[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"website-detail-proudandtorn":3,"facets-{\"includeAuthors\":\"false\"}":135,"facets-baseline-false":295,"similar-websites-proudandtorn":328},{"id":4,"name":5,"slug":6,"url":7,"dateUpdated":8,"fetchedAt":9,"coverId":10,"coverMobileId":11,"coverWidth":12,"coverHeight":13,"coverMobileWidth":14,"coverMobileHeight":15,"descriptionEn":16,"seoMeta":17,"industry":20,"styles":24,"credits":37,"pages":38,"typefaces":50,"technologiesByCategory":58,"pagespeedDesktop":79,"pagespeedMobile":92,"performanceDesktop":82,"performanceMobile":94,"colorBuckets":99,"colorPalette":116},"f1f428e0-145f-448e-a57d-a417d67a28ec","Proud & Torn","proudandtorn","https:\u002F\u002Fproudandtorn.org","2026-05-23T20:23:55.000Z","2026-05-04T09:11:19.000Z","a2ca7270-7013-450e-a2aa-173de5b8a03a","ba28db43-1989-4f84-aa9b-63cd16acf4e1",1440,900,780,1688,"Proud & Torn is a poignant digital storytelling experience that serves as a visual memoir of Hungarian history. 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Art","the-university-of-arizona-museum-of-art","https:\u002F\u002Fartmuseum.arizona.edu\u002F","https:\u002F\u002Fartmuseum.arizona.edu","2026-05-04T15:23:02.000Z",83,0,84,"2026-05-23T19:22:23.000Z","Home | The University of Arizona Museum of Art | Tucson, AZ","The University of Arizona Museum of Art fosters critical dialogue, research, and community engagement through its diverse art collection in Tucson, AZ and beyond.","Your browser doesn't support HTML5 video. We Are Currently Closed Experience the power of art to spark ideas, start conversations, and create joy. [Educational programs designed to help you learn more about and enjoy art. View Programs arrow](learn \"View Programs\") [Gain access to exclusive exhibitions, events, and behind-the-scenes tours. Support Us arrow](join-give \"Support Us\") [Experiences that expose you to beautiful and inspiring works of art. Register Today arrow](see-do \"Register Today\") Exhibitions View All _Exhibitions_ arrow prev next [ Feb 14, 2026 — May 09, 2026 Our Stories: High School Artists 2026 ](see-do\u002Fexhibitions\u002F2026\u002F02\u002F14\u002Four-storieshigh-school-artists-2026)[ Apr 18, 2026 — May 16, 2026 MFA Thesis Exhibition 2026 ](see-do\u002Fexhibitions\u002F2026\u002F04\u002F18\u002Fmfa-thesis-exhibition-2026)[ Jun 13, 2026 — Sep 19, 2026 The Vault Show: BIG\u002Flittle ](see-do\u002Fexhibitions\u002F2026\u002F06\u002F13\u002Fthe-vault-show-biglittle)[ OngoingJan 06, 2026 — Jan 17, 2027 Modern Art Gallery ](see-do\u002Fexhibitions\u002F2026\u002F01\u002F06\u002Fmodern-art-gallery)[ OngoingJan 06, 2026 — Jan 17, 2027 The Samuel H. 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Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FC4825189-34FF-40FC-91D4-350043834215) End of the Rain \u003Cspan>(also\u003C\u002Fspan> After the Rain\u003Cspan>)\u003C\u002Fspan> End of the Rain (also After the Rain) George Inness, 1891, Oil on canvas, Gift of T.E. Hanley [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FF514BF15-6D93-426E-A83B-423666667197) Abraham Francen Abraham Francen Rembrandt van Rijn, ca. 1657, Etching, drypoint and burin on laid paper, Gift of Mr. Peter Licavoli [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F6834794F-CF3D-424E-8BB2-809879909349) Mr. Broe Waits His Turn \u003Cspan>(also\u003C\u002Fspan> Waiting For His Turn\u003Cspan>)\u003C\u002Fspan> Mr. Broe Waits His Turn (also Waiting For His Turn) Katherine Schmidt, 1937, Oil on canvas, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F296C000C-DE5A-40C2-AE04-982133065923) Monday Night at the Metropolitan Monday Night at the Metropolitan Reginald Marsh, ca. 1936, Egg tempera and oil on panel, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F591E2F6F-9374-41FD-9FBE-392461942570) Avalanche By Wind Avalanche By Wind Alexandre Hogue, 1944, Oil on canvas, Gift of William Benton [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FE37ED70E-7AF0-4D9F-9BB1-305882620159) Woman-Ochre Woman-Ochre Willem De Kooning, 1954-1955, Oil on canvas, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F0C256DB4-8049-48B0-AC81-893343290445) A Capriccio of Classical Ruins A Capriccio of Classical Ruins Giovanni Paolo Panini, ca. 1750, Oil on canvas, Museum Purchase with Funds Provided By the Edward J. Gallagher, Jr. Memorial Fund [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FAD95310E-EFB9-46DD-BD8C-339028350040) Jeune Fille au Chapeau (Young Woman in a Hat) Jeune Fille au Chapeau (Young Woman in a Hat) Pierre Auguste Renoir, ca. 1897, Oil, George Gregson Bequest in Loving Memory of Patricia Janss Gregson [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F6C43073A-2831-4A9A-9A48-646479810346) Portrait of a Woman Portrait of a Woman William Sidney Mount, 1832, Oil on canvas, Museum Purchase with Funds Provided By the Edward J. Gallagher, Jr. Memorial Fund [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FB9A02E9E-A768-481C-97D3-215495232500) Number 20, 1950 Number 20, 1950 Jackson Pollock, 1950, Oil on Masonite gameboard, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F0CAF0D04-BE7E-45F6-83C9-451274350827) Things in Landscape #1 Things in Landscape #1 Joan Brown, 1959, Oil on canvas, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FE7B1501F-CF25-47C8-BE18-417123525157) The City The City Edward Hopper, 1927, Oil on canvas, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F847EC702-A64D-4EE6-930B-338506747816) Nature morte (Fleurs) Nature morte (Fleurs) Edouard Vuillard, ca. 1900, Oil on cardboard, George Gregson Bequest in Loving Memory of Patricia Janss Gregson [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FA07CD4ED-21F6-474D-8CEC-069755033698) Gala Placidia Gala Placidia Salvador Dalí, 1952, Brown ink and conté crayon on paper, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F7A968BC6-9593-4EF3-AAFD-341785540770) The Drought in the Southwest, or Cattlemen Warning Sheep-Herders Away from Their Water The Drought in the Southwest, or Cattlemen Warning Sheep-Herders Away from Their Water Frederic S. Remington, 1900, Oil on canvas, Gift of Mr. and Mrs. Harry L. Bell [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F071B7B6F-E9C6-4150-B4C0-284508618862) Diners \u003Cspan>(also\u003C\u002Fspan> Café Scene\u003Cspan>)\u003C\u002Fspan> Diners (also Café Scene) Jacob Lawrence, 1942, Gouache on paper, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F0C29FF4C-F467-4952-A86F-115723226940) From the Neuf Series From the Neuf Series Edgar Heap of Birds, 1992, Acrylic, Museum Purchase with Funds Provided By the Edward J. Gallagher, Jr. Memorial Fund [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F90603BBD-2A25-4CEF-9197-333978072341) Coat of Arms with Skull Coat of Arms with Skull Albrecht Dürer, printed ca. 1870, Line Photogravure [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002Fwebobject\u002FD38724AA-5679-4067-9673-777720927660) Collections 6,000+ Pieces of Art Major Collections arrow The University of Arizona Museum of Art advances the academic and research mission of the university, inspires critical dialogue among campus and community audiences, and celebrates art as essential to our lives through the stewardship and interpretation of its expanding collection of art and archives . [## Art comes to life with programs that engage audiences of every age. View Programs arrow](learn \"View Programs\") Get to know UAMA through stories from within and beyond the museum’s walls. 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Large-scale imagery of classical and contemporary works anchors the experience, immediately establishing the museum as a space for both contemplation and active dialogue. The landing page rhythm moves from expansive, emotive hero sections into structured blocks that invite users to explore programs, memberships, and collections through a clear, mission-driven lens.\n\nDeep burgundy tones provide a sophisticated foundation for a layout that balances heavy serif typography with generous whitespace. The grid organizes diverse content—from exhibition details to membership calls-to-action—into distinct, legible modules that prevent the dense information from feeling overwhelming. 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We Are Currently Closed Experience the power of art to spark ideas, start conversations, and create joy. [Educational programs designed to help you learn more about and enjoy art. View Programs arrow](learn \"View Programs\") [Gain access to exclusive exhibitions, events, and behind-the-scenes tours. Support Us arrow](join-give \"Support Us\") [Experiences that expose you to beautiful and inspiring works of art. Register Today arrow](see-do \"Register Today\") Exhibitions View All _Exhibitions_ arrow prev next [ Feb 14, 2026 — May 09, 2026 Our Stories: High School Artists 2026 ](see-do\u002Fexhibitions\u002F2026\u002F02\u002F14\u002Four-storieshigh-school-artists-2026)[ Apr 18, 2026 — May 16, 2026 MFA Thesis Exhibition 2026 ](see-do\u002Fexhibitions\u002F2026\u002F04\u002F18\u002Fmfa-thesis-exhibition-2026)[ Jun 13, 2026 — Sep 19, 2026 The Vault Show: BIG\u002Flittle ](see-do\u002Fexhibitions\u002F2026\u002F06\u002F13\u002Fthe-vault-show-biglittle)[ OngoingJan 06, 2026 — Jan 17, 2027 Modern Art Gallery ](see-do\u002Fexhibitions\u002F2026\u002F01\u002F06\u002Fmodern-art-gallery)[ OngoingJan 06, 2026 — Jan 17, 2027 The Samuel H. Kress Collection ](see-do\u002Fexhibitions\u002F2026\u002F01\u002F06\u002Fthe-samuel-h-kress-collection)[ OngoingJan 06, 2026 — Jan 17, 2027 Contemporary Art Gallery ](see-do\u002Fexhibitions\u002F2026\u002F01\u002F06\u002Fcontemporary-art-gallery)[ OngoingJan 06, 2026 — Jun 17, 2026 Surrealism: The Art of the Subconscious ](see-do\u002Fexhibitions\u002F2026\u002F01\u002F06\u002Fsurrealism-the-art-of-the-subconscious) Upcoming Events _View_ Calendar arrow [ closing-reception-mfa-thesis-exhibition-2026 May 14, 2026 at 5:00 pm Closing Reception: MFA Thesis Exhibition 2026 ](see-do\u002Fevents\u002Fcalendar\u002F2026\u002F05\u002F14\u002Fclosing-reception-mfa-thesis-exhibition-2026)[ virtual-art-trivia-happy-hour-pets May 28, 2026 at 5:00 pm Virtual Art Trivia Happy Hour: Pets! ](see-do\u002Fevents\u002Fcalendar\u002F2026\u002F05\u002F28\u002Fvirtual-art-trivia-happy-hour-pets)[ members-morning-a-glimpse-into-the-world-of-warhol Jun 06, 2026 at 9:00 am Members Morning: A Glimpse Into the World of Warhol ](see-do\u002Fevents\u002Fcalendar\u002F2026\u002F06\u002F06\u002Fmembers-morning-a-glimpse-into-the-world-of-warhol) Portrait of Yousuf Karsh Portrait of Yousuf Karsh Jacques Lipchitz, 1970, Plaster, Gift of the Jacques and Yulla Lipchitz Foundation [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FF6717537-D1D1-4452-93CA-802331376075) Adit #1 (Industry) Adit #1 (Industry) Stuart Davis, 1928, Oil on canvas mounted on Masonite, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FC4825189-34FF-40FC-91D4-350043834215) End of the Rain \u003Cspan>(also\u003C\u002Fspan> After the Rain\u003Cspan>)\u003C\u002Fspan> End of the Rain (also After the Rain) George Inness, 1891, Oil on canvas, Gift of T.E. Hanley [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FF514BF15-6D93-426E-A83B-423666667197) Abraham Francen Abraham Francen Rembrandt van Rijn, ca. 1657, Etching, drypoint and burin on laid paper, Gift of Mr. Peter Licavoli [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F6834794F-CF3D-424E-8BB2-809879909349) Mr. Broe Waits His Turn \u003Cspan>(also\u003C\u002Fspan> Waiting For His Turn\u003Cspan>)\u003C\u002Fspan> Mr. Broe Waits His Turn (also Waiting For His Turn) Katherine Schmidt, 1937, Oil on canvas, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F296C000C-DE5A-40C2-AE04-982133065923) Monday Night at the Metropolitan Monday Night at the Metropolitan Reginald Marsh, ca. 1936, Egg tempera and oil on panel, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F591E2F6F-9374-41FD-9FBE-392461942570) Avalanche By Wind Avalanche By Wind Alexandre Hogue, 1944, Oil on canvas, Gift of William Benton [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FE37ED70E-7AF0-4D9F-9BB1-305882620159) Woman-Ochre Woman-Ochre Willem De Kooning, 1954-1955, Oil on canvas, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F0C256DB4-8049-48B0-AC81-893343290445) A Capriccio of Classical Ruins A Capriccio of Classical Ruins Giovanni Paolo Panini, ca. 1750, Oil on canvas, Museum Purchase with Funds Provided By the Edward J. Gallagher, Jr. Memorial Fund [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FAD95310E-EFB9-46DD-BD8C-339028350040) Jeune Fille au Chapeau (Young Woman in a Hat) Jeune Fille au Chapeau (Young Woman in a Hat) Pierre Auguste Renoir, ca. 1897, Oil, George Gregson Bequest in Loving Memory of Patricia Janss Gregson [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F6C43073A-2831-4A9A-9A48-646479810346) Portrait of a Woman Portrait of a Woman William Sidney Mount, 1832, Oil on canvas, Museum Purchase with Funds Provided By the Edward J. Gallagher, Jr. Memorial Fund [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FB9A02E9E-A768-481C-97D3-215495232500) Number 20, 1950 Number 20, 1950 Jackson Pollock, 1950, Oil on Masonite gameboard, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F0CAF0D04-BE7E-45F6-83C9-451274350827) Things in Landscape #1 Things in Landscape #1 Joan Brown, 1959, Oil on canvas, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FE7B1501F-CF25-47C8-BE18-417123525157) The City The City Edward Hopper, 1927, Oil on canvas, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F847EC702-A64D-4EE6-930B-338506747816) Nature morte (Fleurs) Nature morte (Fleurs) Edouard Vuillard, ca. 1900, Oil on cardboard, George Gregson Bequest in Loving Memory of Patricia Janss Gregson [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002FA07CD4ED-21F6-474D-8CEC-069755033698) Gala Placidia Gala Placidia Salvador Dalí, 1952, Brown ink and conté crayon on paper, Gift of Edward Joseph Gallagher, Jr. [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F7A968BC6-9593-4EF3-AAFD-341785540770) The Drought in the Southwest, or Cattlemen Warning Sheep-Herders Away from Their Water The Drought in the Southwest, or Cattlemen Warning Sheep-Herders Away from Their Water Frederic S. Remington, 1900, Oil on canvas, Gift of Mr. and Mrs. Harry L. Bell [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F071B7B6F-E9C6-4150-B4C0-284508618862) Diners \u003Cspan>(also\u003C\u002Fspan> Café Scene\u003Cspan>)\u003C\u002Fspan> Diners (also Café Scene) Jacob Lawrence, 1942, Gouache on paper, Gift of C. Leonard Pfeiffer [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F0C29FF4C-F467-4952-A86F-115723226940) From the Neuf Series From the Neuf Series Edgar Heap of Birds, 1992, Acrylic, Museum Purchase with Funds Provided By the Edward J. Gallagher, Jr. Memorial Fund [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002FWebobject\u002F90603BBD-2A25-4CEF-9197-333978072341) Coat of Arms with Skull Coat of Arms with Skull Albrecht Dürer, printed ca. 1870, Line Photogravure [View Record arrow ](https:\u002F\u002Fuarizona.pastperfectonline.com\u002Fwebobject\u002FD38724AA-5679-4067-9673-777720927660) Collections 6,000+ Pieces of Art Major Collections arrow The University of Arizona Museum of Art advances the academic and research mission of the university, inspires critical dialogue among campus and community audiences, and celebrates art as essential to our lives through the stewardship and interpretation of its expanding collection of art and archives . [## Art comes to life with programs that engage audiences of every age. View Programs arrow](learn \"View Programs\") Get to know UAMA through stories from within and beyond the museum’s walls. Read Stories arrow [landscape-with-mountains](about\u002Fs …. A Clean \u002F Minimalist, Typographic \u002F Big Type website in the Art & Culture industry. Designed by Form. The overall color palette features Gray, White, Black, Brown. Built using jQuery, PHP. AI description: The University of Arizona Museum of Art uses a high-impact visual language to bridge academic research with community engagement. Large-scale imagery of classical and contemporary works anchors the experience, immediately establishing the museum as a space for both contemplation and active dialogue. The landing page rhythm moves from expansive, emotive hero sections into structured blocks that invite users to explore programs, memberships, and collections through a clear, mission-driven lens. Deep burgundy tones provide a sophisticated foundation for a layout that balances heavy serif typography with generous whitespace. 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Watch the Seminar SV ↓↑ [ Jimmy Robert Le Sacre du Printemps Jimmy Robert – Le Sacre du Printemps – Jimmy Robert – Le Sacre du Printemps – ](#)[ Daniela Ortiz In the Celebration of Our Struggles Is Their Collapse Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – ](#)[ Morgan Quaintance Gestural Politics: Decolonisation and the Cosmetic Regime Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – ](#)[ Runo Lagomarsino Geography of Haunted Places Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – ](#)[ Ayesha Hameed Trading Winds Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – ](#)[ Hanan Benammar A Memorial to the French Plots of Land Hanan Benammar – A Memorial to the French Plots of Land – Hanan Benammar – A Memorial to the French Plots of Land ](#)[ Aria Dean New Monument for Franska tomten Aria Dean - New Monument for Franska tomten – New Monument for Franska tomten – for Fransk tomten – ](#)[ Ylva Habel The Delaware Monument(s) and Swedish materializations of colonial memory Ylva Habel – The Delaware Monument(s) and Swedish materializations of colonial memory – ](#)[ Fatima Moallim Legera Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – ](#) The programme is a collaboration between Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Possible Monuments? The Role of Art in Making Swedish Colonial History Publicly Visible Online seminar November 26 16.00-18.30 CET Since 2019, Göteborg International Biennial for Contemporary Art has initiated a series of seminars and artistic commissions on the topic of the visual representation in public space of Sweden’s colonial past and its contemporary consequences. For the project _Possible Monuments?_ artists and writers have been invited to respond to Franska tomten, a site in Gothenburg harbour with connections to Sweden’s colonial activities in the Caribbean. Their responses are hosted here and have been discussed in an online seminar on November 26th. The project is organised in collaboration by Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Contributors: Aria Dean, Ayesha Hameed, Daniela Ortiz, Fatima Moallim, Hanan Benammar, Jimmy Robert, Morgan Quaintance, Runo Lagomarsino, Ylva Habel, in dialogue with Lisa Rosendahl, curator GIBCA 2019 & 2021. Considering recent actions directed at public statues with colonial connotations, as well as the underdiscussed Swedish involvement in colonial trade, the seminar addresses the need of remembrance and memorialization in honour of the victims of colonialism and its contemporary consequences. How can we open existing monuments to re-contextualization? What role can art play in making Swedish colonial history publicly visible? How can new monuments, be it material or immaterial, trace past to present? How should a potential future commissioning process be conducted to avoid reproducing existing structures of inequality and exclusion? Is there indeed such a thing as a possible monument, and if so: for whom and by whom should such monuments be made? Franska tomten got its name in 1784 when it was exchanged for the Caribbean Island of Saint Barthélemy as part of a trade agreement between Sweden and France. While the French were given free trade rights in Gothenburg, Sweden took over the colonial administration of Saint Barthélemy. Until 1847, Sweden’s economic activities connected to the island were almost exclusively concerned with slave trade. In 1878 the territory was sold back to France. Today, no official information acknowledging Sweden´s involvement in colonial violence, nor any commemorative gesture honouring its victims, exist on site. Furthermore, there are no public monuments or memorials in the country as a whole acknowledging Sweden’s colonial relations and those who suffered their consequences. The country´s colonial activities, of which Saint Barthélemy is but one example, are also not generally part of how the narrative of the formation of the Swedish industrial Welfare State is told. What does remain on site at Franska tomten are artworks commissioned in the first half of the 20th century by modern day transatlantic shipping companies. As power structures of colonialism, anti-blackness and white supremacy continue to inform our present, artists are invited to reflect and comment on these visual traces of political and aesthetic ideologies. The project is also part of the biennial’s ongoing engagement with Franska tomten and alternative historiography. Previous seminars and commissions related to Franska tomten include: _Franska tomten: Shedding Light on Swedish Colonial History_, in collaboration with Public Art Agency Sweden, with the participation of artists Jeannette Ehlers and Eric Magassa, GIBCA curator Lisa Rosendahl, Judith Wielander, curator of Visible Projects, Mathias Danbolt, art historian; Sarah Hansson, curator for Göteborg konst and Lotta Mossum, curator for Public Art Agency Sweden; _Swedish Colonial History – Abolition of Slavery and Contemporary European Discourses_, lectures by Françoise Vergès and Klas Rönnbäck; _Listening to Colonial Traces in Public Space in Gothenburg_, lectures and panel with Maria Ripenberg, Lena Sawyer, Nana Osei-Kofi, Sandra Grehn and Therese Svensson; and commissions in public space by Eric Magassa and Ibrahim Mahama. The eleventh edition of the biennial, _The Ghost Ship and the Sea Change_, opens in two phases on June 5th and September 11th, 2021. Image: Delaware Monument at Stenpiren, Gothenburg. Photo: Malin Griffiths © Carl Milles \u002F Bildupphovsrätt 2020. Trading Winds _Trading Winds_ is a multichannel sound installation and series of textile panels installed in Gothenburg. It references the twin city plans based on canal systems made for Gothenburg and Batavia (now Jakarta) and the 1852 hurricane that struck Saint Barthélemy, Sweden’s only slave colony in the Caribbean. Trading Winds thinks about tunnels of wind through these two cities and the Caribbean island and their relationship to colonialism and slavery. _Trading Winds_ is plotted along a five-minute walk that starts from Packhusplatsen 6–7, the canal side of the Customs House, where goods from the Transatlantic slave trade were stored. It ends at the Gothenburg City Museum, located in the former East India Trade Company building. Over the course of this five-minute walk then, we travel from one phase of Franska tomten’s history to another—from its participation in the Transatlantic slave trade, to its role as a hub of colonial trade. The walk that _Trading Winds_ traces along the historical canal of Franska tomten evokes another set of canals: those in Batavia, the old Dutch bastion town in contemporary Jakarta that was twinned with Gothenburg as they were both designed under the Dutch colonial empire. It links this buried history with another lesser-known history: that of Sweden’s only colony in the Caribbean, Saint Barthélemy. This is what _Trading Winds_ will look like. Installed along the canal as one walks from the Customs House to the City Museum, will be a series of speakers that play street sounds recorded in Saint Barthélemy and Jakarta. In St Barthélemy the sound will be recorded during a walk through the historic port of St. Gustavia. And in Jakarta, the sound recorded will be from a walk along one of the canals in the historic Batavia. As you walk from Packhusplatsen 6–7 you hear the sound of St. Gustavia, and when you arrive at the City Museum you hear the sounds of Jakarta along the canal. During the walk the sound of Saint Barthélemy will gradually overlap with the sound from Jakarta forming a blurred soundscape. As you near the City Museum, the sounds of Jakarta will get louder and those of Saint Barthélemy will fade, but in between there will be an indeterminate sonic blending between the two cities that Gothenburg is historically and intimately connected with. The textile panels that will be planted above each speaker along the canal refer to both Saint Barthélemy’s and Batavia\u002FJakarta’s colonial trading history. Goods being traded in Batavia included nutmeg, peppers, cloves, cinnamon, coffee, tea, cacao, tobacco, rubber, and sugar. The canals were not suitable for the conditions in the region: they constantly silted over and had to be dredged: an ecological manifestation of the colonial violence of imposing modular city planning. Saint Barthélemy, a volcanic and arid island, could not support the conditions for a plantation system of slavery, so the Swedes established the island as a free trade zone for the purchase of slaves. This was an even more dire commodification of enslaved men and women. The textiles will bear traces of that history—from Jacques Gentes’ unsuccessful attempt to cultivate cacao in the 17th century; to the commercial production of salt, visualized here in the mangroves that were able to grow the saline swamps around the island and that mitigated the currents of the windy sea that buffeted the island; to the flamboyant, a tree indigenous to Madagascar but planted in tropical and subtropical regions all over the world and evoked here to consider flora disseminated through colonialism; and finally to the barbary fig, which is reported to have been used as a cactus fence as a defense against rival colonizing countries from Europe, like Britain. The textiles will be dyed using pigments from these spices and plants. And the images themselves will form the basis of what is printed onto the fabrics. Their colour and scent will fade with time in the outdoor weather of Gothenburg. Winds fuelled the currents of trade winds in the Indian Ocean, steering ships to all parts of the world, and blew seeds from island to island in the Caribbean. > Images from Wikipedia > > Sample sounds from Freesound: > > “embedded muezzin-chants in moderate traffic-noise at 12h am” (jakarta) source https:\u002F\u002Ffreesound.org\u002Fs\u002F27520\u002F > author palem > This work is licensed under the Creative Commons 0 License. > > “A windy afternoon in St Croix. Birds singing, wind blowing through house.” source: https:\u002F\u002Ffreesound.org\u002Fpeople\u002Fnyseagull\u002Fsounds\u002F400379\u002F > au …",{"id":480,"height":13,"width":12,"blurhash":481},"8306bce1-2a61-4cef-8d0e-425a4e843454","radial-gradient(at 0 0,#f7f6f7,#00000000 50%),radial-gradient(at 33% 0,#e8e7e8,#00000000 50%),radial-gradient(at 67% 0,#ededee,#00000000 50%),radial-gradient(at 100% 0,#f7f7f7,#00000000 50%),radial-gradient(at 0 50%,#f0f1f0,#00000000 50%),radial-gradient(at 33% 50%,#ebecec,#00000000 50%),radial-gradient(at 67% 50%,#e9e9e9,#00000000 50%),radial-gradient(at 100% 50%,#ebebea,#00000000 50%),radial-gradient(at 0 100%,#eae9e9,#00000000 50%),radial-gradient(at 33% 100%,#d4d3d3,#00000000 50%),radial-gradient(at 67% 100%,#dddcdb,#00000000 50%),radial-gradient(at 100% 100%,#f0efee,#00000000 50%)",{"id":483,"height":15,"width":14,"blurhash":54},"094532e5-633b-4e3c-8e3d-79114e4a1239",[485,488,491,494,497,500,503,506,509,512,515,518,521,524],{"directus_files_id":486},{"id":487},"a130cef7-3db9-437a-8a9e-d1acb51b872f",{"directus_files_id":489},{"id":490},"f913808a-9d11-4c90-8788-32d6dc7e9fe2",{"directus_files_id":492},{"id":493},"34b2c4c4-7e28-4507-9064-a06c845d88fc",{"directus_files_id":495},{"id":496},"4a1a9218-451e-4b36-953e-a43ab3fc4282",{"directus_files_id":498},{"id":499},"56e037ad-e4ea-4ef0-b624-9b7ff16fc292",{"directus_files_id":501},{"id":502},"513826b2-adc2-4fd3-b164-34e4fd361ba7",{"directus_files_id":504},{"id":505},"5c27e783-5f82-4e98-b581-d8172f1392d1",{"directus_files_id":507},{"id":508},"4e17cc8f-3d7a-4ddb-bc7a-194580aa7de7",{"directus_files_id":510},{"id":511},"dc28a6e2-7faa-45ee-8b17-84a3d57fedb0",{"directus_files_id":513},{"id":514},"5fafe98b-8f59-40ae-a36b-0e58c0998cfc",{"directus_files_id":516},{"id":517},"e004f06c-1d17-4f5d-9d0b-76865bcbc45d",{"directus_files_id":519},{"id":520},"2fb7420c-9401-4798-9268-39e242daf7df",{"directus_files_id":522},{"id":523},"a37d5945-a2f8-410d-ab24-e963afb417d2",{"directus_files_id":525},{"id":526},"00975b56-740b-4852-8c2d-1f4ca70b1b44",[528],{"languages_code":446,"description":529},"Possible Monuments serves as a sophisticated digital archive and platform for contemporary art, exploring themes of memory, landscape, and cultural identity. The website functions as a curated exhibition space, presenting a diverse array of artists and their works through a lens of intellectual inquiry and historical reflection.\n\nThe visual identity is defined by a bold, editorial aesthetic that prioritizes high-contrast typography and a structured, grid-based layout. By utilizing expansive serif typefaces and a monochromatic foundation, the design creates a sense of permanence and gravity, mirroring the 'monumental' nature of its subject matter. The interplay between large-scale text and evocative, often grainy or high-contrast imagery lends the site a gallery-like atmosphere that is both avant-garde and deeply academic.",[26,30,34],[],[],[246,247,534,248,260],"Ubuntu",[536,537,539,540],{"score":152,"category":81},{"score":538,"category":84},61,{"score":147,"category":87},{"score":338,"category":90},[542,544,545,546],{"score":543,"category":81},30,{"score":538,"category":84},{"score":147,"category":87},{"score":338,"category":90},[109,101,105],"Website: Possible Monuments. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Possible Monuments?. Page content: Possible Monuments? Watch the Seminar SV ↓↑ [ Jimmy Robert Le Sacre du Printemps Jimmy Robert – Le Sacre du Printemps – Jimmy Robert – Le Sacre du Printemps – ](#)[ Daniela Ortiz In the Celebration of Our Struggles Is Their Collapse Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – ](#)[ Morgan Quaintance Gestural Politics: Decolonisation and the Cosmetic Regime Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – ](#)[ Runo Lagomarsino Geography of Haunted Places Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – ](#)[ Ayesha Hameed Trading Winds Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – ](#)[ Hanan Benammar A Memorial to the French Plots of Land Hanan Benammar – A Memorial to the French Plots of Land – Hanan Benammar – A Memorial to the French Plots of Land ](#)[ Aria Dean New Monument for Franska tomten Aria Dean - New Monument for Franska tomten – New Monument for Franska tomten – for Fransk tomten – ](#)[ Ylva Habel The Delaware Monument(s) and Swedish materializations of colonial memory Ylva Habel – The Delaware Monument(s) and Swedish materializations of colonial memory – ](#)[ Fatima Moallim Legera Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – ](#) The programme is a collaboration between Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Possible Monuments? The Role of Art in Making Swedish Colonial History Publicly Visible Online seminar November 26 16.00-18.30 CET Since 2019, Göteborg International Biennial for Contemporary Art has initiated a series of seminars and artistic commissions on the topic of the visual representation in public space of Sweden’s colonial past and its contemporary consequences. For the project _Possible Monuments?_ artists and writers have been invited to respond to Franska tomten, a site in Gothenburg harbour with connections to Sweden’s colonial activities in the Caribbean. Their responses are hosted here and have been discussed in an online seminar on November 26th. The project is organised in collaboration by Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Contributors: Aria Dean, Ayesha Hameed, Daniela Ortiz, Fatima Moallim, Hanan Benammar, Jimmy Robert, Morgan Quaintance, Runo Lagomarsino, Ylva Habel, in dialogue with Lisa Rosendahl, curator GIBCA 2019 & 2021. Considering recent actions directed at public statues with colonial connotations, as well as the underdiscussed Swedish involvement in colonial trade, the seminar addresses the need of remembrance and memorialization in honour of the victims of colonialism and its contemporary consequences. How can we open existing monuments to re-contextualization? What role can art play in making Swedish colonial history publicly visible? How can new monuments, be it material or immaterial, trace past to present? How should a potential future commissioning process be conducted to avoid reproducing existing structures of inequality and exclusion? Is there indeed such a thing as a possible monument, and if so: for whom and by whom should such monuments be made? Franska tomten got its name in 1784 when it was exchanged for the Caribbean Island of Saint Barthélemy as part of a trade agreement between Sweden and France. While the French were given free trade rights in Gothenburg, Sweden took over the colonial administration of Saint Barthélemy. Until 1847, Sweden’s economic activities connected to the island were almost exclusively concerned with slave trade. In 1878 the territory was sold back to France. Today, no official information acknowledging Sweden´s involvement in colonial violence, nor any commemorative gesture honouring its victims, exist on site. Furthermore, there are no public monuments or memorials in the country as a whole acknowledging Sweden’s colonial relations and those who suffered their consequences. The country´s colonial activities, of which Saint Barthélemy is but one example, are also not generally part of how the narrative of the formation of the Swedish industrial Welfare State is told. What does remain on site at Franska tomten are artworks commissioned in the first half of the 20th century by modern day transatlantic shipping companies. As power structures of colonialism, anti-blackness and white supremacy continue to inform our present, artists are invited to reflect and comment on these visual traces of political and aesthetic ideologies. The project is also part of the biennial’s ongoing engagement with Franska tomten and alternative historiography. Previous seminars and commissions related to Franska tomten include: _Franska tomten: Shedding Light on Swedish Colonial History_, in collaboration with Public Art Agency Sweden, with the participation of artists Jeannette Ehlers and Eric Magassa, GIBCA curator Lisa Rosendahl, Judith Wielander, curator of Visible Projects, Mathias Danbolt, art historian; Sarah Hansson, curator for Göteborg konst and Lotta Mossum, curator for Public Art Agency Sweden; _Swedish Colonial History – Abolition of Slavery and Contemporary European Discourses_, lectures by Françoise Vergès and Klas Rönnbäck; _Listening to Colonial Traces in Public Space in Gothenburg_, lectures and panel with Maria Ripenberg, Lena Sawyer, Nana Osei-Kofi, Sandra Grehn and Therese Svensson; and commissions in public space by Eric Magassa and Ibrahim Mahama. The eleventh edition of the biennial, _The Ghost Ship and the Sea Change_, opens in two phases on June 5th and September 11th, 2021. Image: Delaware Monument at Stenpiren, Gothenburg. Photo: Malin Griffiths © Carl Milles \u002F Bildupphovsrätt 2020. Trading Winds _Trading Winds_ is a multichannel sound installation and series of textile panels installed in Gothenburg. It references the twin city plans based on canal systems made for Gothenburg and Batavia (now Jakarta) and the 1852 hurricane that struck Saint Barthélemy, Sweden’s only slave colony in the Caribbean. Trading Winds thinks about tunnels of wind through these two cities and the Caribbean island and their relationship to colonialism and slavery. _Trading Winds_ is plotted along a five-minute walk that starts from Packhusplatsen 6–7, the canal side of the Customs House, where goods from the Transatlantic slave trade were stored. It ends at the Gothenburg City Museum, located in the former East India Trade Company building. Over the course of this five-minute walk then, we travel from one phase of Franska tomten’s history to another—from its participation in the Transatlantic slave trade, to its role as a hub of colonial trade. The walk that _Trading Winds_ traces along the historical canal of Franska tomten evokes another set of canals: those in Batavia, the old Dutch bastion town in contemporary Jakarta that was twinned with Gothenburg as they were both designed under the Dutch colonial empire. It links this buried history with another lesser-known history: that of Sweden’s only colony in the Caribbean, Saint Barthélemy. This is what _Trading Winds_ will look like. Installed along the canal as one walks from the Customs House to the City Museum, will be a series of speakers that play street sounds recorded in Saint Barthélemy and Jakarta. In St Barthélemy the sound will be recorded during a walk through the historic port of St. Gustavia. And in Jakarta, the sound recorded will be from a walk along one of the canals in the historic Batavia. As you walk from Packhusplatsen 6–7 you hear the sound of St. Gustavia, and when you arrive at the City Museum you hear the sounds of Jakarta along the canal. During the walk the sound of Saint Barthélemy will gradually overlap with the sound from Jakarta forming a blurred soundscape. As you near the City Museum, the sounds of Jakarta will get louder and those of Saint Barthélemy will fade, but in between there will be an indeterminate sonic blending between the two cities that Gothenburg is historically and intimately connected with. The textile panels that will be planted above each speaker along the canal refer to both Saint Barthélemy’s and Batavia\u002FJakarta’s colonial trading history. Goods being traded in Batavia included nutmeg, peppers, cloves, cinnamon, coffee, tea, cacao, tobacco, rubber, and sugar. The canals were not suitable for the conditions in the region: they constantly silted over and had to be dredged: an ecological manifestation of the colonial violence of imposing modular city planning. Saint Barthélemy, a volcanic and arid island, could not support the conditions for a plantation system of slavery, so the Swedes established the island as a free trade zone for the purchase of slaves. This was an even more dire commodification of enslaved men and women. The textiles will bear traces of that history—from Jacques Gentes’ unsuccessful attempt to cultivate cacao in the 17th century; to the commercial production of salt, visualized here in the mangroves that were able to grow the saline swamps around the island and that mitigated the currents of the windy sea that buffeted the island; to the flamboyant, a tree indigenous to Madagascar but planted in tropical and subtropical regions all over the world and evoked here to consider flora disseminated through colonialism; and finally to the barbary fig, which is reported to have been used as a cactus fence as a defense against rival colonizing countries from Europe, like Britain. The textiles will be dyed using pigments from these spices and plants. And the images themselves will form the basis of what is printed onto the fabrics. Their colour and scent will fade with time in the outdoor weather of Gothenburg. Winds fuelled the currents of trade winds in the Indian Ocean, steering ships to all parts of the world, and blew seeds from island to island in the Caribbean. > Images from Wikipedia > > Sample sounds from Freesound: > > “embedded muezzin-chants in moderate traffic-noise at 12h am” (jakarta) source https:\u002F\u002Ffreesound.org\u002Fs\u002F27520\u002F > author palem > This work is licensed under the Creative Commons 0 License. > > “A windy afternoon in St Croix. Birds singing, wind blowing through house.” source: https:\u002F\u002Ffreesound.org\u002Fpeople\u002Fnyseagull\u002Fsounds\u002F400379\u002F > au …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Black, Gray. Built using jQuery, PHP, Ubuntu, WordPress, YouTube. AI description: Possible Monuments serves as a sophisticated digital archive and platform for contemporary art, exploring themes of memory, landscape, and cultural identity. The website functions as a curated exhibition space, presenting a diverse array of artists and their works through a lens of intellectual inquiry and historical reflection. The visual identity is defined by a bold, editorial aesthetic that prioritizes high-contrast typography and a structured, grid-based layout. By utilizing expansive serif typefaces and a monochromatic foundation, the design creates a sense of permanence and gravity, mirroring the 'monumental' nature of its subject matter. The interplay between large-scale text and evocative, often grainy or high-contrast imagery lends the site a gallery-like atmosphere that is both avant-garde and deeply academic.",{"id":550,"website_id":551,"page_id":550,"name":552,"slug":553,"url":554,"website_name":552,"website_slug":553,"website_url":555,"result_url":554,"fetched_at":556,"score":189,"score_boost":339,"ai_score":146,"freshness_score":88,"scored_at":557,"page_name":40,"page_url":554,"page_title":558,"page_description":54,"page_content":559,"page_sort":339,"is_home":345,"is_home_rank":346,"page_type_id":347,"page_type_name":47,"cover":560,"cover_mobile":563,"cover_sequence":565,"translations":569,"industry":21,"styles":572,"credits":575,"font_families":577,"technologies":578,"pagespeed":579,"pagespeed_mobile":586,"buckets":591,"search_payload":593},"70222d17-a6b4-4c97-b9d4-6dd375332982","da96d78d-f40a-4c03-b93e-43e4fdeb15a7","Plot Twist","pplottwistt","https:\u002F\u002Fpplottwistt.com\u002F","https:\u002F\u002Fpplottwistt.com","2026-05-23T19:23:26.000Z","2026-05-23T19:24:13.000Z","plot twist","Info - _plot twist_ was initiated by Jo Kali and Georgie Sinclair in 2018. From 2018 - 2020 it was held at fanfare, but the third season, which begins in November 2020, will take place online. - We borrow from Sara Ahmed’s citation policy in _Living a Feminist Life_, in which she encourages us to view citations as (re)productive technologies – a tool that circumscribes the world around certain bodies. As such, we prioritise the work of women, trans, non-binary, queer, black, indigenous, POC, working-class, disabled, and other marginalised bodies in our resources and reading materials: “Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.” Ahmed, _Living a Feminist Life_, p.16. - Announcements for our reading groups are sent to our mailing list every month, to which you must RSVP in order to participate. - There is a maximum of 12 spots for each session which are offered on a first come first serve basis. - All resources and materials are provided digitally prior to each session. - Meetings are held in English. - _fanfare_, our host venue for our in-person events and reading groups, is on the ground floor and wheelchair accessible. - _plot twist_ aims to offer a safe space for everyone involved. Any form of bigotry – racism, sexism, classism, homophobia, transphobia and ableism – is not tolerated, and you will be asked you to leave if you behave in a way that offends or upsets others. - See our community guidelines for more info on how we run things. - Occasionally, we organise public activities and events, which are announced via our social media channels. News July 13 2021 EMBRACING VALUE Max Haiven writes that western society is suffering a crisis of imagination, with the seamless spread of capitalism into every part of our lives. In the next and final session of the season, we are reading from the zine Radical Care: Embracing Feminist Finance, to challenge our thinking about money, explore ideas about finance that lie outside of our current economic paradigm, and think about how these may be put into practice. Within capitalism, economic systems impact us all yet they can often seem far removed or complex to the point of abstraction. For this session, you will need no prior knowledge of these topics as we will be learning together. We will look to hopeful models – such as open value cooperation and local currencies – to embrace different values, with a focus on locality, cooperation, and care. The zine asks the question: \"If you could break down one patriarchal structure within the current economic paradigm, which would it be and what would you replace it with?\" To answer this, we can look at suggested models from the zine and supporting texts, such as gift economies to social and artistic initiatives, to speculate on new ecosystems of value. Hosted by Kate Frances Lingard and Rebecca Gill Reading List July 2021 Radical Care: Embracing Feminist Finance Amateur Cities in collaboration with The Institute of Network Cultures News May 31 2021 BAD READER BAD READER\\ is an ongoing study group dedicated to exploring phenomenologies, politics, and practices of reading. The project is rooted in a desire to better understand our attachments and relationships to the textual form, and engage with wider questions around meaning, language, semiotics, citation, forms of writing, and alternative ways of knowing. In the first iteration of the BAD READER series, we will read Lydia Davis’ ‘Fragmentary or Unfinished’ from her latest essay collection Essays (2019), alongside a few passages from Roland Barthes’ The Pleasure of the Text (1973). Davis’ essay looks at the fragmentary text to ask questions about the idea of wholeness or completion in a work, and how the form lends itself to grief, thinking (as a process), incoherency, and the destruction of narrative. In The Pleasure of the Text, Barthes theorises on what it means to enjoy a text, insisting on the importance of developing an erotics of reading. It is also written in fragments ;-). \\BAD READER is a series of reading sessions organised by Jo Kali and Georgie Sinclair. It will be integrated periodically (as and when fit) into the plot twist programme between 2021-2022. Reading sessions are non-committal; you do not need to have participated in previous or plan to attend future iterations of BAD READER to join. We hope to share more information on the expanded programme soon. Reading List May 2021 'Fragmentary or Unfinished' from Essays Lydia Davis The Pleasure of the Text Roland Barthes News May 5 2020 THIS IS WHAT THE TRUTH FEELS LIKE \"it is often said that the internet is full of disinformation, but what is deemed disinformation in the eyes of one, is truthful and important information in the eyes of another. everyone should be able to establish their own truths. but at the same time, speaking for myself (Sarah), when people adhere to certain truths that i do not share (such as hard-core anti-vaxxers), i can become agitated or impatient. in this session, we will ask questions such as: what makes something ‘true’? what different types of truths exist? is it important to have shared truths? and when is it reasonable to try to correct someone’s personal truths?\" Hosted by Sarah Eskens Reading List May 2021 The State of the Fact The Believer w\u002F Morgan Parker & Rachel Khong Private Fears in Public Space Lida Maxwell The yoga world is riddled with anti-vaxxers and QAnon believers Cécile Guerin Seeking After Truth bell hooks If women are hesitant about the vaccine, it's because the health industry hasn't earned their trust Araw Mahdawi Why we can't have our facts back Noortje Marres News April 6 2021 TENDING RETREAT ‘I am becoming part of his vegetal network too.’- Rebecca May Johnson In this session, we will explore the utopian potentials of land cultivation: the possibilities and pitfalls of retreating to the garden. Since March 2020, desires for the bucolic escape of #cottagecore have filtered across the socials- images of gardening, allotments, and analogue forms of domestic living offering both an aesthetic respite, and a stark contrast, to the varied experiences of an urban lockdown. Looking at various forms of pastoral maintenance we will discuss the ways these texts use land to explore themes of care, escape, and community- in addition to problematising the political undertones these trends can gesture to. How might issues of land ownership, climate grief, and gendered forms of care intertwine in a desire to grow our own herbs? Hosted by Loren Ewart Reading List April 2021 The Disturbances of the Garden Jamaica Kincaid Qualities of Earth Rebecca May Johnson Why queer teens are embracing cottagecore i-D News March 2 2021 Collective reading and discussion of Unknown Language by Huw Lemmey & Hildegard von Bingen \"Long before the collapse of the Information Age, in the twelfth century since the appearance of the prophet Christ, young Hildegard finds grace. In this story of survival and miracles, Hildegard encounters love, both queer and divine, and great peril. As the visionary healer travels through the unfamiliar landscape following a great cataclysm, she discovers the mythic quantum energy of viriditas in the natural world around her. Her journey becomes one of return, to the sacred truth of her own being. Hildegard’s tale is received in the plague year of 2020 by Alice Spawls, and then in the next century, in a sea cave with cracked amethyst walls. On planet Avaaz, once known as Earth, Bhanu Kapil’s Pinky Agarwalia finds fragments of a beautiful codex. Lingua Ignota, Hildegard's unknown language, bears seeds of renewal for a world in flux.\" Reading List March 2021 Unknown Language Huw Lemmey & Hildegard von Bingen News February 19 2021 OUT NOW: PLOT TWIST II plot twist ii is an anthology of short stories and essays from the hosts of our 2019-2020 programme. Our work as a reading group is often intangible to those who don't participate in the sessions, so – in lieu of our intended public event last summer – we chose to produce something in print to share with a wider audience. plot twist ii includes: - meditations on privacy, work, failure, and friendship - a sci-fi tale in four acts - auto-theory on books that 'stick' - two essays on food and the cultural politics of disgust - sensory creative fiction on dizziness and giddiness - an illustrated guide on practicing empathy - extended reading lists of our reading groups 2019-2020 - a BEAUTIFUL A3 limited-edition riso printed poster With contributions from Andreea Breazu, Angelica Sgouros, Elisa Grasso, Georgie Sinclair, Jo Kali, Juliette Lizotte, Loren Ewart, Lucia Dove, Naomi Credé, Rosie Haward, and Sarah Eskens. Designed by Juliette Lizotte and Lucie de Bréchard. It would mean the world to us if you could support us and these small book shops by buying a copy! San Serriffe (@sanserriffe) in Amsterdam, NL Rile\\* (rile.space) in Brussels, BE Good Press(good.press) in Glasgow, UK News February 2 2021 REMEMBERING, BARELY Lowkey writing workshop focused on autobiographical memory-writing Writing memories can change our perception of how life was. Feelings we might feel somewhat estranged from in this state of locked-up “half-living”, such as shame, desire, joy and loss are mediated through the temporal distance from our ‘other selves’. In this session, by looking at different writers’ approaches to memory-writing, we will experiment with what it means to remember. How do we write our past selves? The way memories feel might change over time: seen from a distance, we can put memories into their political, class or cultural context, like scattered pieces of a puzzle. Hosted by Ida Blom Reading List February 2021 from The Happening Annie Ernaux from Cockroaches Scholastique Mukasonga from Childhood Tove Ditlevsen News January 6 2020 CRIP-TIME: BENDING THE CLOCK “Crip time is flex time not just expanded but exploded; it requires re-imagining our notions of what can and should happen in time, or recognizing how expectations of 'how long things take' are based on very particular minds and bodies. Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.\" Alison Kafer In this session, we will think through the notion of ‘Crip Time’. Our brains and bodies all process and understand time in different ways, but for some people there is a heightened disparity between theirs and “regular” (often ableist) visions of time in daily life. In a culture where productivity and an attitude of “getting stuff done” is also a measure of self-worth, it’s important to recognise how these feed into and perpetuate the pathologization of people with disabilities. Being late, not finishing, sleeping too much or at irregular hours all spring from the same rigid and exclusionary sense that time is organised and experienced by everybody in the same way. Hosted by Elisa Grasso Reading List January 2020 Feminist Queer Crip Alison Kafer Six ways of looking at crip time Ellen Samuels The value of 'crip time': Discarding notions of productivity and guilt, to listen to the rhythms of our bodies Srinidhi Raghavan News December 8 2020 ATTENTION IS THE BEGINNING OF DEVOTION “Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what the …",{"id":561,"height":13,"width":12,"blurhash":562},"665e96c3-d671-4548-9d10-d438d44135aa","radial-gradient(at 0 0,#b3ac4e,#00000000 50%),radial-gradient(at 33% 0,#bfbba2,#00000000 50%),radial-gradient(at 67% 0,#eae98d,#00000000 50%),radial-gradient(at 100% 0,#efee00,#00000000 50%),radial-gradient(at 0 50%,#adb04f,#00000000 50%),radial-gradient(at 33% 50%,#aaaa8a,#00000000 50%),radial-gradient(at 67% 50%,#dbd974,#00000000 50%),radial-gradient(at 100% 50%,#e9e800,#00000000 50%),radial-gradient(at 0 100%,#b2b068,#00000000 50%),radial-gradient(at 33% 100%,#ceceb6,#00000000 50%),radial-gradient(at 67% 100%,#f3f49e,#00000000 50%),radial-gradient(at 100% 100%,#eeee00,#00000000 50%)",{"id":564,"height":15,"width":14,"blurhash":54},"5c09d851-04e7-4205-b5b7-d7cd8de6bf10",[566],{"directus_files_id":567},{"id":568},"e3f50637-5bc5-4157-bcf3-bbe4e3d3ba9f",[570],{"languages_code":446,"description":571},"Plot Twist is a vibrant digital hub serving as a literary collective, reading group, and alternative learning space. The website functions as a portal for creative intellectualism, bridging the gap between traditional publishing and modern internet-native community building. It positions itself as a sanctuary for readers and thinkers looking for unconventional educational experiences and curated literary content.\n\nThe visual identity is unapologetically bold, utilizing a high-contrast color palette dominated by a saturated electric yellow. The design leans into a neo-brutalist aesthetic, characterized by oversized, expressive serif typography and a raw, unpolished layout that prioritizes character over conventional corporate structure. 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From 2018 - 2020 it was held at fanfare, but the third season, which begins in November 2020, will take place online. - We borrow from Sara Ahmed’s citation policy in _Living a Feminist Life_, in which she encourages us to view citations as (re)productive technologies – a tool that circumscribes the world around certain bodies. As such, we prioritise the work of women, trans, non-binary, queer, black, indigenous, POC, working-class, disabled, and other marginalised bodies in our resources and reading materials: “Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.” Ahmed, _Living a Feminist Life_, p.16. - Announcements for our reading groups are sent to our mailing list every month, to which you must RSVP in order to participate. - There is a maximum of 12 spots for each session which are offered on a first come first serve basis. - All resources and materials are provided digitally prior to each session. - Meetings are held in English. - _fanfare_, our host venue for our in-person events and reading groups, is on the ground floor and wheelchair accessible. - _plot twist_ aims to offer a safe space for everyone involved. Any form of bigotry – racism, sexism, classism, homophobia, transphobia and ableism – is not tolerated, and you will be asked you to leave if you behave in a way that offends or upsets others. - See our community guidelines for more info on how we run things. - Occasionally, we organise public activities and events, which are announced via our social media channels. News July 13 2021 EMBRACING VALUE Max Haiven writes that western society is suffering a crisis of imagination, with the seamless spread of capitalism into every part of our lives. In the next and final session of the season, we are reading from the zine Radical Care: Embracing Feminist Finance, to challenge our thinking about money, explore ideas about finance that lie outside of our current economic paradigm, and think about how these may be put into practice. Within capitalism, economic systems impact us all yet they can often seem far removed or complex to the point of abstraction. For this session, you will need no prior knowledge of these topics as we will be learning together. We will look to hopeful models – such as open value cooperation and local currencies – to embrace different values, with a focus on locality, cooperation, and care. The zine asks the question: \"If you could break down one patriarchal structure within the current economic paradigm, which would it be and what would you replace it with?\" To answer this, we can look at suggested models from the zine and supporting texts, such as gift economies to social and artistic initiatives, to speculate on new ecosystems of value. Hosted by Kate Frances Lingard and Rebecca Gill Reading List July 2021 Radical Care: Embracing Feminist Finance Amateur Cities in collaboration with The Institute of Network Cultures News May 31 2021 BAD READER BAD READER\\ is an ongoing study group dedicated to exploring phenomenologies, politics, and practices of reading. The project is rooted in a desire to better understand our attachments and relationships to the textual form, and engage with wider questions around meaning, language, semiotics, citation, forms of writing, and alternative ways of knowing. In the first iteration of the BAD READER series, we will read Lydia Davis’ ‘Fragmentary or Unfinished’ from her latest essay collection Essays (2019), alongside a few passages from Roland Barthes’ The Pleasure of the Text (1973). Davis’ essay looks at the fragmentary text to ask questions about the idea of wholeness or completion in a work, and how the form lends itself to grief, thinking (as a process), incoherency, and the destruction of narrative. In The Pleasure of the Text, Barthes theorises on what it means to enjoy a text, insisting on the importance of developing an erotics of reading. It is also written in fragments ;-). \\BAD READER is a series of reading sessions organised by Jo Kali and Georgie Sinclair. It will be integrated periodically (as and when fit) into the plot twist programme between 2021-2022. Reading sessions are non-committal; you do not need to have participated in previous or plan to attend future iterations of BAD READER to join. We hope to share more information on the expanded programme soon. Reading List May 2021 'Fragmentary or Unfinished' from Essays Lydia Davis The Pleasure of the Text Roland Barthes News May 5 2020 THIS IS WHAT THE TRUTH FEELS LIKE \"it is often said that the internet is full of disinformation, but what is deemed disinformation in the eyes of one, is truthful and important information in the eyes of another. everyone should be able to establish their own truths. but at the same time, speaking for myself (Sarah), when people adhere to certain truths that i do not share (such as hard-core anti-vaxxers), i can become agitated or impatient. in this session, we will ask questions such as: what makes something ‘true’? what different types of truths exist? is it important to have shared truths? and when is it reasonable to try to correct someone’s personal truths?\" Hosted by Sarah Eskens Reading List May 2021 The State of the Fact The Believer w\u002F Morgan Parker & Rachel Khong Private Fears in Public Space Lida Maxwell The yoga world is riddled with anti-vaxxers and QAnon believers Cécile Guerin Seeking After Truth bell hooks If women are hesitant about the vaccine, it's because the health industry hasn't earned their trust Araw Mahdawi Why we can't have our facts back Noortje Marres News April 6 2021 TENDING RETREAT ‘I am becoming part of his vegetal network too.’- Rebecca May Johnson In this session, we will explore the utopian potentials of land cultivation: the possibilities and pitfalls of retreating to the garden. Since March 2020, desires for the bucolic escape of #cottagecore have filtered across the socials- images of gardening, allotments, and analogue forms of domestic living offering both an aesthetic respite, and a stark contrast, to the varied experiences of an urban lockdown. Looking at various forms of pastoral maintenance we will discuss the ways these texts use land to explore themes of care, escape, and community- in addition to problematising the political undertones these trends can gesture to. How might issues of land ownership, climate grief, and gendered forms of care intertwine in a desire to grow our own herbs? Hosted by Loren Ewart Reading List April 2021 The Disturbances of the Garden Jamaica Kincaid Qualities of Earth Rebecca May Johnson Why queer teens are embracing cottagecore i-D News March 2 2021 Collective reading and discussion of Unknown Language by Huw Lemmey & Hildegard von Bingen \"Long before the collapse of the Information Age, in the twelfth century since the appearance of the prophet Christ, young Hildegard finds grace. In this story of survival and miracles, Hildegard encounters love, both queer and divine, and great peril. As the visionary healer travels through the unfamiliar landscape following a great cataclysm, she discovers the mythic quantum energy of viriditas in the natural world around her. Her journey becomes one of return, to the sacred truth of her own being. Hildegard’s tale is received in the plague year of 2020 by Alice Spawls, and then in the next century, in a sea cave with cracked amethyst walls. On planet Avaaz, once known as Earth, Bhanu Kapil’s Pinky Agarwalia finds fragments of a beautiful codex. Lingua Ignota, Hildegard's unknown language, bears seeds of renewal for a world in flux.\" Reading List March 2021 Unknown Language Huw Lemmey & Hildegard von Bingen News February 19 2021 OUT NOW: PLOT TWIST II plot twist ii is an anthology of short stories and essays from the hosts of our 2019-2020 programme. Our work as a reading group is often intangible to those who don't participate in the sessions, so – in lieu of our intended public event last summer – we chose to produce something in print to share with a wider audience. plot twist ii includes: - meditations on privacy, work, failure, and friendship - a sci-fi tale in four acts - auto-theory on books that 'stick' - two essays on food and the cultural politics of disgust - sensory creative fiction on dizziness and giddiness - an illustrated guide on practicing empathy - extended reading lists of our reading groups 2019-2020 - a BEAUTIFUL A3 limited-edition riso printed poster With contributions from Andreea Breazu, Angelica Sgouros, Elisa Grasso, Georgie Sinclair, Jo Kali, Juliette Lizotte, Loren Ewart, Lucia Dove, Naomi Credé, Rosie Haward, and Sarah Eskens. Designed by Juliette Lizotte and Lucie de Bréchard. It would mean the world to us if you could support us and these small book shops by buying a copy! San Serriffe (@sanserriffe) in Amsterdam, NL Rile\\* (rile.space) in Brussels, BE Good Press(good.press) in Glasgow, UK News February 2 2021 REMEMBERING, BARELY Lowkey writing workshop focused on autobiographical memory-writing Writing memories can change our perception of how life was. Feelings we might feel somewhat estranged from in this state of locked-up “half-living”, such as shame, desire, joy and loss are mediated through the temporal distance from our ‘other selves’. In this session, by looking at different writers’ approaches to memory-writing, we will experiment with what it means to remember. How do we write our past selves? The way memories feel might change over time: seen from a distance, we can put memories into their political, class or cultural context, like scattered pieces of a puzzle. Hosted by Ida Blom Reading List February 2021 from The Happening Annie Ernaux from Cockroaches Scholastique Mukasonga from Childhood Tove Ditlevsen News January 6 2020 CRIP-TIME: BENDING THE CLOCK “Crip time is flex time not just expanded but exploded; it requires re-imagining our notions of what can and should happen in time, or recognizing how expectations of 'how long things take' are based on very particular minds and bodies. Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.\" Alison Kafer In this session, we will think through the notion of ‘Crip Time’. Our brains and bodies all process and understand time in different ways, but for some people there is a heightened disparity between theirs and “regular” (often ableist) visions of time in daily life. In a culture where productivity and an attitude of “getting stuff done” is also a measure of self-worth, it’s important to recognise how these feed into and perpetuate the pathologization of people with disabilities. Being late, not finishing, sleeping too much or at irregular hours all spring from the same rigid and exclusionary sense that time is organised and experienced by everybody in the same way. Hosted by Elisa Grasso Reading List January 2020 Feminist Queer Crip Alison Kafer Six ways of looking at crip time Ellen Samuels The value of 'crip time': Discarding notions of productivity and guilt, to listen to the rhythms of our bodies Srinidhi Raghavan News December 8 2020 ATTENTION IS THE BEGINNING OF DEVOTION “Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what the …. A Brutalist \u002F Neo-Brutalist, Fun \u002F Playful, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features Yellow, Black, White, Gray. Built using PHP. AI description: Plot Twist is a vibrant digital hub serving as a literary collective, reading group, and alternative learning space. The website functions as a portal for creative intellectualism, bridging the gap between traditional publishing and modern internet-native community building. It positions itself as a sanctuary for readers and thinkers looking for unconventional educational experiences and curated literary content. The visual identity is unapologetically bold, utilizing a high-contrast color palette dominated by a saturated electric yellow. The design leans into a neo-brutalist aesthetic, characterized by oversized, expressive serif typography and a raw, unpolished layout that prioritizes character over conventional corporate structure. 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This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …",{"id":606,"height":13,"width":12,"blurhash":607},"ee6ba0b9-978f-4682-94f5-f10503f98584","radial-gradient(at 0 0,#babaff,#00000000 50%),radial-gradient(at 33% 0,#7878ff,#00000000 50%),radial-gradient(at 67% 0,#b2b2ff,#00000000 50%),radial-gradient(at 100% 0,#dfdfff,#00000000 50%),radial-gradient(at 0 50%,#bfbfe8,#00000000 50%),radial-gradient(at 33% 50%,#a2a2e1,#00000000 50%),radial-gradient(at 67% 50%,#c6c6ed,#00000000 50%),radial-gradient(at 100% 50%,#dedef7,#00000000 50%),radial-gradient(at 0 100%,#b4b4e6,#00000000 50%),radial-gradient(at 33% 100%,#9c9cf7,#00000000 50%),radial-gradient(at 67% 100%,#b3b3f5,#00000000 50%),radial-gradient(at 100% 100%,#cbcbed,#00000000 50%)",{"id":609,"height":15,"width":14,"blurhash":54},"d4e07c88-6674-4460-9621-b66d952ea4f3",[611,614,617],{"directus_files_id":612},{"id":613},"b5f1f613-ecd9-4c14-8e2d-8bfcb012ccc8",{"directus_files_id":615},{"id":616},"2a247199-2226-423a-9962-6fd931df0026",{"directus_files_id":618},{"id":619},"09fdf48e-0b65-4ae6-bda7-9f4e6eb98664",[621],{"languages_code":446,"description":622},"Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry.\n\nThe visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",[26,30,34],[625],"Bong",[272],[246,247,628],"Three.js",[630,632,633,635],{"score":631,"category":81},99,{"score":146,"category":84},{"score":634,"category":87},96,{"score":199,"category":90},[637,638,639,640],{"score":186,"category":81},{"score":167,"category":84},{"score":634,"category":87},{"score":199,"category":90},[109,642,101,105],"blue","Website: Face Forward. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Face Forward. Page content: _Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Blue, Black, Gray. The typography features Times New Roman (Serif). Built using jQuery, PHP, Three.js. AI description: Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry. The visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance."]