This is Visual Sociology exhibition, September 2014

Some of the first cohort of the MA in Visual Sociology organised an exhibition of work produced over the year.

Photographs by Marina da Silva.









Detail from work by Ali Eisa.



Detail from work by Rose Delcour Min.



Detail from work by Roz Mortimer.



Detail from work by Marina da Silva.



Detail from work by Clare Kileen.


The Future of Art is Urban

Artistic Research Practices and Methods in Social Sciences

////// 30 May – 14 June 2014 · Enclave (Deptford · South East London)
/////// work by Visual Sociology PhD students from Goldsmiths · curated by Katalin Halász

The Future of Art is Urban blends the borders between art and social science. The exhibition presents a wide range of different social research practices in which knowledge is produced through artistic approaches. Participants use the city as a site of confrontation and interaction and invite our immediate reflections. 

Screen shot 2014-08-18 at 15.54.41

See the website here and the catalogue here.

The exhibition is held in conjunction with the 50th anniversary of Goldsmiths Sociology, and is organised in celebration of the 20 years of the Centre for Urban and Community Research.

key logic

A note on selecting

Michael Guggenheim on the visual critique session, Spring term 2011:

I think for all kinds or work, academic and artistic, selecting material is key. An argument, visual or written is largely based on directing the audience by selection. Being in the middle of a research process one is often unsure about selections and overwhelmed by the richness of the material and/or afraid that there is not enough material.

There is a great danger to throw all material at the audience. This can make sense, it can even be necessary, but very often it just veils the fact that one is afraid to take a stance or that one doesn’t know what to ask of the audience. Because the attention of the audience is limited throwing 100 photographs at them rather than 2 results in the same amount of response. Except with 100 hundred the response is much less precise on the level of the individual picture.

To learn from a crit session (but actually any piece of work) it is thus really important to think about selection of materials. Do I want to talk about juxtaposition of different media? Then I show one photo and one minute of video. I want to discuss how to frame my subject? Then show several images, movies, audio clips of the same event. Do I want to engage in ways of how to use my personal voice in research through juxtaposition? Then show the same pieces of material in different forms of assemblage, etc.

In any case, it is key to ask for any sentence, any photo, any second of video one adds: what do I add here? Is it necessary for what I want to convey or discuss or does it merely distract and dilute?

This is very difficult to do, I know from my own experience, but it is key both to learn from others and to produce strong works in the end. And specifically with audiovisual works, once one has found a key logic to work with material, everything falls into place.

tube projects

The underground (and other networks) as inspiration, metaphor or experience for the exploration (and representation) of urban worlds.

A catalogue of mixed media art and research projects on, in, about or (somehow) related to the underground systems of the world.


an invitation to explore everyday life and urban phenomena in Mexico City by means of visiting the multiple stops of a thematic metro system guiding through the (on-line) exposition.

by Citámbulos

Sounding Underground,

a virtual environment that invites users to interact with the soundscapes of three underground public transport systems: London, Paris and Mexico City.

by Ximena Alarcón

Paris, ville invisible,

a ‘sociological opera’, inviting us to wander through the city, in texts and images, exploring some of the reasons why it cannot be captured at a glance.

by Bruno Latour et. al.

Night Haunts,

a nocturnal journal through London.

by Sukhdev Sandhu


(catalogue to be expanded).

Experimental Research Network

The Experimental Research Network is a space for academics, artists and anyone else who has an interest in creative experimentation with research practice. Currently, the network includes academics using experimental audio and visual methods in their research, researchers using experimental narrative, textual and print-based methods, sound artists, avant-garde film makers, photographers, performance artists and musicians. The Network was initiated in 2010 by Dr Michael Gallagher and Jonathan Prior, both based at The University of Edinburgh, Scotland.

The lure of the lens

October 2010: 27th

The lure of the lens in art practice and research methods.

Tate Britain, 14.00–17.00

Although much has been written about the lens as a colonial tool, film and other lens-based media remain the media of choice for many contemporary artists and increasingly are also being used as an alternative methodology within the research community.

The seminar will take as its starting point current research carried out in Damascus and Amman by geographer Jessica Jacobs (Royal Holloway, University of London). Jacobs uses a form of participatory film-making as the key method for her research, with the camera being used to reveal new insights into how we navigate place and the past.

The seminar will additionally bring together a number of artists/practitioners to show work and compare similar forms of experimental film and video practices. It ultimately seeks to address how artists and researchers use lens based practices as creative methodologies, identify where, if at all, similarities may be found between their approaches and to create the space for further discussion and understanding between the two fields.

more information here.