Daily Mind-ful 21 April 2017 (FORMAT 2017)
[APOLOGIES but the first story in this clip appeared in yesterday’s diary post.] You can watch my full rant about how Mark Zuckerberg needs to grow some balls and show more leadership here; first stop on my tour of FORMAT 2017 is the University of Derby on Markeaton Street, located across the street from a trailer park; you can actually order instant coffee at the cafe; the FORMAT exhibition spans 15 venues across the city of Derby so that residents, students and everyone in Derby is exposed to the art; bleak images of the former Yugoslavia by Borko Vukosav; gorgeous, if slightly obvious, images of glaciers juxtaposed against abandoned eskimo dwellings by Magda Biernat; extremely disturbing autoradiographic images by Masamichi Kagaya document the radiation still present in natural and man-made objects in the environs of the Fukushima nuclear plant; FORMAT is astounding for its curatorial choices and quality of writing; Derby is quaint and idyllic to boot; my iphone selfie lens has a crack across the protector explaining why I haven’t been and can’t be the talking head in my own vlogs lately; I arrive at Pickford House, the 250-year old former residence of Georgian architect, Joseph Pickford; Shivani Gupta’s portraits of Ladakh people printed on fabric are gorgeous and folkloric; but I’ve spent too long savoring the art at the first two venues, meaning that I’m running out of time to see the rest of the venues in FORMAT today; St. Werburgh’s Chapel houses two artworks by Tim Simmons and Simon Aeppli, captured in a video on my Instagram feed; at the Derby Museum, there’s an exhibition dedicated to the contents of one of the world’s oldest photography studio, W.W. Winters of Derby; one of FORMAT’s strong suits is the very disparate aesthetic, historical and thematic range of images on display; I check out FORMAT’s River Lights venue so that I can try out the Virtual Reality headsets from Oculus; I didn’t video any part of my visit to the Dubrik recording studio because it’s right next to a halfway house (and lots of dubious characters loitering loudly on the street); I fall in love with one of the FORMAT venues: the Small Print Company and end up shooting the owner of that business instead of the photography — enough to make a short film actually; the penultimate venue of the day is the semi-derelict Pearson House, a mystical,
overgrown former school housing the artworks of about 10 photographers; Poulomi Basu’s video and virtual reality installation about Western Nepalese women ostracized under Hindu tradition for undergoing menstruation for the first time is arresting and memorable; my final stop is on Cathedral Green, to see FORMAT’S iteration of the global, travelling photography project, Flaneur; after a jam-packed day at FORMAT, I have to drive home — starving and thirsty; the real, hard work begins after I download all the clips from my camera; no Prets in Derby (but it’s a good thing); HOME – at last — after the LOOONGEST day!
overgrown former school housing the artworks of about 10 photographers; Poulomi Basu’s video and virtual reality installation about Western Nepalese women ostracized under Hindu tradition for undergoing menstruation for the first time is arresting and memorable; my final stop is on Cathedral Green, to see FORMAT’S iteration of the global, travelling photography project, Flaneur; after a jam-packed day at FORMAT, I have to drive home — starving and thirsty; the real, hard work begins after I download all the clips from my camera; no Prets in Derby (but it’s a good thing); HOME – at last — after the LOOONGEST day!