msdm a nomadic house-studio-gallery for photographic art and curatorial research, an expanded practice of the artist's book, photobook publishing and peer-to-peer collaboration created by contemporary artist paula roush


BLACKCHAPEL GLANEUSE
(WHY ON EARTH WOULD I WANT TO BE A FLANEUSE
IF I CAN BE A GLANEUSE?)

 BOOKWORK: paula roush
PUBLISHER: msdm publications
[mobile strategies of display & mediation]
YEAR: 2020

 Contents include:

1. WHY ON EARTH WOULD I WANT TO BE A FLANEUSE
IF I CAN BE A GLANEUSE?
(Hijabs Market)
Photography and design: paula roush
Pages: 100, 229mm x 152mm
Paper: Crème 80gsm
Binding: Hardcover with grey linen
Inserts: 3 booklets(4+4+ 8 pages)
+ found print, 15 x 10.5 cm
Black & white and colour

 2- THE PEOPLE OF THE ABYSS
Jack London, 1903
Tangerine Press: 2014 edition
with original photographic plates
and introduction by Iain Sinclair

3- BLACKCHAPEL FLANEUSE Hijab
Photography and design: paula roush
Hijab with photo-collage
Pigment print on silk
duotone, 90gsm
50 x 153 cm, with metal scarf hanger

All in a two-drawers acrylic case:  
26 x 16,5 x 9,5 cm


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BLACKCHAPEL GLANEUSE (WHY ON EARTH WOULD I WANT TO BE A FLANEUSE IF I CAN BE A GLANEUSE?) msdm publications Contents include: 1. WHY ON EARTH WOULD I WANT TO BE A FLANEUSE IF I CAN BE A GLANEUSE? (Hijabs Market) Pages: 100, 229mm x 152mm Paper: Crème 80gsm Binding: Hardcover with grey linen Inserts: 3 booklets(4+4+ 8 pages) + found print, 15 x 10.5 cm Black & white and colour  2- THE PEOPLE OF THE ABYSS Jack London, 1903 Tangerine Press: 2014 edition with original photographic plates and introduction by Iain Sinclair 3- BLACKCHAPEL FLANEUSE Hijabh Hijab with photo-collage Pigment print on silk
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BLACKCHAPEL (Why on earth would I want to be a flaneuse if I can be a glaneuse?) Hijabs market photo-collage pigment print on silk (poly) 90gsm 50 x 153 cm each hijab Exhibition We Stand Together 
Women’s Photographs of Women The Brady Arts Centre Installation view msdm House-Studio-Gallery
BLACKCHAPEL (Why on earth would I want to be a flaneuse if I can be a glaneuse?) Exhibition WE STAND TOGETHER Women’s Photographs of Women 1970s-2020
BLACKCHAPEL (Why on earth would I want to be a flaneuse if I can be a glaneuse?) Hijabs market photo-collage pigment print on silk (poly) 90gsm 50 x 153 cm each hijab Exhibition We Stand Together 
Women’s Photographs of Women The Brady Arts Centre Installation view msdm House-Studio-Gallery
msdm-studio-blackchapel-009
BLACKCHAPEL (Why on earth would I want to be a flaneuse if I can be a glaneuse?) Hijabs market photo-collage pigment print on silk (poly) 90gsm 50 x 153 cm each hijab Exhibition We Stand Together 
Women’s Photographs of Women The Brady Arts Centre Installation view msdm House-Studio-Gallery
msdm-studio-blackchapel-10
BLACKCHAPEL (Why on earth would I want to be a flaneuse if I can be a glaneuse?) Hijabs market photo-collage pigment print on silk (poly) 90gsm 50 x 153 cm each hijab Exhibition We Stand Together 
Women’s Photographs of Women The Brady Arts Centre Installation view msdm House-Studio-Gallery
msdm-studio-blackchapel-005
BLACKCHAPEL (Why on earth would I want to be a flaneuse if I can be a glaneuse?) Hijabs market photo-collage pigment print on silk (poly) 90gsm 50 x 153 cm each hijab Exhibition We Stand Together 
Women’s Photographs of Women The Brady Arts Centre Installation view msdm House-Studio-Gallery

This photographic collage inscribes walking and the
collecting  of images in a temporal space construction
within Whitechapel’s market when I lived in a nearby
building and would come by in the afternoons, with my camera, the stalls boasting with women strolling in the
hijabs' market. I would wonder around, photographing
and feeling this might be what a female flanerie looks
like, women both looking at each other and being looked
at, within the protected veil of the hijab. Are we the Whitechapel invIsible flauneuses, I asked myself?
I saw a gendered appropriation of public space,  a
playful subversiveness of  the dark Whitechapel wound
culture which is still so wrongly attuned to the celebration
of Jack the Ripper’s crimes. This unique way of sharing
the urban realm with my sisters required a revision of the
term used for the male urban flaneur, to take it further
than a simple feminisation of the word:

“In the end after all the discussion about women’s access to the practice of flanerie: Why on earth would any woman want to be a flaneur?"  asks Janet Wolff (in Gender and the Haunting of Cities; or, the Retirement of the Flâneur (2006).  

If we understand the city itself as a narrative device we may begin to entertain other counter-narratives - to confront the shadows and obscurities, the dark silences and the ghosts. Agnes Varda, used the term glaneuse: ‘to glean’ is collect
what is left behind after a harvest. In the film Les Glaneurs
et La Glaneuse (The Gleaners and I
, 2001), Agnes looks at
herself as a gleaner: cinematography (and photography,
in my case) is as much gleaning as picking up a piece of fruit to eat.
Why on earth would I want to be a flaneuse if I can be a glaneuse?

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BLACKCHAPEL f/gLANEUSE (WHY ON EARTH WOULD I WANT TO BE A FLANEUSE IF I CAN BE A GLANEUSE?) Photographic silkprints, duo-tone, 150 cm x 50 cm
BLACKCHAPEL FLANEUSE
BLACKCHAPEL f/gLANEUSE (WHY ON EARTH WOULD I WANT TO BE A FLANEUSE IF I CAN BE A GLANEUSE?) Photographic silkprints, duo-tone, 150 cm x 50 cm
BLACKCHAPEL FLANEUSE
BLACKCHAPEL f/gLANEUSE (WHY ON EARTH WOULD I WANT TO BE A FLANEUSE IF I CAN BE A GLANEUSE?) Photographic silkprints, duo-tone, 150 cm x 50 cm
BLACKCHAPEL FLANEUSE
BLACKCHAPEL f/gLANEUSE (WHY ON EARTH WOULD I WANT TO BE A FLANEUSE IF I CAN BE A GLANEUSE?) Photographic silkprints, duo-tone, 150 cm x 50 cm

 mobile strategies of display & mediation
 

by appointment only
request private viewing 

paula roush 
founder


paularoush@gmail.com

London SE


msdm@msdm.org.uk

school of arts  & creative industries  
london south bank university


roushp@lsbu.org.uk