„the others are we“

Florian Tuercke : Die Anderen sind wir / the others are we con[SPACE] @ Atelierfrankfurt, Schwedlerstrasse 1-5, 60314 Frankfurt am Main, curated by Michaela Filla Raquin & Raul Gschrey

Opening: 26. 02.2016 19.00, duration: 26.02. – 04.04.2016, opening times: Tue., Wed., Thurs. 16.00 – 19.00

In his series of composite videos entitled „the others are we“, Florian Tuercke, whose participatory media art projects are usually situated in public space, deals with the human face. The artist explores, which collective features remain, when the individual visual characteristics of people are merged; the sole link being the place where they reside temporarily or permanently.

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After compiling videos in Ragusa (Italien), Wakefield (England) and Schweinfurt (Germany), Florian Tuercke produces a video portrait of the ‘typical Frankfurter’ in collaboration with the gallery con[SPACE] in Frankfurt (Germany). With a posing chair, camera and lights he strolls through the urban space and asks passers-by to sit for a portrait. Every participant sits on the chair, looking straight into the camera, while the artist remains standing, equally motionless, behind the camera. Through the transparent superimposition of the individual takes, the urban backgrounds are condensed into abstract structures of colour, light and movement; the slightly fluctuating facial superimpositions dominating the centre of the composite video.

Galton Papers: A Researcher’s Nightmare

Research visit to the „Galton Papers“, University College London, Special Collections, April, 2015.

The „Special Collections“ of University College London are housed in the central library of the University. Only library card holders can enter, so a member of staff picks me up at the high-security entrance gate. After a hike through corridors, I am let to a room where on a library cart a huge pile of boxes and folders waits for me. This is quite a lot of stuff, and I have only ordered the material that seemed to be essential. Galton was an avid collector and everything seemed to be of interest: from letters to photographs, notebooks and articles, envelopes and scraps of paper. This is as much a heaven as a nightmare for a researcher like me. Here I will spend the next days, sifting through the material. The collection is well arranged and a considerable part of the material on and by Francis Galton was digitised recently. But especially with photographs and notes, it is important to consult the originals. To order and categorise the photographs, for instance, Galton used a form of binding. These small booklets that resemble flip books and that could be described as preliminary stages in the production of composite portraits. Often there are notes on the back of the prints, for instance, the remark: “This man’s nose spoils the composite.” Also the notebooks and letter books can be accessed as originals.

The material kept in the collection leads to further London museums and archives where information on Galton’s photographic practice is kept, such as the Metropolitan Archive, the Bethlem Museum and Archive, the Huxley Collection at Imperial College and the National Archives.

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Museum of the Mind

Research visit to the “Bethlem Museum of the Mind” & Bethlem Hospital Archive London, April, 2015.

A suburban train takes me to “Eden Park”, not only by name an idyllic village in the south-eastern periphery of London. In the back streets the cherry trees are in full bloom. I cross a creek and walk along the fence of an open space that resembles a huge park until I reach the entrance of Bethlem Royal Hospital. The “Bethlem Museum of the Mind” and its archive are located on the grounds of the psychiatric hospital that is still in operation, after a long history that dates back into the twelfth century. The representative central building of this complex that was inaugurated in 1930 has just recently been opened as the new museum. Here archivist and curator Colin Gale awaits me behind the reception desk. We have a chat about the institution and the museum, especially in late nineteenth century when Francis Galton visited the clinic and commissioned portraits of patients for his photographic experiments with the composite technique.

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The portraits of 76 male and 65 female patients are preserved among the “Galton Papers” at the Special Collections of University College London. The frontal, half-length portraits carry a number as well as family names. The archive at Bethlem holds the admission and discharge books as well as the medical files. By comparing the periods of treatment of different patients, who were often also photographed as part of the asylum’s procedure, the photos in the “Galton Papers” can be dated to 1880-1882. Also, not only names, but information on age, profession, family history, as well as the diagnosis notes on the treatment of the mental illness can be drawn from the material. The entries tell veritable stories of the life and fate of the individuals that were used as source material for Galton’s experiments with the composite technique. And while composite portraiture was aimed at de-individualising and typifying, these documents give back an identity and personality to the objects of study. Furthermore the photographs and the material kept at Bethlem Hospital, provide insight into the disciplinary institutions and their policies, modes of categorisation and typification of their clients, often by visual means. Museum of the Mind weiterlesen

Recording Race: Huxley

Recording Race: T. H. Huxley’s Photographic Survey of the Races of the British Empire. Research visit to the „Thomas Henry Huxley Papers“, Imperial College London, April 2015.

It is certainly not easy to get an appointment at the archives of Imperial College London, where theThomas Henry Huxley Papers” are kept. This is the only archive I have encountered so far that would make a letter of intent, a project description, as well as a letter from my supervisor and university a prerequisite for consulting the materials. However, after settling all those issues, I am received cordially and a seat and research aids have been prepared for me.

Thomas Henry Huxley was a traveler, biologist and educational reformer, he is however best known as an important advocate of Darwin’s theory of evolution. He shared a circle of friends with Charles Darwin, Herbert Spencer and Francis Galton, with whom he exchanged letters that are kept in the archive. For instance in a letter dated October 16th, 1886, Francis Galton asks Huxley’s opinion on the biographies of Erasmus Darwin and Charles Darwin in relation to a proposal for a monument.

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I am, however, particularly interested in his project of a visual survey of the ‘races’ of the British Empire, that was launched in 1869,  and for which Huxley developed a anthropometrical photographic standard for the depiction the human body. The plan originated in the Ethnological Society of which Huxley was president, and which sought to improve the quality of data in the field and establish a scientific classification of the ‘races’ of the British Empire.  The project however was administered by the Colonial Office in London that sent out an official request to the colonial administrations and forwarded the material, photographs and letters, to Huxley. Even though the material that he received was never used in his publications or in the work of the Ethnological Society, the portraits represent an important, if problematic, insight into the practices of scientific photographic depiction of the human body and in particular of colonial subjects. Recording Race: Huxley weiterlesen

Hanwell Asylum Records

Research Trip: Hanwell Asylum Records, Metropolitan Archives London, April 2015

It is more of a coincidence when I end up at the gates of the Metropolitan Archives for the first time. I have been visiting the Imperial War Museum, or rather the building that now houses this institution. This was the former site of Bethlem Asylum, when the clinic was still located in central London in nineteenth century. Only the monumental entrance and central wing are still existent. When I walk back to a friend’s place, a new bright green suit in my shopping bag, I suddenly realize a small sign indicating the entrance of the Metropolitan Archives. A member of staff tells me that they will not be open for much longer today, but that there will be an exceptional opening on the coming Saturday. That’s when I return to study the material on Hanwell Asylum, the other psychiatric hospital where Francis Galton had photographs taken for his experiments on composite portraiture. Also material on Guy’s Hospital is available here. In this institution, with the aid of the physicist F. A. Mahomet, photographs were taken of tuberculosis patients to compose facial superimpositions.

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In the UCL “Galton Papers” I have compiled a list of names of Hanwell Asylum inmates whose portraits were taken on Galton’s request. In the entry and discharge books as well as in the patient records that are kept here, I am able to trace a number of the persons. Dating the photographs is however not as easy as in the case of Bethlem. As a county asylum Hanwell was dealing with a larger number of long-term patients. And, unlike at Bethlem, patients were not photographed as part of the asylum’s internal procedure, or at least no portraits and no nineteenth century photographs of the institution have survived as part of the case books in the Metropolitan Archives. This makes identification and dating of the photographs that became part of Galton’s collection of portraits of psychiatric patients from Hanwell difficult. However, in a number of cases, I was able to establish identities of individuals and could date the production of the photographs to 1880-81.

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Hanwell, or as it was officially called “Middlesex County Asylum” was the first pauper asylum in Middlesex, it was opened in 1831 and successively enlarged in 1837, 1857 and 1879. In 1888 it had 1891 patients. It was one of the first institutions in Britain that followed a non-restraint system, but in a contemporary report it was criticized for its low number of attendants and medical staff and the intransparent medical and administrative decisions.[1] As a state-financed institution, the number of patients was higher and the average time they spent at the Asylum was longer, compared to the privately-run Bethlem that catered for the middle classes. The patients were mainly workers from the lower classes; among the patients that I could trace in Galton’s portrait series the case files identify as: laborers, weavers, carpenters, bricklayers, butchers, shop assistants, clerks. Just like in the Bethlem files, the medical case books contain personal information, such as occupation and marriage status, individual and family medical history, diagnoses and notes on the development of the disease, as well as prescriptions. Also in these files the hereditary focus is strong and they often contain a mental family history.

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[1] See: Winslow, Forbes: „On the Management of Hanwell Lunatic Asylum“. In: The Journal of Psychological Medicine and Pathology 2, 1849, 418.

Visualizing “Law’s Pluralities”: Artistic Practice and Legal Culture

Interactive lecture by Raul Gschrey (Frankfurt and Giessen, GCSC, artist and curator) in the context of Prof. Greta Olson’s lecture series „Cultural Approaches to Law and US American Legal Culture”

15.06.2015 16.00 ct  – Liebig University Giessen, Phil I, A4

The interactive lecture series “Cultural Approaches to Law and US American Legal Culture” invites its participants to understand law not as an independent body of rules but as inseparable from culture, narrative, images, and political economy. The particular focus of the individual lectures will be on US American legal culture(s). Guest lectures by scholars in cultural legal studies, political science, anthropology, and US American history will enable participants to examine law from several perspectives.

Law’s Pluralities

Law’s Pluralities ׀ Conference & Exhibition 06.05. – 09.05.2015

In May 2015 the conference “Law’s Pluralities” will take place at Justus Liebig University Giessen/Germany. In a series of keynote presentations by experts and in panel sessions and discussions, as well as in an exhibition it will explore cultural constructions of law.

06.05. – 24.05.2015 exhibition at „Neuer Kunstverein Giessen“ & during the conference „Law’s Pluralities“ at Liebig University Giessen, Germany. Artists: Il-Jin Choi ׀ Raul Gschrey ׀ Mi You ׀ Manu Luksch

The interrogation of the cultural construction and negotiation of legal practices in the conference „Law’s Pluralities“ offers an interesting occasion for the presentation of an exhibition of artistic works dealing with the topic. The international artistic positions reflect on the social and legal frameworks and find means to visualise phenomena that often remain abstract. Furthermore here the artistic interventions themselves contribute to the differentiation and development of “legal writing”. Through their explorations, contestations and subversions, they participate in an alternative production of knowledge and function as mediators of and shape legal practices. The exhibition will be located at the conference venue and in the close-by “Neuer Giessner Kunstverein”, a local art association. This will expand the exhibition’s and conference’s reception towards a non-academic public open the discourse on the politically and socially relevant topic to a larger public.

The conference and exhibition is organized at Justus Liebig University Giessen by the International Graduate Centre for the Study of Culture (GCSC) in cooperation with the  Department of English, the Rudolf-von-Jhering Institute, and in cooperation with the Neuer Kunstverein Giessen.

Bertillon Exhibited

Research trip to the „Musée de la Préfecture de Police“ in Paris/France, January 2015

The museum of the police prefecture of Paris is located in the centre of town. It is only a five minute walk from the “Ile de la Cité”, the central court of Paris and the historical Prefecture where in nineteenth century Alphonse Bertillon resided in the upper stories as the head of the department of judiciary identification. The museum is however not housed equally grandiose, but in the third storey of a post-war concrete building. Already in the forecourt a sombre looking police officer blocks my way, the secret parole “museum” changes his expression and he leads me through a door. Here again, in a dark waiting room, ripe with the smell of the self-service coffee machine, faded posters of police announcements and wanted posters, I am lost.  Another obstacle, this time a desk manned by a team of officers, has to be overcome before I am granted access to the elevator.

Right opposite  of the entrance door to the museum there’s a section on the “Scientific Police”, mainly on Bertillon’s work. An accumulation of framed photographs and texts as well as objects introduces the development of identification and scientific police work. Among these are reproductions of historical photographs, of the process of taking anthropometric measurements, the archive of the Bertillonage records, tables for the portrait parlé, as well as crime scene photographs and reproductions of fingerprints. A huge enlarger takes up much of the space, but leaves room for a staged photo shooting – wooden posing chair and historical camera. Two puppets are representing a seated suspect under the gaze of a photographer whose face is clearly modelled on Bertillon – here he is the “Father of Scientific Detection” standing right in front of me, but slightly stiff. Another puppet operates a small wooden ordering cabinet for the Bertillonage identification cards, as it was used in the introductory phase of the new technique of biometric identification. By the beginning of the twentieth century, the records filled endless rows of shelves in the former police archive and a team of clerks were employed to order and retrieve the identification cards. Some of the cards and judiciary photographs are now kept in the archive of the Police Prefecture that I could visit on my last trip to Paris. In a corner a suitcase of instruments for taking the eleven anthropometric measurements of the Bertillonage rests in a vitrine.

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When I arrive at the museum for a second time and ask for an appointment with a curator, the staff leads me into a small office. Even though my earlier message apparently didn’t reach her the woman greets me enthusiastically, as if she’d expected me. The room is overflowing with papers, boxes, objects – like tidal waves this ocean crashes onto her table. Bertillon Exhibited weiterlesen