I Cling to Virtue

Kular’s work centres on design as a means of engaging with social and cultural issues. Commissioned and exhibited by the V&A Museum, this was a mixed-media collection revealing the trajectories of the Lövy-Singh clan, a fictional East London family of mixed descent. It comprised 26 sculptures and two video pieces, developing the previous explorations of the MacGuffin in narrative (Kular REF Output 2). A catalogue with 28 fictional reminiscences, a genealogy and time line positioned the family’s experiences in geographical locations and historical events. Novel use of rapid-prototyping co-opted an industry process to confuse the experience of artefact and artifice. The design explored the historical, literary and cinematic traditions of the family saga and its relationship to memory and artefact. It presented an archive of objects derived from the flawed, biased memory of the (fictional) curator. A coherent story is replaced by one that is multiple and fragmentary. Kular and Toran (RCA) ‘produced’ the family by mixing their own genealogies with those of renowned 20th-century families, both real and fictional, such as the Magnificent Ambersons and the Rothschilds, positioning family members in everyday situations or key historical moments represented by an object and a ‘memory’ triggered by the object. Concept development was undertaken jointly by Kular and Toran. Kular’s archive research emphasised commonwealth immigrant histories and British 20th-century political events. His production contribution was in 3D modelling, rapid prototyping and display, leading production of the two films and development and editing of the narrative texts. The work was accompanied by a catalogue (2011), was reviewed in ICON Magazine (2010), discussed in an article by Hayward, Jones, Toran and Kular in Design and Culture (2013), and featured in The White Review (No. 2). It was re-exhibited in the group show ‘Politique Fiction’ at la Cité du design, Saint-Étienne, France (2013).

To Hell with Herbert Read

Freee write manifestos by taking a pencil (or a laptop) to an historical text, usually belonging to the entwined traditions of the avant-garde and political activism. Sometimes, as Tristan Tzara advised, we choose the text according to its length, while other times, such as in this instance, we selected the text according to the conditions of the invitation that triggered the writing of the manifesto. Our manifesto ‘To Hell with Herbert Read’ was written originally as a contribution to a conference held in Manchester that took its title from Herbert Read’s book ‘To Hell with Culture’. ‘To Hell with Culture’ is a book that cuts itself off from the world whereas ‘To Hell with Herbert Read’ relocates Read’s book in a world of cultural, social, economic and political actualities that are part of common experience. Read rejects culture because he thinks it is a useless, wasteful, elitist, puffed-up, decorative supplement to the functional, factual, palpable, purposeful world of things. He is a positivist kind of modernist who presents himself as the opposite, an enemy of the status quo. He is an anarchist of a particularly bourgeois hue: he wants us all to have decent pots and pans, not the inferior ones that are supplied by market forces cheaply. Rather than taking his aim precisely to target the dominant forces of his day - the industrial capitalists and their financiers - he rejects the world and all its inhabitants. He not only despises elitist culture but popular culture too.

To Hell with Herbert Read

Freee write manifestos by taking a pencil (or a laptop) to an historical text, usually belonging to the entwined traditions of the avant-garde and political activism. Sometimes, as Tristan Tzara advised, we choose the text according to its length, while other times, such as in this instance, we selected the text according to the conditions of the invitation that triggered the writing of the manifesto. Our manifesto ‘To Hell with Herbert Read’ was written originally as a contribution to a conference held in Manchester that took its title from Herbert Read’s book ‘To Hell with Culture’. ‘To Hell with Culture’ is a book that cuts itself off from the world whereas ‘To Hell with Herbert Read’ relocates Read’s book in a world of cultural, social, economic and political actualities that are part of common experience. Read rejects culture because he thinks it is a useless, wasteful, elitist, puffed-up, decorative supplement to the functional, factual, palpable, purposeful world of things. He is a positivist kind of modernist who presents himself as the opposite, an enemy of the status quo. He is an anarchist of a particularly bourgeois hue: he wants us all to have decent pots and pans, not the inferior ones that are supplied by market forces cheaply. Rather than taking his aim precisely to target the dominant forces of his day - the industrial capitalists and their financiers - he rejects the world and all its inhabitants. He not only despises elitist culture but popular culture too.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.