful contextualising processes unstintingly carried out by OVA’s curators Sunil Gupta and Edward Ward took the form of “rewriting” and questioning  the West’s dominance over the world.

One of the aspects I found interesting in the OVA files was the process whereby OVA’s production became digitised.  A number of individuals, including those responsible for setting up Iniva, formed a consortium and there was an efflorescence of correspondence around names for this group such as “Gather” and “Pomegranate”. Each drew up a list of artists and curators they felt should be preserved in the forthcoming digital archive. All the necessary operations of power in historicising, or in this case rewriting, are there tucked away in a small grey filing cabinet.

The OVA collection. The collection is not yet available to the public.

Jenny gained a BA in Fine Art-Painting at West Surrey College of Art and Design, a Postgraduate Diploma in Art Therapy and an MA in Feminist History, Theory and Criticism of Art at Leeds University. Her career has involved teaching art at Lambeth, Wandsworth and Southwark Adult Education, facilitating multi-media arts workshops with people with Learning Disabilities at Action Space, and lecturing in Cultural Studies for Art and Design at Croydon College, Northbrook College, the American Intercontinental University and the London College of Fashion. She was a contributing writer and co-editor of Art Therapy, Race and Culture published by Jessica Kingsley and has written for Artist and Illustrator, Make, Fold, Convergence and n.paradoxa.

Recent exhibitions have included "A New (Age) Spirit in Painting" for the ASC windowspace and also the Dulwich Artists Open Houses. She has also curated "Lodgistics" for College Lodge, SE21 and a two day event "AEthereal" at Franklin's, SE22 for Yuki Miyake's Open Draw gallery. 

Stuart Hall Library Research Network meeting, 12 December 2013, 6.30-8.00

Join us for our last Research Network meeting of the year.

Sayed Sattar Hasan and Karl Ohiri will present

My Grandad's Car

Sayed Sattar Hasan and Karl Ohiri shared a desire, they wanted to touch their grandfathers' cars in their country of birth and park them side-by-side. After much planning the artists made their respective journeys to Pakistan and Nigeria, only for their ambition of returning to the UK with the cars to end in failure. Instead, Ohiri's fragile Beetle shell and Hasan's retired hulk became stuck within dysfunctional legal systems and the uncompromising grip of corrupt officials.

My Grandad’s Car is the story of two friends who set out to explore their heritage and identities through their connections with their cars and each other. Ohiri and Hasan's project considers the legacies of migration and the relationship subsequent generations have with other home spaces. The artists unorthodox use of ritual and cultural motifs alludes to the sense of 'familiarity' and 'naivety' they feel towards everyday life in Pakistan and Nigeria, in particular as young British-born men. Through collaboration they look to develop work which disrupts conventional ethnic labels, by representing themselves as culturally hybrid and complex individuals.

The artists will be showing a selection of photography and video documenting their experiences, revealing the intimate acts and processes involved in their on-going work.

Sayed Sattar Hasan - Biography

Sayed Sattar Hasan values art as a way of contemplating and rethinking the social, political and cultural spheres that affect personal and public lives. He is influenced by his Pakistani and English heritage and plays with his hybrid identity to question norms which organise everyday life.

Themes in his work include the family, religion, the body and public interaction, explored through photography, video and installation.

Since graduating in 2009 in MA Photography and Urban Cultures at Goldsmiths, he has received funding from Arts Council England for solo and collaborative projects as well as exhibiting in galleries and art festivals nationally and internationally. Including The New Art Exchange, Heathrow Terminal 5, The primera photography biennale, Lima 2012 and LagosPhoto13.

www.sayedsattarhasan.com


Karl Ohiri - Biography

The framework of his practice consists of two overlapping points of interest; ‘cultural studies’ and 'the human condition’. This is explored through personal and public encounters primarily using photography, video and performance.

Since completing his Masters at Goldsmiths University in 2008, his artwork has been a mixture of conceptually driven, documentary based works that consist of natural and constructed images and the recontextualisation of pre-existing artefacts.

His work has been exhibited internationally (most recently at LagosPhoto13) and in various galleries throughout the UK including; The New Art Exchange, Heathrow Terminal 5 and Tate Britain.

www.karlohiri.com


Spaces in the Library are limited. Book a place here

Stuart Hall Library Research Network meeting, Thursday 21 November, 6.30-8.00

Join us for November’s Research Network meeting of talks and discussion.

Sarah Stefana Smith will present

"A Poetics of Bafflement and Queer Affect in the Work of Contemporary Black Visual Artists"

‘My presentation focuses on the artistic work of contemporary black diaspora artists who negotiate different conceptions of blackness. Through an engagement of queer affective space, I cultivate what I call a “poetics of bafflement” that works through slippages among aesthetics, blackness and desire (homoerotic and otherwise) to engage the affective and sociocultural dynamics of black belonging. Bafflement acts as a mode in which to negotiate spaces of contradiction, dis-ease and dis-satisfaction. For the purposes of this presentation, I focus on the work of Deana Lawson whose work considers the body’s ability to take up the everyday, the sexual and the abject. Not shying away from articulations between the profane and the sacred Lawson’s photography explore the interior spaces of matters of the heart—family, desire, mothering and sexuality. Yet these interior spaces make public the slipperiness of the erotic. Molding time and space in relation to moments that baffle Lawson's work is useful in grappling with often “un/invisible economies” of relation that coalesce both and through the making, execution, content and context in which the work is received and able to circulate.’

Sarah Stefana Smith is a visual artist and scholar. Currently she is a doctoral student in the Humanities, Social Science and Social Justice in Education Department at OISE, University of Toronto. Her research considers the work of black diaspora artists (1990-present) who negotiate radically different conceptions of blackness. Taking up the work of bafflement as a means to address slippages among belonging, aesthetics and blackness—and engaging affective and sociocultural dimensions of dis-satisfaction—she examines the “door of no return” as queer assemblage space. She is currently a visiting scholar of Black Studies at the University of Bremen, Germany. Sarah holds a MFA from Goddard College in Interdisciplinary Art. As a member of Massmus Collective and La Boi Band International, respectively she received an Ontario Arts Council Grant and IdeasTap Zine submission grant in 2013. Visit her online at: www.sarahstefanasmith.com.

Our second speaker is art historian Courtney J. Martin. Courtney's presentation is "Mark Bradford: Darkest America in Brightest London". Mark Bradford's work is currently on show at the White Cube, Bermondsey, London.

Courtney J. Martin is an assistant professor in the History of Art and Architecture department at Brown University.  She received a doctorate from Yale University in 2009.  Prior to Brown, she was an assistant professor in the History of Art department at Vanderbilt University (2010-2013); Chancellor’s Postdoctoral Fellow in the History of Art at the University of California at Berkeley (2009-2010); a fellow at the Getty Research Institute (2008-2009); and a Henry Moore Institute Research Fellow (2007). She also worked in the media, arts, and culture unit of the Ford Foundation in New York on an international arts portfolio that funded major arts projects, including the Venice Biennale and Documenta. After leaving Ford, she served as a consultant for the foundation’s Gulf Coast Transformation Initiative and the Integrating the Arts and Education Initiative.  In 2012, she curated a focus display of Frank Bowling’s painting at Tate Britain. This year she is working on a manuscript about British art and politics after 1968, curating an exhibition of post-minimalist art and co-editing a volume of essays on the critic/curator Lawrence Alloway.   

Space is limited in the library, so if you have not already done so please book a place here.

For more information or to submit a proposal to present at future meetings, email us.

Guest Blog post: Srajana Kaikini, Stuart Hall Library Research Network

Reading an opaque language

What does it mean when one speaks in an opaque language?

The construction of ‘experience’ in art has been closely explored through the concepts of ‘rasa’,  ‘sensation’, ‘affect’ etc. in philosophical enquiry across the globe which have given rise to the question that informs my current research - the role of the ‘literal’ object and the objectified ‘letter’ in contemporary art practices.

Outside the Serpentine Gallery, presently sits a newly commissioned work by Fischli and Weiss titled ‘Rock on Top of Another Rock’. The work is essentially that – one boulder balancing precariously on another boulder on the ground. The work at once strikes the nail on its head and is the experience of precariousness itself. At the same time, it also confronts the art ‘reader’ (and here I address all acts of experiencing as acts of ‘reading’ ) with the challenge of trying to see the subtlety and humour of the work without falling prey to an urge to over-interpret.   

Fischli/Weiss- Rock on Top of Another Rock 2013-2014 | Image - Srajana Kaikini

The ‘literal’ somehow finds itself at this strange crossroads of explicit and implicit communication.

The Dhvani theory ( dhvani can be loosely translated as ‘resonance’) or the theory of Suggestion, one of the several linguistic theories in Indian aesthetic philosophy, emphasizes on reading and receiving language through multiple levels of interpretation. At the same time it puts emphasis on expressing emotions through material symbolism i.e referring to concrete objects in the world to convey an abstract expression. The landscape poetry in Tamil Sangam Literature is an instance of highly charged symbolism where the landscape becomes the expression of the state of mind.

Water lilies bloom
in the lagoons
where cranes part the water lilies
looking for fish
then fly away to stay
in fragrant seaside groves,
near my lover's village washed by the sea.

His love for me
is greater than the sea.

- Neithal (Ainkurunuru - 184)

(Selby, Martha Ann. Tamil Love Poetry: The Five Hundred Short Poems of the Aiṅkuṟunūṟu, an Early Third-Century Anthology. Columbia University Press, 2011.)

Meanwhile, a challenge to this notion of objectified experience comes from the proponents of Concrete Poetry beginning with Swiss poet Eugene Gomringer (Constellations, 1953) and the Noigandres group of poets in Brazil – Haroldo de Campos, Décio Pignatari and Augusto de Campos who published the Concrete Poetry manifesto (“I Exposição Nacional de Arte Concreta” in the Museu de Arte Moderna of São Paulo, 1956) which begins thus.      

 “Concrete poetry begins by assuming a total responsibility before language: accepting the premise of the historical idiom as the indispensable nucleus of communication, it refuses to absorb words as mere indifferent vehicles, without life, without personality without history - tabu-tombs in which convention insist on burying the idea.”

Here the words turned into materials to make visual/sensorial experiences out of them, and ‘they became beautiful simply because they are what they are’; an inversion of linguistic role-play and a tendency towards a more universal poetry where form and content collapse into each other.

These two contrapuntal impulses frame a contemporary condition where art vocabulary takes recourse to the ‘material’ once again. This could be a symptom of globalization as an inevitable precursor for most cultural processes today and the circulation of geo-global artists in the international sphere. The artist has emerged also as a cultural translator but is the medium she chooses to express her art also implicated in this new role-play?

Some thoughts on the Research Network Meeting @ the Stuart Hall Library

I am thankful for the rich discussion generated at the Research Network meeting in conversation with Sunil Gupta on invitation from Roshini Kempadoo. The evening had several inter-disciplinary points of entry. This included personal insights from anecdotal recollections and reflections of the activist art worker’s role in present times by Sunil Gupta as well as suggestions and ideas from artists, researchers and practitioners in the field of philosophy, global arts and cultural studies present during the evening. I noticed an emphasis in general on the practice of art as a cultural activator of relations and a larger concern around the anomalies and differences that exist in terms of vocabularies in contemporary art language and the difference in the nature of infra-structure and institutional frameworks for the arts in the Indian contexts as compared to the local context in London, something to ponder upon despite the blanket effect of a term like globalization that exists as a discourse predominantly in locations already in its grip.

Srajana Kaikini is a writer, curator and researcher working with the spoken and written word, Indian literary theories – rasa dhvani, architectural urban spaces and aesthetics. She is the third Delfina Foundation Research Fellow, in partnership with the Foundation for Indian Contemporary Art, Iniva and Goldsmiths College (Department of Visual Cultures). 

Srajana was in conversation with Sunil Gupta at the Stuart Hall Library Research Network meeting, 17 October 2013.

For more information about the Stuart Hall Library Research Network, email us.

Stuart Hall Library Research Network meeting, Thursday 17 October 2013, 6.30-8.30

Join us for our next Research Network meeting for a great evening of thought-provoking discussion.

To kick-start our Autumn 2013 meetings we have two established artists/curators.

We are joined by Srajana Kaikini, who is visiting from India and is the third Research Fellow with the Delfina Foundation (2013), in partnership with the Foundation for Indian Contemporary Art, Iniva and Goldsmiths College (Department of Visual Cultures). Srajana is a writer curator and researcher working with the spoken and written word, Indian literary theories – rasa dhvani, architectural urban spaces and aesthetics.

Sunil Gupta is known in the UK and India as an international Photographer, curator, activist and scholar. As a founding member of Autograph ABP and OVA, and curator of the recent exhibition When Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh, Whitechapel (2010) amongst others, he has been at the forefront of exploring photography in relation to Indian photography practice, queer culture, and HIV awareness. 

Space in the Library is limited so please book a place. You can book online or by contacting library staff via email.

For more information or to submit a proposal to present at future meetings, email library@iniva.org

Late opening on 3rd October until 20:00

Library display of material related to Iniva's current exhibition Tagore's Universal Allegories

Next Thursday, 3rd October, the Stuart Hall Library will be opening late until 20:00. We have a display of books and other material on Tagore, Anna Boghiguian and Goshka Macuga. The material is related to Iniva's current exhibition Anna Boghiguian & Goshka Macuga: Tagore's Universal Allegories. Our collection includes books on Indian art, and exhibition catalogues and journal articles related to Anna Boghiguian and Goshka Macuga. You are of course welcome to use the Library's facilities as usual during this late opening.

Stuart Hall Library Research Network, Autumn 2013

Following the success of The Trouble With Research symposium in June, the Stuart Hall Library is organising a series of Research Network meetings to take place this Autumn.

Save the dates:

Thursday 17 October, 6.30-8.00

Thursday 21 November, 6.30-8.00

Thursday 12 December, 6.30-8.00

The Stuart Hall Library Research Network was established in January 2013 as a meeting place for postgraduate researchers (artists, critics, curators) to present work that resonates with Iniva’s vision for visual arts and international perspectives, and is inspired by the work of Stuart Hall.

We welcome proposals to present at the Autumn meetings. To submit a proposal, send a 250 word summary of your intended presentation to library@iniva.org

Further details and booking information to follow shortly.

Meetings take place in the library, 2nd floor of Rivington Place from 6.30-8pm.

Iniva,

1 Rivington Place

Shoreditch

London EC2A 3BA

For more information or to submit a proposal to present at future meetings, email library@iniva.org