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EDIT Research

The Jewish Museum & Garden of Exile // Daniel Libeskind

January 29, 2018


Photography by Bonnie Fortune and Brett Bloom

Located in Berlin’s Jewish Museum, the Garden of Exile represents the experience of European Jewish exiles, driven from their home during World War II. Standing in between the rows of forty-nine concrete container columns is a claustrophobic, disorienting experience, where you are aware that logically, escape is very close but physically, you feel as if you are trapped forever. Source.


Photograph by Bitter Bredt

“If you forget your memory, have a trauma and you repress it, it’s going to come to haunt you. It’s going to do something to you, something bad, something violent at some point. It’s important not to repress the trauma, it’s important to express it and sometimes the building is not something comforting,” he added. “Why should it be comforting? You know, we shouldn’t be comfortable in this world. I mean seeing what’s going around.”


Photograph by Michele Nastasi

“In projects that deal with brutality architecture is not just an affirmation of what we already know,” Libeskind told Dezeen after the talk. “A shift to something unknown, even repressed, initially perhaps might be feeling like something strange or discomforting but in the long run its incorporated as part of our space, as part of understanding of the world.”

“The way to do it is by incorporating memory and not as a footnote but as a turbulent ground on which our world is based,” he added. “And it is turbulent when you look at the news and all that’s happening, all the events in this world, we can’t just pretend that we’re living in another era.”

Libeskind applied this concept to the Ground Zero masterplan (2003), which he designed to mark the spot where the twin towers of New York’s World Trade Centres once stood. While an invitation to visit the base of the well created by the terrorist attack was rejected by the other architects in the running for the project, Libeskind said his acceptance led to his decision to memorialise the 9/11 bombings at ground level.


Concept Sketches for Ground Zero Master Plan by Studio Daniel Libeskind

He also cites meeting the fathers of a fireman and of a flight attendant who were killed in the attack as having a key role in the design process.

“They unrolled a piece of paper and they said

‘We have a map of all the body parts that were found.’

You don’t think about it, you don’t want to think about it.”



WTC Overview by Joe Woolhead

EDIT Research

Menashe Kadishman

January 30, 2018


Photograph by Alex J Foster.

The architect Daniel Libeskind created empty spaces in several parts of the building [Jewish Museum]. These so-called voids extend vertically through the entire museum and represent the absence of Jews from German society. The Memory Void contains a work by the Israeli artist Menashe Kadishman, who calls his installation “Shalekhet,” or “Fallen Leaves.” He has dedicated the over ten-thousand faces covering the floor to all innocent victims of war and violence. (Source)


Photography by Emilie Kristiansen.

This piece clearly relates to our not-so-distant history of WWII. It is easy to see the connection between the unidentifiable faces and those victims of internment camps. But Kadishman does not want us to limit our interpretation of this piece to the Holocaust. The work is meant to represent all who have died because of violence and war, the souls of yesteryear, today, and the future. This is one of those artworks that hits home hard. It forces you to take a moment to reevaluate the world we live in. (Source)



Photographs by Hannah Busst

EDIT Research

Other Ceramics // V&A

February 12, 2018


Jill Shaddock – V&A Gift Shop.

A graduate from Manchester School of Art, Shaddock designs and makes her own ceramics by hand from her West Yorkshire studio. Fascinated by process, Shaddock’s unique pieces are created with multiple layers of a parian semi-porcelain slip, and a refined colour pallette is developed through a methodical, experimental approach. The pieces are high fired, making them waterproof even when unglazed, and suitable for food use.


Kiln Waster – Netherlands, Delft, 1655-70

These tin glazed earthenware dishes have collapsed and fused together during firing. Fragments and kiln furniture have become attached to them. Such ruined wares are known as ‘wasters’.


Stoneware 500-1925

The Japanese began making high fired unglazed ceramics known as Sue ware in about AD 400. From the 12th century, kilns in Bizen, Iga, Siharaki and elsewhere produced stoneware that was not intentionally glazed, but was often partially covered in natural ash glaze.

The Seto and Mino kilns in central Japan, by contrast, made intentionally glazed stoneware, initially an imitation of Chinese ceramics but later in native Japanese styles.

The introduction of Korean ceramic technology in the 1590′s led to the establishment of stoneware kilns in many parts of Western Japan. As the Japanese economy expanded in the 18th & 19th centuries, kilns producing vernacular ceramics for everyday local use sprang up around the country.


Unglazed & Green-Glazed Stoneware 400-1500.

During the Three Kingdoms (57 BC-AD 676) and Unified Silla (676-935) periods, the majority of high-fired ceramics made in Korea were dark-bodied, unglazed funerary wares. Then, during the 9th century, Korean potters started making green-glazed wares, particularly at kilns near the south and west coasts.

Green-glazed wares from the first half of the Koryo Dynasty (918-1392) were often decorated with highly refined incised motifs. After 1150, black and white inlay, a uniquely Korean innovation, was used to create a rich variety of patterns. The use of inlaid slip continued into the succeeding Choson Dynasty (1392-1910) in the form of so-called punch-ong wares.


Qing Monochromes – 1662-1910. Yellow glaze for the Imperial Court. Various bowls and vases with lotus flowers, peonies, phoenixes, and dragons painted in underglaze blue.

When the kilns at Jingdezhen re-opened in the early 1680′s, numerous experiments were carried out with new colours and glazes. These took place under the supervision of specialist officers appointed by the imperial authorities.

As well as high fired colour glazes of supreme quality, the potters perfected the making of a striking variety of low fired glazes. These were fired on in secondary, low-temperature firings.

Green, turquoise, and opaque varients of turquoise, such as ‘robin’s egg’ blue, were derived from copper. Aubergine was made from manganese, and iron was used to produce several different shades of yellow as well as a distinctive matt red.

EDIT Research

Jan Banning

February 15, 2018

Photographer Jan Banning and writer Hilde Janssen visited Indonesian women who during the war were victims of forced sexual labor. In the exhibition, 18 of them break the persistent taboo against speaking out on the issue, thereby painting a gripping picture of this hidden history.

Hilde Janssen (b. 1959) is a journalist and anthropologist. For the past 15 years, she has lived and worked in Asia. From her base in Jakarta, Janssen traveled the Indonesian archipelago for two years searching for comfort women.


EDIT Making


April 25, 2018

Motivation has been a huge issue since the camera was stolen last week. I didn’t think I’d feel like this, and it’s been difficult trying to push through it. Having my work taken away from me at such a crucial time was always going to feel terrible, and talking to tutors about it has made it easier to get back into it all.

I spoke with Linda Matti, who helped me with my dissertation writing, and she suggested exploring my own reflections. While I don’t want to rehash the actual event I think it’s important to reflect on the positives, despite feeling like its an impossible task finding any positives.

  1. I can reshoot and I’ve rebooked the studio between other bookings. Everything will be fine.
  2. I have the support of the technicians and they have been unbelievably helpful and kind during all of this. Everything will be fine.
  3. I still have enough time to make the work exactly how I wanted to make it. I don’t have to settle with what’s left. Everything will be fine.
  4. This is a good lesson in working practice, and despite not being to blame for what happened it’s helped me understand how valuable the work I’m doing is to me, and how important it is that I protect it in future. Everything will be fine.
  5. Everything will be fine.
  6. Everything will be fine.
  7. Everything will be fine.
  8. Everything will be fine.
  9. Everything will be fine.
  10. Everything will be fine.
EDIT Making

Thursday’s Filming (Final Piece)

April 26, 2018

Third time lucky ft. studio accident.


I don’t want to start every post during this period by outlining how stressful it all is, but maybe this is the most stressful so far?


I’m trying to remain positive and remember that this could be a blessing in disguise. I noticed while I was reframing that I had the opportunity to try something a lot more directional with the framing, that I didn’t need to do a carbon copy of the previous video because I don’t even know if it had worked.

EDIT Making


April 26, 2018

Since the workshops close on May 10th I need to make sure I manage my time well and really utilise the editing suite as much as possible. I’ve booked out a computer until that date, and Ana has spoken to me about a contingency plan just in case it takes me a little longer than that. I have a total of nine hours of footage so far, and essentially all of that footage needs to be viewed in case there are small things I need to fix. My plan over the next two weeks is to dedicate each day to working through 20 minutes of footage from each of the cameras (totalling an hour of footage each day). I believe the last 40 minutes of footage could be cut, as I set the shoot time to be a minimum of 3 hours but the pots seemed to disintegrate faster than the last time I filmed. I’ll start by looking through the last hour of footage to make sure that’s achievable – when I skimmed through it after I had done shooting it I didn’t notice any kind of change to the piles of remnants at the end but I wanted to make sure I had enough footage at the end so that the film doesn’t just end suddenly like the first time I shot with the C100.

The files are huge, totalling at almost 100GB in their raw format. When I come close to exporting the film as its final version I’ll need to make sure I can either leave it overnight or begin really early in the morning. I need to speak to Ana about the best option, as the final film could total as large as 40GB.

I’ll also need to look into buying a USB stick that’s a more suitable size or a fast SD card. Additionally, I might need to purchase my own media player, as currently the AV department aren’t able to accommodate all the requests they’ve had so far.  Given that I’m not doing anything complicated like splitting audio, or anything other than just using the media player to play my media, buying my own wouldn’t cost too much:

I’ll find out sometime next week if this will be necessary so I’m keeping my eye on a few on Amazon in case there are any deals that come up.



EDIT Research

James Benning

May 11, 2018

James Benning works with film, focusing on a sense of place. His work is often built from long, unedited takes. The lengths of his films are determined by the lengths of film he’s shooting on. A parallel can be drawn with my work in that the length of my film is determined by the amount of time the pots take to dissolve. A few people have asked me why I’m not speeding it up so the viewer can experience a lot of the work all at once rather than relying on their patience and I feel it would do the subjects explored within the work a disservice, especially since I’m looking at the retelling of ignored histories and long term periods of silence.