Offset Litho prints
29.7 cm x 21 cm and 29.7 cm x 42 cm
Munken paper 120gsm, colour
Still photographs of the film set Queer Paper Gardens (HD, 21m, colour, sound)

Bookwork
Queer paper gardens or the Wildlife of symbols, Collage-Roman.
Five softcover volumes in a customised, numbered and signed grey board slipcase,
21 cm x 29.7 cm, offset printed in munken pure paper 150 gr., edition of 100
Lisbon: EDP Foundation 2013

Flora McCallica, photographic installation
Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

video installation
Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

video installation
Dreaming Through exhibition, 198 Gallery London, 2013

Collage salon
Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

collage mosaics installation
Dreaming Through exhibition, 198 Gallery London, 2013 and Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

collage
collaged narratives
historical archive
artistic research
Valentine Penrose
collage-book
Dons des Féminines
Max Ernst
roman-collage
Une Semaine de Bonté
Mary Delany
botanical-collage
Flora Delanica

Texts
Text (Vols I-IV) Les deux amies / The two girlfriends (Gifts of the Feminine), The mise-en-scéne of the unconscious (A Week of Goodness), The photoalbum in the drawing room (cardomania), the album of Madame B., The paper mosaick (Female cruising in the garden)   Text (Vol V) a journal of one’s own, a text dedicated to mary, margaret, valentine, alice, paula, maria and all the other women 
Undermining the surrounding world/ Minar o mundo circundante
Mulheres fatais e outras que tais: uma visita ao museu surrealista atraves da colagem,Ipsilon Publico, 23 Agosto 2013 [english translation>]
Colagem e colisão: uma colaboração artistica em torno de danças e contadanças dos generos recupera a colagem como modo de associação de imagens, Expresso Atual, 22 Junho 2013 [english translation>]

Queer Paper Gardens: paula roush & maria lusitano
curated by Joao Pinharanda
June 6 – September 8 2013
Museu da Electricidade, Lisbon
[Curator’s text: João Pinharanda Undermining the Surrounding World]
[ Exhibition review: Luisa Soares de Oliveira Mulheres fatais e outras que tais/ Fatal women and others as such: A visit to the surrealist museum through collage Ipsilon Publico Magazine 23 August 2013 portuguese  / english]
[ Exhibition review: Celso Martins Colagem e Colisao / Collage and collision An artistic collaboration around the dances and counterdances of gender, retrieves collage as a mode of associating images Expresso Atual Magazine,  22 June 2013 portuguese  / english ]

Queer Paper Gardens approaches the history of collage through a combination of artistic research and historic visual enquiry. Including an installation made up of a collage-salon, two double-screen video-essays and two large-scale charcoal drawings, the project explores travel and collage as interlinked cultural queer and feminist practices in its relationship to contemporary art.

The project focuses on several works of collage, created across three centuries, ranging from Flora Delanica (1772-1782), Mary Delany's botanical collage work considered a pioneering instance of collage on paper, to the photographic collages of the Victorian era and, finally, to the Modernist collage-novels that constitute the exhibition's fulcrum: Max Ernst's Une Semaine de Bonté (1934), and Valentine Penrose's Dons des Féminines (1951).

Revisiting all these works brings out a number of visual and textual narratives that explore the concept of journey: a journey through the history of collage and a delocalisation in time – something quite appropriate to the inherent features of the collage technique; This journey makes visible ways in which collage creates spaces that facilitate experiments with botanical taxonomies as metaphors for gender and sexuality and also a critique of the bourgeois domestic setting conveyed through escapist dreams and travel to exotic locations.

The relation between collage and art publishing is part of artists’ books history. Two relevant examples of small editions books are part of the exhibition’s material sources: Max Ernst’s A Week of Goodness (1934) and Valentine Penrose’s Dons des Feminines (1951). Both propose new perspectives on the relationship between found material and personal biography, collage and narrative, image and text. Departing from these and looking at early predecessors of the visual book- encountered in the Georgian hortus siccus (herbarium) and the Victorian photo album- the project explores:
– Working with found material: the author as editor with a subjective vision of an archive or collection
– A queer and feminist history of collage that looks at early precursors of collage amongst 18th century landscape female artists, female victorian photo-collage, the surrealist collage novel and contemporary collage approaches
– Visual storytelling when sequencing books: strategies that range from cinematic structure to the travel book.

Collage photoworks
xerox photographs with construction bricks and archival cotton tying tape
printed on newsprint paper
38 cm x 29 cm

Newspaper work
The past persists in the present in the form of a dream (Participatory Architectures, Memory, Revolution)
12 pages, colour, newsprint paper
 29cm ×38 cm 

(How to) Build Your Own Living Structures
Collage photoworks
synthetic linen inkjet prints stretched as hardcover book

Participatory Architectures (Memory, Archive, Revolution)
Installation, various dimensions
Unbound exhibition | Herbert Read Gallery, University for the Creative Arts Canterbury 2017

Participatory Architectures (Memory, Archive, Revolution)
Installation, various dimensions
Paradigm Store exhibition | Howick Place London | 2015

Installation
Assemblage with trestles, night stand, newspaper work, 122x 40x 80 cm.
Art in a bookshell:  A survey of artists working with and inspired by books exhibition | Milton Gallery London | 2015

Chaos of memories- Surviving archives and the ruins of history according to the found photo foundation
3rd Dimension Paradigm Store at Howick Place
Operacoes SAAL,  Alvaro Siza e a Persistencia de São Victor: Falhar, Falhar Novamente, Falhar Melhor
The past persists in the present in the form of a dream (participatory architectures, archive and revolution)

Monochrome prints and wearables on paper and fabric on metal structures
shot (two tones) with a paintball gun (collaboration with GBH)

Paintball Field {Blue & Yellow]
bookwork printed with a Monochrome Océ Laser on Xerox Bond paper
shot with paintball gun (two tones) by GBH
118.9 x 84.1 cm each folio, installed on metal table with chipboard top

Monochrome xerox prints on paper and fabric
shot (two tones) with a paintball gun (collaboration with GBH)
with props, installed on metal, foam and and wood structures 
Installation views of the exhibition PAINTBALL FIELD (3,06 billion cycles per second)
Commissioned by Barreiro Photography Month at AMAC
Red Gallery Auditório Municipal Augusto Cabrita 1 Nov  2018 – 10 Feb 2019

Monochrome Laser prints on pleated paper
Installation views of exhibition Grange Studios 2016

Newspaperwork
24 pages, b&w digital print, newsprint paper, 35 x 50 cm 

Photozine
available in 2 sizes 20 x 28.5 cm (A4 page size) / 14x 20 cm (A5 page size)
laser printed black & white on canon ivory paper 80gsm
28 pages, hand-bound, 3-hole pamphlet stitch
edition of 100, released 2018, msdm publications

Paintball Field was made during a residency in the ‘schist’ mountain villages of Portugal. The area has become depopulated and is now being developed as a destination for tourists. The title of the work refers to a local recreation area where visiting families come with their children to play war games using guns firing balls of paint. The photographs conjure up a hunting scene in which a female figure wearing a cork mask – resembling those that were used by the original villagers during carnival – is being pursued. 
More than a simple ironic take on violence and war, the work draws on ethnographic connotations, evoking a dramatic encounter between the rural traditions of the past and present-day cultural practices.
(3.06 billion cycles per second is the clock speed of the computer used to create the photoworks, expressed in gigahertz: 3.06 GHz. The computer is only one of the mediating elements in this practice, connected to capturing, editing, printing and publishing devices. An underlying trauma is the feeling of loss: emotional, social and technological. Loss of loved ones, lived spaces and computing power)

Torn, Folded, Curled is a working term used at the Arab Image Foundation to categorise heavily damaged photographs that require special care in storage and preservation. It is also the title for a project started with photographic research at the Foundation followed by a publishing residency at PlanBEY that resulted in photobookworks and an exhibition in Beyrut (Makan, 2015). Bayroumi, Super-Private and Today source from three photographic collections that are temporarily stored for preservation, whilst awaiting its full digitisation and cataloguing.  Art as Research methodologies support an archaeology of the contemporary past, and reflect the way these orphan photographs exist in a phantasmic connection with Middle East history, chance and everyday life.

Based in Beirut’s Mar Mikhael, Makan was a residential apartment before its conversion into a project space. Relying on the domestic feeling of the site, the gallery was retrofitted into a furnished apartment and the photobook works integrated within a site-specific installation. The staging of a narrative within an out-dated domestic interior invited the audience into an intimist reading of the scenes evoked in the printed pages.

SUPER-PRIVATE
This effect is visible with Super-private, six photobookworks sourced from the work of an amateur photographer known as RS. Photographing in the early 1950s in Beyrut, he left his work in film rolls that were never developed during his life time and are shown here as photobookworks for the first time. The ‘real-life’ apartment setting provides the ideal backdrop for a visual script that emerges in the staged scenes for the camera where his friends and lovers feature as characters in a photo-roman noir. More about the book here

TODAY/AL YOM
Another bookwork in the exhibition is an investigation of press photographs and papers rescued from the offices of political newspaper Al Yom. Founded by Afif El Tibi in 1937, considered the father of Lebanese journalism, the newspaper was attacked at the outbreak of war in 1975, and the journalists given 30 minutes to leave the offices. The repository lay hidden until the editor’s death in 2005 when it was found outside his house.  Heavily damaged, the materials are photographed as they were found: torn, folded and curled. The resulting publication is titled Today (torn folded curled) and the images are accompanied by sentences from the novel ‘A L’ Ombre d’ Une Ville’ (1993) by Elie-Pierre Sabagg, creating a photo-text that is a reflection on memory, photography and the city.
More about the book here

BAYROUMI
The Bayroumi Collection has been temporarily held in storage boxes at the Arab Image Foundation waiting to be catalogued and re-housed in safe archiving environment, until it is ultimately digitised and made available for online access. It was brought in by AIF member Akram Zaatari, from the studio of Mohamad Bayroumi in Saida, Lebanon and it is still being researched. It is a collection of approximately 4600 negatives of 35mm format, packed in cardboard boxes and plastic bags. More about the book here

ROSITTA
Rositta explores what the definition of 'photobook' is: using one single image from the RS collection it is formatted for the dinner table, a humorous twist of the coffe-table book. The photograph is rendered bitmap, a process usually leading to the photo silkscreen surface a condition that  is eschewed here in favor of high contrast laser printing, and placed under a transparent acrylic cover with pink stickers.
More about the book here

Three “photographic rubbings” made with graphite crayons on toner monochromatic prints (80gsm Bond paper). They are hand-embossed imprints of inscriptions of the names of the workers of Gas Light & Coke Company dead in World Wars I and II. The black and white powder texture is the result of graphite used to rub the stones in the memorial garden, in the centre of which a gas lamp burns constantly.

Photographs and rubbings done kneeling and installed knee level 46cm from the floor
SIze each photographic rubbing: 59,4 x 84,1cm
Photography: paula roush with additional artwork by ina

Installation view of the work “KNEELING (MEMORIAL GARDENS)"
msdm studio, Electric House March 2019

Paintball Field was made during a residency in the ‘schist’ mountain villages of Portugal. The area has become depopulated and is now being developed as a destination for tourists.

PAINTBALL FIELD (3,06 billion cycles per second ): paula roush photography and installation
Installation commissioned by Barreiro Photography Month at AMAC
Photoworks printed monotone with laser toner on xerox paper and linen, shot (two tones) with a paintball gun (collaboration with GBH), wearables with photoworks printed onto silk cotton, props, foam and mannequin installed on metal and wood structures
Red Gallery Auditório Municipal Augusto Cabrita 1 Nov  2018 – 10 Feb 2019

Paintball Field was made during a residency in the ‘schist’ mountain villages of Portugal. The area has become depopulated and is now being developed as a destination for tourists. The title of the work refers to a local recreation area where visiting families come with their children to play war games using guns firing balls of paint. The photographs conjure up a hunting scene in which a female figure wearing a cork mask – resembling those that were used by the original villagers during carnival – is being pursued.
More than a simple ironic take on violence and war, the work draws on ethnographic connotations, evoking a dramatic encounter between the rural traditions of the past and present-day cultural practices.
(3.06 billion cycles per second is the clock speed of the computer used to create the photoworks, expressed in gigahertz: 3.06 GHz. The computer is only one of the mediating elements in this practice, connected to capturing, editing, printing and publishing devices. An underlying trauma is the feeling of loss: emotional, social and technological. Loss of loved ones, lived spaces and computing power)

Installation view of the work “PINK PRESS“ Ocotber 2019, msdm studio Artillery Place

Pink Press, hand-made collages with cut-outs from portuguese gossip magazines (imprensa rosa or “pink press”) on vintage paper, 35 x 28 cm each

Two photobookworks photographed in the 85 Stepney Way warehouse, Whitechapel London
presented as a double site-specific installation.
paula roush: Blackchapel + Julie Cook: East London Strippers Collective
msdm studio Whitechapel, May 2016

BLACKCHAPEL

East London Strippers Collective>>

Paradigm Store
Curated by HS Projects
With:  Ulla von Brandenburg, Cullinan & Richards, Kendell Geers, David Shrigley, Yutaka Sone, Maria Nepomuceno, Tobias Rehberger,paula roush, Claire Barclay, Elizabeth Neel, Simon Bedwell,  Nike Savvas,  Theo Stamatoyiannis,  Anne Harild,  Beatriz Milhazes
5 Howick Place, London
[press release] [artist's statement]  [review: 3rd Dimension Magazine]

Historical allegories
The latest materialisation of the found photo foundation appeared in the installation The past persists in the present in the form of a dream (participatory architectures, archive, revolution) that was exhibited in London in 2014 by HS Projects as part of Paradigm Store, a curatorial project reflecting on the haunting gap between 20th century modernist utopias and historical matrixes that have ripped apart modernist myths of progress. The past… in the form of a dream occupied that gap between the 1970s promises of radical participatory democracy and the contemporary reality of neo-liberal democracy in southern europe, featuring the Apeadeiro housing estate, one of the urban villages developed during the portuguese SAAL architecture programme, and now facing demolition. I was a child in 1974 when the 25th of April coup d’etat put an end to five decades of fascist dictatorship. Within just a few months, the country underwent a fertile incubation period out of which mushroomed a series of experiments in participatory democracy with SAAL symbolising the architecture of the revolution.

Architect Jose Veloso built a SAAL project with a fishing community living in precarious conditions in a small shanty town in Meia Praia, by the seaside of Lagos city. With his team’s support the villagers formed an association and applied for funding and ownership of the land. Forty one houses were built following a ‘modular typology of evolutionary housing.’ The basic unit was the one bedroom flat, and each unit contained five additional options of interior organisation allowing the family to develop the space up to a five bedroom flat, according to their household needs. The architects made the proposals, elaborated the technical aspects of the construction and all decisions were taken in collective meetings, where almost everyone participated: “It was a very cohesive, lucid and coherent group in their decisions. They didn’t want each family to be simply building their own house. Instead, everyone worked in all the houses collectively, and they would all be built at the same time.” (1)

The SAAL programme was eventually dissolved in 1976 by a government invested in joining the prevailing neoliberal capitalist model, in a process of normalisation for the portuguese society where hegemonic models of western-style consensual democracy replaced the participatory experiments put in place during the revolution. The Apeadeiro village was never finished, the streets never paved and the houses are currently threatened with demolition to make space for a new golf course. This happens concurrently with an identified crisis of memory in portuguese history by “getting rid of those formulations that were seen as direct expressions of the vigorous popular movements of the revolutionary period and their achievements,” as Santos and Nunes write (2) and that explains the institutionalisation of a ‘selective’ historical amnesia.

Aesthetic of ruins
It is this complex crisis of memory that I attempted to work in the form of another experimental archive, an installation that mixed found photographs with my own photography. In my first field trip to the village, in 2010, I photographed the forty one houses like Ed Ruscha would have photographed every building on the Sunset Strip (3), or the twenty six gasoline stations on Route 66. (4)
I created a visually efficient typology, and tactics of ‘typologisation’ are frequent in many other spatial photobooks, as pointed by Ian Walker (5), but it didn’t engage the psycho-historical resonances of the site. I carried on with research at the National Library and Archives in Lisbon where I searched for traces of my case study and found the cotton tape used to bundle-up documents. I eventually cut the houses out of their backgrounds, wrapped them around construction bricks, and re-photographed the series. The fragmentation of the image and the archival cotton tape inserted spatio-temporal gaps in the photographs that result in the creation of a historical allegory. Further, the fragmentation and doubling of photographic material in the installation created, in turn, an archive of participatory architecture and an archive of revolution, that is also an archive of ruins and forgetting.

The difference between typological and allegorical archival installation might be seen, as explained by Craig Owens (6), in such engagement with the psychological and mythical resonances of the site. This along with other strategies as the creation of images through reproduction of other images, an attraction to the imperfect, the impermanent, the ruin that stands for process of decay and abandonment, an obsessive gathering, piling up of fragments, involving the spatial, leads to hybridisation and photomontage and a temporal projection of structure as sequence.
Could The past… in the form of a dream installation communicate the time of the construction, the time of the photograph and the time of the archive? It appears to function both as a spatial and a time montage that shifts the viewer’s perception between utopia, ruins, document and monument. The danger with ethnographic approaches is, according to James Cifford (7), the distancing of the represented communities in the ‘salvage paradigm’ that freezes them into a ‘present-becoming-past.’ This is something I have been very wary of, threading my way between documentary and experimental auto-ethnography. However, the allegorical structure of double representation, in which the ethnographing of the culture is recognised and made visible through photography’s reflexivity, complemented by the inclusion of other voices, transforms such ethnographic practices. Catherine Russell also sees this happening in the use of allegory to appropriate utopian desires, as in Walter Benjamin’s radical theory of memory. In her reading of Benjamin’s work, his study of the Paris arcades suggests that the past persists in the present in the form of a dream, often commodified as a wish image; this conception of the past is captured in the shifting temporalities of the reproduced and archived photography and became the title The past persists in the present in the form of a dream (participatory architectures, archive, revolution), for both a newspaper (8) and installation.

In the installation, one of the sculptural clusters looks like a disordered construction site, a visual memory from my first visit to the village, where I saw the poetic debris of everyday life, let out and about in the streets… A wooden frame placed over a shabby linoleum strip evokes both the front of a house and a large light-box, with fluorescent light illuminating a quasi-transparent instance of the brick-house. Moving to the side, there is a defaced nightstand, placed over trestles, as if waiting repair. Hanging from its open door is a double spread from the photo newspaper, with a different brick-house. Other assemblages show construction materials and photo reproductions leaning against it, a homage to the DIY skills of the villagers, that glean iconic trash of late capitalism to repair the deteriorating housing estate.
This creolisation, the hybridised appropriation of the globalised culture in a localised vocabulary of forms creates odd juxtapositions, for example, of brick chimneys with macdonalds’s logos. Is this a TAZ, a temporary autonomous zone(9)? A pirates’ encampment that resists state control? Like a rhizome, the TAZ is a node reconfiguring itself in order to enact hit and run resistances. Otherwise how to rethink today SAAL’s ideas on social emancipation?

Surviving archives
It is crucial to note here that there is no official archive of the housing estate: a main gap in the residents’ archives is the absence of the official documents that would grant them ownership of the land and houses. In this absence, their position is extremely vulnerable and the creation of such archive appears as a matter of urgency. The inclusion of three large studio trestle tables to display the records of the SAAL architecture along vernacular and personal archives is an act of reparative justice as well as a direct result of the centrality of the fpfoundation in my studio practice. The collection of found material has a very a mobile configuration “in transit and in translation” moving like Marianne Hirsch and Diana Taylor suggest happens with temporary archival forms, away from “understandings of archives as stable repositories.” (10)
Crucially, like the artists’ studios analysed by Jenny Sjöholm (11) my studio can be seen as an experimental archive in itself, with all types of collected objects being taken out and incorporated into installations set-ups, silkscreen prints, photobookzines and other practices that translate the contents of the storage boxes into new patterns that further loose its connection to its original site of production. Thus, not surprisingly, it is frequently impossible to identify the provenance of the photographs on display in any of my installations.

The inclusion of found state photo albums from the fascistic government, alongside Jose Veloso’s architectural archive and with the villagers’ personal archives in the tables query the weight of the archive to legitimise and or destabilise power positions. In the reproductions of the villagers’ photos they appear in their homes, surrounded by their collections of images and artefacts, as collectors and archivists in their own right, aware that in spite of this ordering, they lack the documents that prove their citizenship. Their staging for the camera of their personal archives reveals politically and aesthetically astute use of images, where evidence of citizen’s life is a plea for human rights. These archives of the private sphere show how politicised is the figure of the dispossessed. The image of the villagers as activists can only be complete with the memories of the films and songs that evidence their life in the public sphere, since life in the village has been wrapped up with the codes of ethno-documentary representation and the politics of image since its inception in the 1970s.

As part of the installation, I included a video archive that deals with the village in two different periods. The film Continuar a Viver -Living On (1976) was directed by Antonio Cunha Telles when the filmmaker joined the construction team in 1975. Since 1968 European militant cinema had been filming the working class struggle. Living On is both an ethnographic work and a piece of militant cinema, a politicised documentary of direct cinema, with no leading actors, rather the working class takes stage as the main character. Here, the protagonist is the fishing community performing for the camera as citizens exerting their right to the city, building their own houses collectively and assuming the control over their means of production by establishing a fishing cooperative.

The other video archive moment is a contemporary Youtube playlist of thirty cover versions of the song Indios da Meia Praia (1976). When the protest singer Zeca Afonso (1929 – 1987) wrote the soundtrack for the film he called it Indios da Meia Praia (Indigenous of the Meia Beach) as the Lagos city population called the villagers, a derogatory term that implied both foreigner and subaltern positions. The song appropriates the term to claim an anti bourgeois attitude, and it has been so popular throughout the years, that it has slowly become an anthem for the revolution. So whilst in fact many people have never visited the village, the so called Indios became a legend in its own right and the song regularly reappears as a new cover version in political rallies, TV shows and song contests.

In the site of an empty office building in the borough of Victoria, central London, the viewer’s experience of walking along the archival installation was framed by the background view out of the 6th floor window frames: outside were the red bricks tower of the neo-Byzantine style catholic Westminster cathedral erected in 1903, the dark grey cement cluster of brutalist architecture office buildings built in the mid-1970s, contrasting with the new stainless steel office buildings, a symbol of the present digital economies, with office workers visible at their computer desks. The allegorical archive could be experienced in a total environment of time-space compression at the time of globalisation.(12)

Extract from:
paula roush: Chaos of memories- Surviving archives and the ruins of history according to the found photo foundation [access full there here]
In Order and Collapse: The Lives of Archives
Editors: Gunilla Knape, Niclas Östlind, Louise Wolthers, Tyrone Martinsson,
Art & Theory Stockholm  2016

1 From an interview with the architect, video recorded in the summer of 2010.
2 Boaventura de Sousa Santos and João Arriscado Nunes, '”Introduction: Democracy, Participation and Grassroots Movements in Contemporary Portugal,” South European Society and Politics 9:2 (2004), p.11
3 Edward Ruscha, Every Building On the Sunset Strip (Los Angeles, CA: self-published, 1966)
4 Edward Ruscha, Twentysix Gasoline Stations (Alhambra, CA: The Cuningham Press,1962)
5 For a study see Ian Walker “A kind of ‘Huh?’: The siting of twentysix gasoline stations (1962)” in The Photobook: from Talbot to Ruscha and Beyond, eds. Patrizia di Bello, Colette Wilson & Shamoon Zamir (London/New York: I.B. Tauris 2012) 111 – 128.
6 As exemplified in the site-specific work of Roberth Smithson and archival accumulations of Hanne Darboven. See Craig Owens, “The Allegorical Impulse- Toward A Theory of Postmodernism, October 12 (Spring, 1980), 71.
7 James Cifford, “On Ethnographic Allegory,” cited in Catherine Russell, Experimental ethnography – The work of film in the age of video.
8 paula roush, The past persists in the present in the form of a dream (participatory architectures,archive, revolution) (London: msdm publications, 2012); first exhibited during the Brighton Photo Biennial 12 Photobook, October – November 2012 and Brighton Photo Fringe, Phoenix Brighton, November 2012
9 Hakim Bey, T. A. Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism.(Brooklyn, NY: Autonomedia, 1985).See http://hermetic.com/bey/taz3.html#labelTAZ
10 Marianne Hirsch and Diana Taylor, The Archive in Transit, In On the subject of archives. See http://hemisphericinstitute.org/hemi/en/e-misferica-91/hirschtaylor 11 Jenny Sjöholm, “The Art Studio As Archive: Tracing The Geography of Artistic Potentiality, Progress and Production,” Cultural Geographies 21(3, 2014), 505– 514.
12 On the question of the national of allegory vs its globalisation using the configuration of timespace compression proposed by Fredric Jameson see Ismail Xavier, “Historical Allegory” in A Companion to Film Theory, eds. Toby Miller and Robert Stam (Malden: Blackwell, 1999) 333-334.

paula roush: Decomposition and Other Large Scale Works
09 – 23 December 2017
UN8 London