INHABITED ENVIRONMENTS

BODYSCAPES

“Bodyscapes is a project investigating the relationship between body and architecture through improvisational dance and fashion. From the Vitruvian man to Le Corbusier Modulor it’s notable that the human body is historically a reference for the measurements of architectural and urban space. Architect B. Tschumi states that ‘Bodies not only move in space but generate space produced by and through their movements’. Bodyscapes project looks at our bodies as performing bodies in the city. Interpreting fashion as body's extension and at the same time as space’s extension, the fabric is the dialogue between concrete and skin. Bodyscapes performing bodysuits challenge the boundaries between body and

Architecture. Our moving body makes space. We are space.”

 Credits: 

Fashion Designer: Nicole Kaminska

Photographer: Maria Estabanell

Dancers-Performers: Yanxuan Wang, Marta Swierczynska,Catherine Jones, Natalia Meksa, Anna Longa

Creative: Emanuela Passadore

Video and editing: Margherita Klee Fallani

Music: Guillem Roset Pons

Voiceover: Tatiana De Ricard

Color grading: Ellie Stiles

"Human Range"
by Ludovica Anzaldi

“This piece is an ode to women, and thus an ode to human- kind. This series of photos are part of a photographic pro- ject titled Human Range that i’ve been carrying out for more than two years now. The photos tell the story of us women through our intimacy, our bodies, our houses and through our moments of solitude (that used to be rare). These photos are an ode of the small gestures, and to those small things that we have been forced to re-appreciate and re-discover. These photos are an ode to solitude, that has always been seen as a negative and involuntary condition for human- kind...and ironically it is uniquely thanks to solitude that to- day we are able to dream and travel. And, thus, it is through this solitude and intimacy (our relationship with ourselves) that I decided to tell the story of the human. What better location than our homes (when one has the luck of having one) to tell our stories, than the place where we have spent most of our time and where we are now spending 90% of our time? Houses that have become our shield and armour, that have remained the only locations where we are allowed to be free, where in most fortunate cases we spend time with our family, where we observe seasons go by and the world change. Houses that through their colors, tidiness or disorders... talk to us, today more than ever. These photos are of our homes and ourselves.”

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Tanya Puri

We all work for a living. We make money through this and we are therefore able to support our individual lifestyles. Work forms a prerequisite part of our routine. Over the last few months, due to the COVID19 crisis, we have seen solid systems, dissolve and evolve in front of our eyes. This has led to several people being displaced from their homes, many lifestyle changes to comply with our current crisis and most importantly a rapid transition in offices and workspaces. This means all non - essential employees are now required to work from home. The work from home system requires company staff to devise new systems to abide by and it also requires change in overall ways a company would work as many resources are now not available and compromises need to be made. People from different fields are now all working remotely. 

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 From brokers to architects, bankers and fashion designers. Everyone’s approach is individual and specific to their own way of working.I am looking at the way we have adapted to this change in our home spaces and tried to create a conducive environment for us to maximise our productivity and keep motivation stable, during such a crisis. The following examples are all taken from people in various lines of work. This is showcasing the different setups we have made for ourselves and the tweaks that help us maintain some semblance of normalcy in a more private environment.

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VITTORIO GUARIENTI

Quarantine has put people’s mental health to the test. From one day to the next we were told that we cannot go out of our homes. We were in a historic moment without precedent. I thought that it would be wrong to not draw this. Nevertheless, I thought that it would also be inopportune to represent the panic and the craze without filters. The moment was a bit too delicate to play with the sensibility of people. That’s why I decided to “touch it slowly”, representing the craze in an alternative way.

"Between the Between"
by Carlota Santos

In times of confinement, as the ones currently lived, the word “transition” got a new value. Political confinement, cultural confinement, social confinement and, deeper than all, mental and emotional confinement have been slowly lived, experienced and perhaps challenged. Our beings have been confined in a transition between a before and an after, a past and a future, - a confined present. But how long do we actually spend in transition? Or, differently addressed, how long do we actually spend within a transition? Between the Between is a performance to the camera piece about being in space and time. Being in a transition, within a transition. Being in between everything and nothing. The performative piece allows a metaphoric space of adaptation, struggle, endurance, tension and self-control where the body and the physical space are simultaneously tested and challenged, as one single entity. The body becomes a space and the space becomes a body itself, both performing as a material that is in constant adaptation and mutation. Between the Between was performed and recorded on April 25th of 2020 at the stairs of my building, during the strict lockdown in London due to the pandemic. When living in a flat, is the building that we share a private or a public space? Are these stairs part of the lower or the upper floor? Could they be both things at the same time? Could we call these stairs a transitional space? But what does it mean to be in a transition after all?

WILL HAZEL

A short documentary about painting during the pandemic. Featuring artworks by Francesca Mollett, XU Yang & BlkBrd Creative & Alba. In this harrowing time, creativity has been a unifying force that has brought us closer together. Join us as we take a look back at the lockdown of March 2020 when artist Francesca Mollett turned her back garden into her painting studio and other artists took to the streets.

Directed by Will Hazell

Original Music by Rupert Gillett & Jennifer El Gammal

Featured Artists Francesca Mollett, XU Yang, Deanio X, Tasnim Mahdy, Seen K26 & Ellie Dragone

Sound Designer Ruth Knight

Colourist Francis Qureshi

Cinematography Will Hazell

Additional Vocals Becky Wix

Production Assistants Tai Carter & Claude Scott-Mitchell

Equipment Wash Media & Red Green Films

Ishwari Bhalerao & 
Leonie Rousham

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Walking is just walking, until it becomes something more, so much more. Until it becomes a walk along the Folkestone coast, the coast serving as a beginning and an ending, the beginning of a friendship on the ends of an Island which is about to haunt us for the rest of our lives.

The vast seas leading us to the strategically curated Grand Union Canal, where a walk digs deep, dredges objects of extractivism, found by the children of the shameful water itself, in a shallow, man-made canal bed.

Until it becomes a walk that pans a year, two years;

A walk to the borders of the Island again, where land meets sea, where the Thames meets the North Sea, water becomes water, Man becomes Explorer, no, we are not Man, we can’t Man.

How can we walk through land where we are Witness, we are Witness to Man, we are Witness to the actions of the State, to the borders of the State, to the architectures of border control systematically embedded in the landscape by the State. A walk along the perimeter of Yarl’s Wood IRC. A walk on this land of hostility.

Walking, being watched while walking, in this University where Jeremy Bentham asked for his body to be on display, this University where care seems to come second, third, last. Where caring is coping, to walk is to care, to walk is to find orientation, a meaning of orientation described by Sara Ahmed. So we will keep walking, feeling the vibrations of two pairs of feet hitting the earth, getting lost and falling out of sync, but somehow moving together.

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