"Research at Nottingham Trent University takes place in all our Schools, in all our subjects- from Art to Zoology. Alongside the reports, books, papers, keynote talks that you might expect, many times our researchers produce things as well as words. These might be: art works; 3D designs; visualisations of scientific insights; fashion; images produced from ethnography; film and theatre production; costume designs and more.
We think of it as something like a gallery, except without walls, or with just one, a virtual wall - hence the name. Each three months or so there is a new show to see, carefully curated round the work of one researcher or a small group. The variety of our work means that an exhibition of interactive art work might be followed by one about the visualisation of nano particles, or on the ancient architecture of Oman.
Wall5 is a way to show how these things articulate with the knowledge our researchers generate and let us demonstrate the full spectrum of what we produce.
Wall5 launched in November 2010. As each show is replaced it will appear in an archive section, so if you like what you see you can check back later. Also, look out for WALL5 groups on social media sites for updates on the exhibition programme."
(Nottingham Trent University)
Fig.1 Jed Hoyland 'Silence/Stillness/ Arrangements'
"Eugene Atget, who, around 1900, took photographs of deserted Paris streets. It has quite justly been said of him that he photographed them like scenes of crime. The scene of a crime, too, is deserted; it is photographed for the purpose of establishing evidence. With Atget, photographs become standard evidence for historical occurrences, and acquire a hidden political significance. They demand a specific kind of approach; free-floating contemplation is not appropriate to them. They stir the viewer; he feels challenged by them in a new way. At the same time picture magazines begin to put up signposts for him, right ones or wrong ones, no matter. For the first time, captions have become obligatory. And it is clear that they have an altogether different character than the title of a painting. The directives which the captions give to those looking at pictures in illustrated magazines soon become even more explicit and more imperative in the film where the meaning of each single picture appears to be prescribed by the sequence of all preceding ones."
Benjamin, Walter (1988). 'Illuminations', New York, US: Random House.
Fig.1 Eugène Atget (French, 1857-1927), 'Boulevard de Strasbourg 1912', Albumen silver print from glass negative 22.4 x 17.5 cm (8 13/16 x 6 7/8 in.). The Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005.