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

ESSAYS IN EDITED VOLUMES

order-and-collapse-the-lives-of-archives-3

In Order and Collapse: The Lives of Archives. Ed. Gunilla Knape, Louise Wolthers, Niclas Östlind.
Published by: Photography at Valand Academy, University of Gothenburg/ Hasselblad Foundation
and Art and Theory Publishing, 2016

msdm-A-Field-Book-Is-Alive-4

In The Book is Alive! 2013, BookLive!  E. Waeckerlé, and R. Sawdon-Smith (eds.)
London South Bank University. London: RGAP, 2012

paula roush, Xistorias/ SchisTime, exhibition view, msdm studios at Grange Walk, London

Percursos Feministas: Desafiar os tempos.
Eduarda Ferreira, Isabel Ventura, Luísa Rego, Manuela Tavares, Maria Antónia Pires de Almeida (Eds) 
Lisbon: UMAR/Universidade Feminista, 2015. pp 74-83 Ebook

art-tv-essay

Multitudes magazine special Issue: the art-TV clash/ Channel TV
Britta Peters (Ed.) at the Kunstverein Harburger Bahnhof Hamburg
in partnership with Halle für Kunst Lüneburg and cneai, 2010

queerpaper-gardens-msdm-01
msdm-studio-a-field-newspaper-work-09

ISEA 2011 Istanbul Conference proceedings. Presented at the ISEA the 17th International Symposium
on Electronic Art; Istanbul: Sabanci University, 2011

mundos-locais-local-worlds

in Mundos Locais Local Worlds. Eds. paula roush & Lucia Marques. Lagos: Centro Cultural de Lagos, 2008. p.74-
Available at Gulbenkian Art Library [see CATALOGUE]

publishing-with-friends

In Educational social software for context-aware learning: collaborative methods and human interaction. Eds Niki Lambropoulos and Margarida Romero. Hershey, PA: IGI Global. 2009

Found Photo Foundation installation


Migratory aesthetics / travelling concepts / epistemology of the nomadic place. 

In M. Miranda and D. Soter Projeto Figura-Pensão Ibérica | artistas em residência, Lisbon: Xerem, London: Triangle Arts Trust. 2010

Found Photo Foundation installation


From webcamming to social life-logging: intimate performance in the surveillant-sousveillant space. 

In Conspiracy Dwellings: Surveillance in Contemporary Art. Eds. Pam Skelton and Outi Remes. Cambridge Scholars Publishing. 2010.

m4-uec

Anarchitexts: Voices from the Global Digital Resistance Autonomedia 2004 



ARTICLES IN JOURNALS

92_download-fever-paula-roush-4

in Photographies Journal, Vol. 2 Photography and Education Special Issue and Symposium Issue.
Eds. Andrew Dewdney and Martin Lister. Taylor & Francis.  2009.

hetero-qb-panopticon

Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisboa, April 9 – June 30 2013
https://heteroqb.wordpress.com/

 The Book Dispersed exhibition, Casa das Artes Porto

In Catarina Figueiredo Cardoso & Isabel Baraona (eds) Portuguese Small Press Year Book,
Lisbon 2017

participatory-seismopolite

Seismopolite Journal of Art and Politics issue 3 Reimagining the political geography of “place” and “space”. May 2012

open-souce-uni-1

in: Catlow, R. and Garrett, G. (eds.)   Collaboration and freedom - the world of free and open source art. London  2011: Furtherfield and Arts Council England. [Online].

public-art-campaigning

Variant Magazine Issue 10, Spring 2000
Supplement: The Non Place Urban Realm, South London Gallery (SLG)

Peckham, London, August 1999

msdm-MAP


amigas + freudinnen + amies + girlfriends (10 questions to paula roush)
ProjectoMap, Mapa de Artistas de Portugal [see ZINE


Sally Farhat and Mai Al Khouri
LAU begins discussion on regional design archiving
April 6, 2019

Marwan El Tibi

paula roush fait revivre les archives du journal Al-Yom
Al Ayam Magazine, October 2015


 

While Middle Eastern art and architecture studies have proliferated as areas of scholarly investigation and discussion, perspectives on graphic design and visual communication of the Arab Middle East remains a greatly untapped area of examination. Challenges reside and particularly extend from archives or the lack thereof. How can one write a history of the development of graphic design with the limited archival documents? Is there a particular research method for writing graphic design history in the region? These are a few questions that are addressed at the The Archive: Visual Culture in the Middle East symposium.
The Archive: Visual Culture In The Middle East Symposium.

It is a work of precision, the artist photographer paula roush accomplished with Antoine Sfeir of Plan BEY and the Arab Image Foundation to present us "Torn, Folded, Curled", the exhibition which was held from September 23 to 26, 2015 at Makan in Beirut.
A short history of unrecoverable photos ...
"Torn, Folded, Curled" is the status given to unrecoverable pictures. Those which can neither restore or scan. The only way to keep them is to photograph, explains paula roush, photographer artist, researcher and teacher at the London South Bank University.
It was by pure chance that paula had the opportunity to work on a small part of the photo archives of the Journal Al-Yom, abandoned after a long journey through the history of the civil war in Lebanon. For these photos, from archives impeccably kept by Al-Yom house founded in 1937 by Afif El Tibi, there was no indication the first trauma when the site of  the Al-Yom newspaper was dynamited in 1975. Those who were saved found themselves stored in a West Beirut apartment, who also had its share of misery when in 1989 during the war of "liberation", an incendiary shell came violently to disperse their ranks.
Marwan El Tibi, paula roush fait revivre les archives du journal Al-Yom

Through roush’s work we understand the process of researching a photographic collection as a subtle negotiation of understandings. It is seen as the practice of acquiring and documenting photographs, the dialogue between digital and analog formats, the controlled environment of preservation, as well as conversations, accidents, and mere chance encounters within the space housing the collection.
Hala Tawil, paula roush residency with the Arab Image Foundation

Launch of infinite multiple,
an online platform selling unlimited editions

Artdaily.com, Aug 11 2017

 

super-private: artist’s talk
A talk by paula roush
The Arab Image Foundation
July 2nd 2015

[featured project: SUPER-PRIVATE]

 

 

infinite multiple is a new model for making and buying contemporary art; an online platform selling unlimited editions at accessible prices. Developed and managed by a London-based collective of artists and curators, the vision of infinite multiple is to widen the scope for owning and collecting art. The first set of 30 exclusive unlimited editions by 20 emerging and established artists is launched online at www.infinitemultiple.com on 1st September, accompanied by an exhibition at Carroll / Fletcher in London.
The works for sale span the breadth of contemporary art in the post-internet age, from the overtly political to the wittily observational and the gently anarchic. Forms range from sculptures, objects and digital prints to a bookwork, woodcut and wearable artworks including Santiago Sierra’s NO armband from his NO global tour and Lizzie Hughes’ scarf printed with satellite images of Californian donutting tracks. Other works include Thompson & Craighead’s circumnavigational white plate presenting a drawn arrow with the words ‘HERE, 24,859 miles’, Marcia Farquhar’s grey painted souvenirs and David Cotterell’s lenticular print, playing with notions of distance with imagery from his time as a war artist in Afghanistan.Bookwork of images from a found collection of photographs from secret and illicit encounters of a Lebanese banker during the 30’s and 40’s by paula roush.
Artdaily.com, Launch of infinite multiple, an online platform selling unlimited editions


The process of researching a photographic collection is a subtle negotiation of understandings: the practice of acquiring and documenting photographs, the dialogue between digital and analogue format, the controlled environment of preservation, as well as conversation, accidents and mere chance encounters confronted with and within the space housing the collection.
SUPER-PRIVATE : Artist's talk

Alejandro Acin & Isaac Blease
Activating the Archive
SEX'N'DATABASE: A CORPOREAL TAXONOMY`
PH museum Photographic Museum of Humanity July 24- Sept 24 2018

paula roush
SEX’N’DATABASE A CORPOREAL TAXONOMY
Membrana Magazine Vol. 2, no. 2 2017 Cabinet Issue
Online: April 1, 202

[featured project: SEX'N'DATABASE ]

 

 

Activating the Archive presents the work of 10 artists that explore and question the malleable nature of visual archives and the many ways that they can be activated through contemporary practices. Archives hold the promise of continual exploration, however, before embarking on this quest we must first understand them as places for construction rather than sites of excavation. Perhaps this notion of potentiality is the reactive force guiding artists around the often-hampering hand of official archival procedures. Within this exhibition the work of 10 artists highlight the malleable nature of visual archives, and the many ways that they can be activated through contemporary practices.
Themes such as, preservation, restoration, and organization, are usually central to discussions around the archive, yet the works displayed here attest to the equal importance of creativity and the freedom of use. Despite sharing an archival underpinning, these works are all strongly unique, and detail the myriad of ways that this material can approach universal subjects through artistic intervention. In turn, our understandings of photographs, why they are archived, and ultimately how they can be used is further expanded.
Alejandro Acin & Isaac Blease, Activating the Archive

Enric Mas/ Jo Milne
PRINTed #4 Singular publications
EINA  Centre Universitari de Disseny i Art
UAB Autonomous University of Barcelona
April 2018

paula roush
BLAME YOUR PARENTS: DOING IT YOURSELF
WITH VINTAGE FILM CAMERAS AND GOOD OLD PAPER ZINES  
conversation between paula roush and Amy Warwick
On the occasion of the exhibition Blame your parents 
[a photozine of post-teenage years]
ə-books #3 zine 
ə-books project space for photobook publishing
September 14th- October 12th 2016

paula roush
ATLANTUS NEWSPAPERS: AN OCEAN BETWEEN
HIGH- AND LOW-BROW INDIE PUBLISHING
conversation between paula roush, Martin Toft and Gareth Syvret
On the occasion of the exhibition Atlantus A transoceanic photography project
ə-books #2 zine
ə-books project space for photobook publishing
June 28th- August 28th 2016

paula roush
THE SCALES OF PUBLISHING
conversation between paula roush and Lara Gonzalez
On the occasion of the exhibition made and published 
[ProCreate Project]
ə-books #1 zine
ə-books project space for photobook publishing
May 25th- June 24th 2016

[featured project: ə/uh/-BOOKS PROJECT SPACE ]

 

 

I love the aspect of the photobook, especially zines. They’re so cheap to make, I used cheap film from a poundshop, cheap paper. It’s a really cheap way of getting your photos out there.

Almost all of the photos in the zine were shot in Brentwood, Essex. It’s different to how Essex is portrayed and it’s different to the stereotype that Essex has. I didn’t specifically have the location in mind while shooting though, more youth culture. You can look at the zine and it could be any British town. The content is something that most young people can relate to, everyone kind of does the same thing when they’re young, no matter where they are from.

I really struggled with the sequencing of the book, so I just put it together with the photos in chronological order. The photos were in order of the times they were shot and I tried to stick to that as much as I could, and then rearranged it in a way that I thought looked more pleasing. I wanted to have it in order so that I could look through it and the photos were in the order that the events happened. I rearranged it in a way that it wouldn’t seem too repetitive.

In terms of self-publishing, I’ve just advertised the zine mostly on social media. I follow a lot of people who make zines and do this sort of thing, so there’s already an audience there. I want to get in touch with bookshops and try my luck there. I definitely want to try and get it out there.
Presentation by Amy Warwick at the Photobook Pop-Up

MT - As research developed and images were produced it became clear that we wanted to focus on telling a series of stories that would communicate in text and images different aspect of a shared heritage. In addition we had from the outset discussed the idea of producing a newspaper in different sections with our designer Kummer and Herrman. The exact number of 5 stories only really became apparent through editing the visual material. A dummy was created in February 2015 with the assistance of my old mentor and good artist friend Finn Larsen. We spent a week organizing images into sections with subheadings such as The Atlantic World, Precious Galinthia, The Transoceanic Journey etc.  After further editing in collaboration with Kummer & Herrman and considering design possibilities of a 64, 80 or 96 page newspaper we settled on five sections each comprising 16 pages to communicate a narrative. Gareth wrote the accompanying texts after the 5 narrative strands and images had been decided upon.
Conversation between paula roush, Martin Toft and Gareth Syvret


lg - My publishing activity came out of working with the book as a medium. When I did my first book I saw the creation of an imprint as an ironical gesture, so I assumed the identity of made and published press. Then I realized that as an artist I wanted something more interesting for an online presence and expanded on the use of made and published: it is very simple, unpretentious, and I coudnt steal yours (laughs), I really like your imprint (mobile strategies of display and mediation)... I looked for synonymous but coudnt find any…so ended up with made and published.
Conversation between paula roush and lara gonzalez

Who are you: msdm studio
Artist's Book Centre
Nov 2019

Rob Mcdonald 
All Inked up, Kentʼs International
Artist Book & Print Event,
UCA Canterbury & The Brewery Tap
Folkestone 13 Oct – 9 Nov 2017

[featured project: msdm PUBLICATIONS]

 


maria and paula’s film is in itself a journey about several lives, narrated through a visual history with a lyricism of its own, just as valentine’s own book. The film’s voice-over provided by artist marie josianne agossou, interprets a narration that summons the lives of various women, and the representations of these through the arts in context. valentine and mary delany are evoked as well various other women, exalted in this work of archive, composition and feminist script. we peek here at a certain cinema paradiso, at the service of the arts, through the chosen excerpts of films such as rebecca, the hunger, jane eyre, and daughters of darkness. this put us in tune with the themes approached by the artists in their video-collage, that refer to the cut-up, as well as to photography and drawing, in a narrative strategy that projects issues of gender, body representation, and the role -play involved in women’s performance throughout history. and it conjures the horror women were (and are) subjected to: the horror is displayed in jane eyre, in the bad girl of sleeping beauty, or in the madness of rebecca’s housekeeper.
Cristina Duarte, a journal of one’s own

paula roush, has lived in London for two decades, situates her work in the field of artist's books recovering the techniques of surrealist and pre-surrealist collage, enriching, with this cross-language, the universe of feminist intervention that guides her. It is they who prolong Penrose's dialogue with Ernst, deepening its languages ​​and themes, reviewing it critically, signaling the political place of contemporary feminist question, including us as a global and not merely an individual entity.
The narrative and seductive fluency of the video (built in the same way as the collage) or the invitation to the formation of the spectators  in creative work sessions are essential pieces of continuity and renewal of the initial legacy. Leading us to "the pure working of thought" (André Breton) and the "systematic estrangement" of the Self, but without the illusion that this dream-field, this "alchemy of the visual image" (Max Ernst) is something that exists outside the History, ideology or position of the genres, wish to give a new meaning to Breton's program by presenting the first collages of Ernst in 1921: "to use the surrounding world to undermine the surrounding world."
João Pinharanda, Undermining the Surrounding World

Unstable Media (paula roush, Margarida
Carvalho, Ana Carvalho & Sofia Ponte)
Unstable Media, constructions and disruptions.

In Portuguese Small Press Yearbook 2017 
Catarina Figueiredo Cardoso & Isabel Baraona (eds)
Portuguee Small Press Year Book, Lisbon 2017

[featured project: THE BOOK DISPERSED/
O LIVRO DISPERSO]

 


 

Tadej Pogacar 
Public Services Catalogue
Public Services exhibition 
PavelHaus, October 2005

Zeigam Azizov
Memory Factory
at Coleman Project Space
Published in SOS:OK guide
msdm publications 2004

Joanna Callaghan 
Go on! Have another one! 
True Review, December 2004

Will Pavia
Taking the biscuit
Southwark Weekender
15 oct 2004

Heather Greig-Smith 
Operation SOS:OK, Bermondsey, South London. 
Regeneration & Renewal, 5 November 2004, p8

Annie Kelly 
Bermondsey takes the biscuit Former Peek Frean
employees back community project 
The Guardian, Wednesday October 20, 2004

Alice Park 
Current perspectives on the role of art in urban
development.
Do artistic interventions benefit a community?
Art in Community Settings,
Birkbeck College, University of London 2004,
Published in SOS:OK guide, msdm publications 2004

Jaka Jeleznikar
interview with paula roush about ‘exercise sos:ok’
at gallery 74,
Mladina, Ljubljana, September- October 2004

Boris Gorupic 
paula roush/ B&B deloskop 9.9-15.9.04

Tadeja Milek 
preview segment on exercise sos:ok 
Val 202 (Slovenia FM Radio) 06.09.04

[featured project: SOS:0K]

 

paula roush's new project set up in Coleman Project Space, in Bermondsey London (...) consists in 'building a new memory factory in place of the former Peek Frean's Biscuit Factory, announced as 'a reopening of the factory for one week only as a memory factory' in order 'to investigate the utopian potential of placing the discourse on globalisation of memory at the intersection of tourism, urban renewal and cultural property rights'. The project carefully investigates the factory's history and establishes with the later generation of factory workers, who participated in the workshops in order to license their memories under special conditions, since the memory factory is open as a bureau for memory work.`
Zeigam Azizov, Memory Factory at Coleman Project Space, SOS:OK guide


Bermondsey, in south-east London, was once affectionately known as Biscuit Town. Home to some of the largest biscuit factories in the country, it provided employment to generations of local families.
Now it's a very different story. The biscuit factories have closed, and many of their former employees are unemployed. The only businesses that come into Bermondsey now are the large property developers buying up old factories and turning them into gated residences for well-paid workers at nearby Canary Wharf.
But a group of former employees of the Peek Freen biscuit factory, one of the last to close its doors, in 1989, have reunited to give Biscuit Town a new lease of life. They were brought together by artist paula roush, who has won Arts Council funding to launch SOS:UK, a community project that explores the local heritage of deprived communities. roush invited ex-workers back to Peek Freen and has run a series of events celebrating the history of Biscuit Town. This weekend, the factory is hosting a mock emergency food distribution.
Annie Kelly, Bermondsey takes the biscuit Former Peek Frean employees back community

project, The Guardian, Society supplement

 

Former workers from former Peek Freans Factory gathered at a Bermondsey art gallery last week to do their bit for the international state of emergency (..) The gallery is distributing food aid in the form of nutritional biscuits, cooked to a specially designated recipe, to visitors to the gallery and on the streets of Bermondsey. The exercise is partly a reference to a relief operation of 1870 during the Franco-Prussian war. When the prussians lifted their siege of Paris, Peek Freans supplied thousands of biscuits to the starving citizens.
Earlier this summer, artist paula roush organised a 'Memory Factory' gathering archive material and calling on former Peek Frean workers to come to contribute their memories of Biscuit Town. Her new exhibition is also a response to the hunger crisis which she believes comprises the real international emergency (...)
Crates of biscuits are being distributed by horse and cart on Tower Bridge Road and on the Blue (...)
Will Pavia, Taking the biscuit, Southwark Weekender

 

paula roush
XisTempo. Tempo que ja foi tempo:
um preambulo em dois capitulos 

In Eduarda Ferreira, Isabel Ventura,
Luísa Rego, Manuela Tavares,
Maria Antónia Pires de Almeida (Eds)
Percursos Feministas: Desafiar os tempos.
Lisbon: UMAR/Universidade Feminista
2015, pp 74-83
Ebook


paula roush
SCHIST PAINTBALL FIELD:
Time that has already been time

Seminar The Uses of Time
Feminist University
Lisbon December 18, 2013.


Xistorias: Performance digital nas aldeias do Xisto

- A Beira Serra em streaming direto
O Varzeense
October  30 2013

Manuela Ventura
"Xistorias" apresenta historias
das aldeias serranas de Gois

Diario de Coimbra
October  30 2013

[featured project: XISTORIAS]

 

Timo Arnall
Touch>Bruce Sterling at ‘How I learned to love RFID’
June 2006

Regine Debatty
Arphid sound performances in the metro. 
we-make-money-not-art.com. April 2006

arphield recordings by paula roush
Glowlab Issue 11!
turbulence.org November 20, 2006

Anthony Alexander 
Of RFIDs and Arphids: The logistics of the Future 
Mute magazine, June 2006

Armin Medosch 
The Spychip Under Your Skin:
RFID and the Tagged exhibition 
Space Media Arts, October 2006

Regine Debatty 
New Brave World workshop at iMAL: RFID and art. 
we-make-money-not-art, March 2008

[featured project: ARPHIELD RECORDINGS]

 

 

 

Ann Demeester, Lawrence Perrillat, Mircea Cantor
Global Tour: Art Travel & Beyond
An exhibition based on research and
a concept by Amiel Grumberg.
W139 Amsterdam

Rael Artel
Artists In Fieldwork: Anu Vahtra, Jaanus Samma,
paula roush, Pilvi Takala. 
Maja Estonian Architectural Review,
Landscapes Issue, May 2006, p 39-43.

Louise Garrett 
Infiltrate Estonia: SPACE PROTOCOL 
Rael Artel Gallery, Parnu, Estonia 2005

[featured project: MUD D'ARTISTE]

 

 

The idea of a summer resort and its current reality was the main topic of the London-based Portuguese artist paula roush's work "Mud d'artiste." It consistsof three parts: two glass jars with leftover mud gathered from the artist's body and provided with labels clearly paraphrasing Piero Manzoni's work of 1961. The second part is a video with two parallel shots showing the artist enjoying a mud bath and the exhibits of the display of the wax figures that used to take place at the same place. The third part is the webcast of the artist dancing in front of the tourist office in the main street, in front of the Parnu weather camera. In all the parts the artist had masked her head and face with mud,  leaving out only the eyes .Attempting to baste the meanings, we might assume that the criminalised artist in mud mask- an allusion to a terrorrist- is commenting upon traditional curative attractions, "cultural undertakings" (waxwork exhibition) directed at mass audiences and the web-based surveillance system.
The artist's working methods deserve special attention as well. paula's speed of reaction was amazing - the artist, working with experimental public art and issues of urban space, generated her project based on her experience in Parnu within  few days. paula's strategy is simple: she moves around with open eyes and mind through different layers of urban space, notices and picks up meaningful objects, telling human relations and unique behavioural patterns, and joins them together into one work with several ideas still loose. Incidentally, "Mud d'Artiste" created in Parnu was also displayed at tourism related exhibition "Global Tour" at W139 in Amsterdam.

Rael Artel, Artists In Fieldwork: Anu Vahtra, Jaanus Samma, paula roush, Pilvi Takala. 

Emília Tavares and paula roush
hetero q.b.-intro
HETERO q.b.international video programme
Museu Nacional de Arte Contemporânea –
Museu do Chiado, Lisboa, April 9 – June 30 2013
https://heteroqb.wordpress.com/

paula roush
in the grip of the panopticon
HETERO q.b.international video programme
Museu Nacional de Arte Contemporânea –
Museu do Chiado, Lisboa, April 9 – June 30 2013
https://heteroqb.wordpress.com/

Emília Tavares
hetero q.b.
HETERO q.b.international video programme
Museu Nacional de Arte Contemporânea –
Museu do Chiado, Lisboa, April 9 – June 30 2013
https://heteroqb.wordpress.com/
 
Joana Amaral Cardoso
Museu do Chiado quer mostrar arte sem o filtro da heterossexualidade
(Museu do Chiado wants to show art without the filter of heterosexuality) 
Ipsilon Publico Magazine, April 9 2013

Sofia Roque 
Hetero q.b.? 
Esquerda, Opinião, May 11 2013

João Moço 
Uma mostra que permite conhecer o outro
Diario de Noticias, May 6 2013

No Museu do Chiado, a arte (e o vídeo) é das mulheres 
Ipsilon Publico Magazine, April 9 2013

Teresa Pizarro 
Programa Molduras: Entrevista  Emília Tavares e paula roush 
As Artes Plasticas na Antena 2, April 22 2013

Bruno Horta 
Quem tem medo de ser “queer”? 
(Who is afraid of being “queer”?) 
Timeout, April 24 2013

LUSA Mostra de vídeo no Museu do Chiado
aborda
feminismo e lesbianismo 
Cultura Lisboa April 9 2013

[featured project: HETERO q.b.]

 


paula roush
Intimate TV: Webcamming &
Social Life-logging In the Surveillant-Sousveillant Space
@ ISEA2011, [spectre] 2011

paula roush From webcamming to social life-logging:
intimate performance in the surveillant-sousveillant space. 
In Pam Skelton and Outi Remes (ed.)
Conspiracy dwellings: surveillance in contemporary art,
Cambridge Scholars Publishing 2010

Mark Howarth-Booth 
Conspiracy Dwellings 
Aperture magazine, Issue 192, Fall 2008

[featured project: CCTV ECSTASY]


Margarida de Carvalho
A Obra “Faça-você-mesmo”:
Estética da Participação nas Artes Digitais 
Faculdade das Ciencias Sociais e Humanas
(Tese de Doutoramento)
Lisboa 2015_2014



Assim, após um período de investigação, o projeto cctvecstasy desenvolveu-se em torno de uma narrativa esboçada a partir dos encontros das performers com os outros participantes da comunidade. As performances desenvolvidas ocorreram em vários canais de vídeo e questionavam as condições de receção e participação próprias do espectador e utilizador da plataforma WebCamNow. Nas palavras de paula roush:
“ [Na área aberta da plataforma WebcamNow] uma variedade de pessoas hétero e LGBTQ (lésbicas, gay, bissexuais, transgénero e queer) operam as suas webcams, jogando com estratégias múltiplas: da autenticidade encenada das que instalam a webcam nos seus quartos, colocando a sua vida sob escrutínio, a outras que se mascaram em versões muito encenadas de feminilidade/masculinidade e fetichismo, atuando para um grupo particular de devotos. Nós usámos a webcamming e as ferramentas de chat de texto livremente disponíveis a fim de trabalhar sincronicamente através de salas separadas e comunicar com outras salasde chat de vídeo.” (roush, 2010: 116)
A performance decorreu online e perante uma audiência em presença, na galeria QUAD em Derby, com sete performers em live streaming enquanto paula roush operava ao vivo a passagem entre os vários espaços. A própria audiência era filmada e transmitida via live feed num canal vídeo. Podemos, portanto, falar de um espaço híbrido em jogo na cyberformance cctvecstasy. De sala de chat em sala de chat, as várias performances são, por sua vez, objeto da intervenção da performer que se encontra no espaço físico da galeria, junto da audiência, e que manipula em tempo real a visibilidade das ações e dos espaços.
Margarida de Carvalho, A Obra “Faça-você-mesmo”:  Estética da Participação nas Artes Digitais 

paula roush 
Spaces, visibilities and transcultural flows:
diasporic strategies in the local worlds.   
Local Worlds. Lagos: Centro Cultural de Lagos. 74-81

Simon Bainbridge
Where there’s art, there brass 
British Journal of Photography, 18 June 2008

Luis Ricardo Duarte 
Um banho de arte 
Jornal de Letras, 18 Jun 2008

Jose Luis Porfirio 
Lagos global 
Expresso Actual, Julho 2008

Celso Martins 
Cultura Emprestada 
Expresso Actual, 19 Julho 2008

Jose Marmeleira 
Virados ao sul 
l+arte 50,  Julho 2008

JM Instalacao convida a  provar e pensar frutos
Jornal da Madeira/ Cultura / 2008-06-15

Laranjas algarvias transformadas em arte
Observatorio do Algarve, 14-06-2008

Armindo Vicente 
Toneladas de laranjas marcaram arranque do programa

“Allgarve” 
Barlavento online, 23 de Junho de 2008

Armindo Vicente 
20 mil pessoas ja visitaram exposicoes do Allgarve 
Barlavento online, 22 de Julho de 2008

[featured project: LOCAL WORLDS]

Katy Deepwell 
KISSS revealed: Deej Fabyc, Paula Roush and Camilla Brueton
on Kinship International Strategy on Surveillance and
Suppression (KISSS)
n.paradoxa, Journeys: Volume 17, Jan 2006

Bob Dickinson
KISSS Kinship International Strategy on Surveillance and Suppression 
Art Monthly, Issue n.321, November 2008

Andy Murray 
KISSS… your privacy goodbye 
Metro, Monday, October 13, 2008

[featured project: KISSS]

 

paula roush 
Migratory aesthetics / travelling concepts / epistemology of the nomadic place 
Projeto Figura- Pensão Ibérica | artistas em residência, 2010

Public
This brochure was not supposed to happen: Pensao Iberica
(Firm: Musa WorkLab; Client: Dani Soter & Monica Miranda;
Writers: Dani Soter, Monica Miranda, paula roush)
The Best of Brochure Design 12, p. 125
Rockport Publishers, 1 May 2013

[featured project: PENSAO IBERICA]

 

paula roush
Download fever: photography, subcultures and
online-offline counter-archival strategies.
Photographies Journal, Vol. 2
Photography and Education Special Issue and Symposium Issue.
Eds. Andrew Dewdney and Martin Lister. Taylor & Francis.  2009
Editorial statement

Darren Newbury 
Image, Theory, Practice: Reflections on the Past,
Present and
Future of Photographic Education 
Photographies Journal, 2:2, 117-124, 2009

Holly Crawford
Art Engaging Gangs : Erik Bergrin, Mark Dillon, Jasmine Johnson,  Nadin Ospina, Joseph Rodriguez, Maayke Schurer, Robert Taub, Zefrey Throwell and paula roush’s archive of photographic collections by Rachel Johnson, Tim Body, Robbie Sweeny, Lee Slaymaker, MJ Gumayagay, Richard Harris, Christopher Kamper, Richard Johnson, Natalie Cheung, Karel Polt, Dana Mendonca,
Charlotte Miceli and Rich Harley.
AC Institute New York, 2013

Jonathan Shaw
Photobook Pop-Up
in Self-Publishing and Photobook
module,
ACI/  LSBU External examiner

[featured project: PHOTOGRAPHY,
PHOTOBOOK PUBLISHING AND EDUCATION]


paula roush & Ruth Brown
Publishing with friends: exploring social networks
to support photo publishing practices
in Niki Lambropoulos (ed)
Educational Social Software for Context-Aware Learning:
Collaborative Methods & Human Interaction
IGI Global 2009

paula roush & Ruth Brown 
Publishing with friends: social publishing networks and learners as produsers
Educational Social Software for Context-Aware Learning:
Collaborative Methods & Human Interaction, 2009

paula roush & Ruth Brown
Publishing with friends:  exploring social networks
to support photo publishing practices
in Dasgupta, Subhasish (ed)
Social Computing: Concepts, Methodologies, Tools, and Applications:
Concepts, Methodologies, Tools, and Applications
Idea Group Inc (IGI) 2009

paula roush & Ruth Brown 
Social Networking and Authentic Engagement: Students as “Produsers.” 
Learning & Teaching e-Journal, 1 (1) 2009

 

This is very much the territory of paula roush's ethnographic exploration, whose account starts with the historical archive of Anita Corbin's girls' subcultures documentation in 1981 and travels forward to document contemporary youth subcultures in real life, in online communities and in Second Life. roush's visual essay illustrates her students' engagement with the subcultural subject, and in her accompanying paper she gives an account of the teaching rationale and method of what she calls a/r/tography, the relational aesthetic of the artist, teacher and research:

My own identities as artist/researcher and teacher (a/r/t) are all allowed to be present simultaneously and I encourage the younger student-researchers I work with to think and act along the same lines. Moreover, “the acts of inquiry and the three identities resist modernist categorizations and instead exist as post-structural conceptualizations of practice”.

In relation to photography as a discipline (...) paula roush takes the view that theories which acknowledge hybridity prove more fruitful ground for the constitution of relational practices based upon art, teaching and research.

 

What I believe makes this module like some others stand out from their counterparts within other similar institutes is it’s ability to take that much necessary additional step which deals with the realisation of what happens once a product has been made. It is here that there is clear evidence of something special.
The collectively curated and themed programme and the pop up shop is an excellent example of providing alternative first hand potentially transformative models for entrepreneurship and engagement for investment. The production values of the books and zines demonstrated a sophistication and detailed engagement with the craft.
Jonathan Shaw, on the Photobook Pop-Up

paula roush 
Towards a Free/ Libre/ Open/ Source/ University 
Furtherfield.org, February 18, 2013
This article is part of the Furtherfield collection 
commissioned by Arts Council England for 
Thinking Digital 2011

paula roush 
Towards a free/ libre/ open/ source/
university: shifts in contemporary models of art
and education 
http://p2pfoundation.net/
World_of_Free_and_Open_Source_Art
 

Zeigam Azizov
When Phd Becomes an Art Work…
msdm stenciled papers,
published for the exhibition Perfectly Placed
South London Gallery

Camelia Gupta
Artists’ work is perfectly placed
24 hour museum, Aug 2004

Paul Rhys
Perfectly Placed To Enjoy The Art of The People
ICNetwork Aug 27 2004

Jessica Lack
Perfectly Placed: Preview
The Guardian, August 7 2004

Sheila McGregor
New art on view: celebrating the success of the
contemporary art society’s special collection scheme.
Scala Publishers, 2006

[featured project: Perfectly Placed/ PhD as art work] 

 

 

Brian Holmes
Le mode de diffusion
PARACHUTE No.98 (Avril, Mai et Juin) 2000

Jennifer Burnham
Women With Attitude
SMART Magazine Issue 3, London 2000

Liz Farrelly
Peckham Calling
Blueprint Magazine July/ August 2000

msdm
The Public Art of Campaigning 
Variant Magazine Issue 10, Spring 2000
Supplement: The Non Place Urban Realm

[featured project: THE PUBLIC ART OF CAMPAIGNING] 

 

Eva Schmidt
City Stripping
GAK: Gesellschaft fur Aktuelle Kunst, Bremen 2001

Britta Schatz
City Stripping
Die Tageszeitung, 2001

Regina Bittner
Places Out of Images
Urban Detours, Bauhaus Foundation Dessau

Kai Vockler
Time and Space in Megalopolis
The City Gallery, Prague 2001

[featured project: FRANKFURTRESS GHETTO BLAST
/ CITY STRIPPING] 


"Stripping" means: clearing away layers, surfaces; "Stripping" means: the structure open. With the striptease the coverings are artfully removed, so that the view of the desired object can happen. In the case of this exhibition in the GAK the desired object is the city.
paula roush (London) transfers with "Frankfurtress Ghetto Blast " critical urban theory into the aesthetics of a computer game. Illustrated by the example of Frankfurt/Main,as a global player in ' the international financial world, modifications of urban geography, likewise segmenting the urban spaces into central, global interlaced and marginalised areas, and the space of flows ' of the international transactions clashing a conflict on the spatial needs of the local inhabitants, which is not to be resolved.
Eva Schmidt, 'City Stripping'

Three artists show at Gesellschaft fur Aktuelle Kunst (GAK), in an exhibition exposing the myths underlying the modern city. The ideology of the modern city followed human social development and the ideological position that it should accommodate all their inhabitants equivalently. In the exhibition City Stripping, at GAK, three artists explore different aspects of today's development of this vision.

paula roush brings up for discussion the geographical modifications of a cityscape by the example of Frankfurt as a global player in the international financial world. The computer game "Frankfurtress Ghetto Blast" symbolises the city's individual quarters and their inhabitants, and points out the meaning of their geographical position. The quarters get points assigned: the Citadel, the economic focal point of the city, receives 1000 points, while the Ghetto is pushed completely to the edge and is evaluated with only 400 points. By mouse-click, the photographic surfaces of Frankfurt's city centre are symbolically rearranged in its appearance. The video game is the starting point for an installation of paula roush, which extends a series of images into the space outside the GAK.
The work of the three artists is a small " but exemplary showcase of contemporary artistic practices dealing with the analysis and development of the city" argues Eva Schmidt
.

Britta Schatz, City Stripping

 

Zeigam Azizov
Brand Ranking: Working in Between Consciousness and Conformity
Out/sourcing, msdm publications 2003

Melanie Keen
Interview
Out/sourcing, msdm publications 2003

paula roush,
Out/sourcing.
London: msdm publications with inIVA 2003

paula roush
msdm: Outsourcing.
Artofficial Construction Media (ACM),
ContextinArt 1, 2003

[featured project: OUT/SOURCING] 

 


Sarah Carrington and Sophie Hope 
A Revolt at the Door 
B&B (Ed.): Art of Survival London

Artists Travel to Prague
Poster publication 2003

Sarah Carrington and Sophie Hope
The Art of Survival: paula roush
in Conversation with Ella Gibbs,
Alasdair Hopwood, Barry Sykes and Sean Parfitt
Giancarlo Politi (Ed.): Prague

Biennale1 Peripheries Become the Center
 Flash Art, Milan, pp 506-514, 2003

Antje Mayer 
Discount-Biennale. Kunst & Kultur July 2003

Becky Shaw 
The Pernicious Nature of Opposition Chic 
The Static Pamphlet, Issue 03. 2004

Louis Armand 
Prague Biennale Artmargins 2003

paula roush 
Between Peripheries and Shopping Centres
Art of Survival- London Artists Travel to Prague
Poster-Publication for the Czech Centre, London 2003

[featured project: B+B BOYCOTT BIENNALE] 

 

 

 

paula roush 
Can people love things and things pay people’s rent?  
Catalogue ‘I love you, Oh you pay my rent”
Paulo Romao Bras & Sandro Resende Photography and Drawing,
Sao Bento Art Gallery, Lisbon, 2008

paula roush 
TV-essay. Demistifying the Means of Production
in the Broadcast Medium
Multitudes Special Issues 5:125-131 (2011)

msdm give(a)way 
EVA International 2006
Ireland’s Biennial of Contemporary Art

paula roush
Francis Alÿs: The Clandestine Way.
Dardo Magazine n.4 Feb-May, 138-155, 2007

paula roush 
M4 UEC: artist’s run urban entertainment centre 
Anarchitexts: Voices from the Global Digital Resistance
Autonomedia 2004 
 

 Steve Smith
Contemporary Post-Studio Art Practiceand its
Institutional Currency,
Investigative study with interviewswith five U.K
based artists,Louise Ashcroft, Claire Blundell Jones,
Helene Kazan, Danny Pockets and paula roush
University of Westminster
(Dissertation: MA in Visual Cultures), 2013


Rob Garrett 
paula roush (UK): Public art project 
Auckland 2010 
robgarrettcfa.com, April 2, 2010

Pryle Behrman
2007 Ad
Art Monthly, July-August 2007

Zeigam Azizov 
POSTSCRIPT (Part One): Portuguese live art
in the age of scripted reality November 2004

Lucia Marques 
A Experiencia da Cidade – Londres – 4 Perfis 
Storm magazine
May-June 2004


Jonah Brucker-Cohen, J. 
Report from RAM2: A Joker
in the Global Bunker Workshop 
NOEMA Tecnologie e Societa, 2003

Jan Inge Reilstad 
From The White Cube to The Black Box
to The Personal Computer and out
in The Grey Wide Open –
or How to Reapproach New Media.
An Essay on the Postdigital Artscene. 
Localmotives.com, 2003

Kandl, J., 
Kampfer fur’s Gluck
Kunstverein Ulm 2003

Celso Martins 
Balanco de Actividades Ar.Co –
25 anos a reinventar joalharia 
Expresso April 3 2003

Axel Vogelsang 
The Art Audience as User 
Central SaintMartins College
(PHD Research, Arts & Design)
November 2003

paula roush 
Promises Postcard Project
for Video with same title
by Consol Rodriguez,
London Print Studios 2003

 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