Archive 2010 – 2015

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Immediations Archive

Volume 3, no. 4 (2015)

Editors-in-chief: Eva Bezverkhny and Maria Alessia Rossi

Editorial board: Edwin Coomasaru, Boris Cuckovic, Lily Foster, Theo Gordon, Thomas Hughes, Samuel Raybone, Jessie Robertson, Imogen Tedbury

Le Corbusier’s Pavillon des Temps Nouveaux: Experiencing the Exhibition as Immersive Montage in 1937
Jenna Lundin

A Paradigm and a Private View: MoMA and the Model for Photographic Exhibition
Sara Knelman

Gender(ed) Revolution? Masculinities and Femininities in Irena Blühová’s work
Julia Secklehner

Pre-Reformation Patronage and Pilgrimage in Southern Germany: An Investigation into the Origin and Function of the Schöllenbach Altarpiece
Susan Green

Volume 3, no. 3 (2014)

Harriette Peel (Editor-In-Chief), Eva Bezverkhny, Marie Collier, Jessica Eisenthal, Lily Foster, Maria Alessia Rossi, Laura Sanders, Lydia Hansell (Book Reviews), Laura Llewellyn

‘Seeing is Everything’: On the Visual Demands of Lyonel Feininger’s Woodcuts
Niccola Shearman

Stillness and Motion: The Dynamics of Knowledge on a Perpetual Calendar
Frances Allitt

Aesthetic Metamorphosis: G. F. Watts’ Clytie (1868-1878)
Katie Faulkner

Palla Strozzi and the Regime of Paolo Guinigi: Lucchese Influence in Early Fifteenth-century Florence
Geoffrey Nuttall

The Making of Fiona Rae, RA: In Conversation with a Young British Artist
Fiona Rutka and Maureen Cross

Cover artist

Jananne Al-Ani was born in Kirkuk, Iraq in 1966. She studied Fine Art at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art in 1997. She is currently Senior Research Fellow at the University of the Arts London, and lives and works in London.

Volume 3, no. 2 (2013)

In this issue

‘Emptiness as a protagonist’. Memory and Melancholy in Gabriele Basilico’s Milano. Ritratti di fabbriche (1978-1980)
Alexandra Tommasini

Art That Does Not Make Noise? Mary Bauermeister’s Early Work and Exhibition with Karlheinz Stockhausen
Irene Noy

Steining Steinberg, Steinberging Stein: From Tree to Landscape
Rebecca K. Wright

Problems and Tensions in the Representatino of the Sapeurs, as Demonstrated in the Work of Two Twenty-first Century Italian Photographers
Elizabeth Kutesko

Re-Envisioning Knowledge: An Interview with Joanna Woodall and Eric Jorink

Honorary Address
Carlo Ginzburg

Cover information
An echogram from East Antarctica is superimposed on an echocardiogram of the heartbeat of the pilot who flew the plane. These imaging techniques, radar and ultrasound, are very similar.

The echogram is a computer-generated image of Antarctican ice and bedrock. It was made by sending a radar signal rom the underside of the wing of an aeroplane, down through the ice and back up to a computer in the plane. The total scrolled image is a cross-section of the ice and land beneath that particular flight pattern. When I was first shown these images by a glaciologist in Antarctica, he said that they reminded him of works of mine made from echocardiograms of the heart: the echograms were like the heartbeat of the Earth. It was this statement which prompted me to bring the pilot who flew these imaging flights down to Central Middlesex hospital, where I was doing a project in collaboration with a cardiac unit. They kindly made an echocardiogram scan of his heart. I have superimposed a part of this onto the echogram image from Antarctica.

About the artist

Chris Drury was born in Colombo, Sri Lanka, in 1948 and graduated from Camberwell College of Arts in 1970. His career in environmental art began five years later, following a walk in the Canadian Rockies with the artist-photographer Hamish Fulton. In the years that followed, Drury began to create the eclectic, highly personal sculptural responses to the environment that would define his artistic practice, and secure his international reputation. His work includes ephemeral assemblies of natural materials, in the mode associated with Andy Goldsworthy, as well as landscape art, works on paper, and indoor installations. Drury’s recent projects include a residency at The Niroz Foundation in South Africa, a British Antarctic Survey residency in Antarctica, and an exhibition, titled Mushrooms | Clouds, about place, ecology and politics at The Nevada Museum of Art. Over the past decade, Drury has collaborated on a series of projects with clinicians, making links between body systems and the systems of planet Earth.

Volume 3, no. 1 (2012)

Editorial board members:
Katie Faulkner (editor-in-chief), Jocelyn Anderson, Jacopo Galimberti, Roo Gunzi, Jack Hartnell, Sara Knelman

‘Rethinking Alexander Calder’s Universes and Mobiles: The Influences of Einsteinian Physics and Modern Astronomy’
Vanja V. Malloy

‘Protecting Impermanence: A Preliminary Investigation into the Care of Temporary Artworks’
Harriet Pearson, Maureen Cross, Rachel Barker

‘Our Heirs Shall Unfold’: Maternity Without Mother in Betty Rea’s Sculptures of Children
Meghan Goodeve

‘Roger Mayne’s Southam Street and the Redemption of Post-war Childhood’
Tim Satterthwaite

‘Life Lived On A Plane Of Poetry’: Images of Siegfried Sassoon in the Lady Ottoline Morrell Album Collection’
Lily Le Brun

Conversation: ‘Japanist Fantasies: Ayla Lepine in Conversation with Christopher Reed’

Cover artist: Rinko Kawauchi Hon FRPS was born in Japan in 1972.  She studied at the Seian College of Art and Design, and worked in advertising for several years before embarking on a career as a fine art photographer. She was awarded an Honorary Fellowship of The Royal Photographic Society in 2012.

Volume 2, no. 4 (2011)

Editorial Board
Katherine Faulkner (editor-in-chief), Jocelyn Anderson, Jacopo Galimberti, Roo Gunzi, Jack Hartnell, Sara Knelman

Illusion and Involvement: The lost Baroque architecture of St George’s Hall at Windsor Castle
Wolf Burchard

Drawing Distinctions: Jean-Etienne Liotard in Constantinople and Vienna
Francesca Whitlum-Cooper

Memory in Ruins: Maarten van Heemskerck’s Self-portrait with the Colosseum
Kaspar Thormod

Such a Mercurial Moment:
Charlotte Cotton in conversation with Ben Burbridge

Production in View: Allan Sekula’sFish Story and the Thawing of Postmodernism
Bill Roberts

Sophie, Sarah and Sigmund: Hysterics in the Freud Museum
Eleanor Nairne

MIND THE GAP. Rauschenberg’s Combines in Paris from 1959 to 1964 and Denis Roche’s Poetic Endeavor
Gilda Axelroud

Cover Art
Adam Broomberg & Oliver Chanarin
Untitled (Laughing hiding pulling) from the series People in Touble (2011)

Adam Broomberg & Oliver Chanarin are artists living and working in London. Together they have had numerous international exhibitions including The Museum of Modern Art, Tate Britain, Tate Liverpool, The Gwagnju Biennale, the Stedelijk Museum, the International Center of Photography, KW Institute for Contemporary Art, The Photographers Gallery, Mathaf Arab Museum of Modern Art and Museo Jumex. Broomberg & Chanarin are Visiting Fellows at the University of the Arts London. Their work is represented in major public and private collections including Tate Modern, The Museum of Modern Art, the Stedelijk Museum, Victoria and Albert Museum, Musee de l’Elysee, The International Center of Photography, and the Art Gallery of Ontario. In 2013 they were awarded the Deutsche Börse Photography Prize for War Primer 2, and most recently they were awarded the ICP Infinity Award 2014 for their publication, Holy Bible. Current and upcoming exhibitions include Conflict, Time, Photography at Tate Modern, the Shanghai Biennale 2014, and Cross Section of a Revolution at Lisson Gallery, London.

Volume 2, no. 3 (2010)

Editorial Board:
Jocelyn Anderson, Katherine Faulkner, Jacopo Galimberti, Roo Gunzi, Jack Hartnell, Sara Knelman


‘Mere Gothique heaps of stone’? Uses and Abuses of the ‘Gothic’ in James Ralph’s Critical Review
Owen Hopkins

Melancholy and Memory in the Work of Dante Gabriel Rosetti
Lucetta Johnson

1870-71. Peredvizhniki: Whats in a Name?
Andrey Shabanov

‘Byzantine Art in Islamic Garb’? Christian Influences in an image of The Birth of Mohammad
Kate Blessington

The Art Market and the Art Historian
Jonathan Katz

The Urges of Rebellion and Resistance: An interview with Antioni Negri
Jacopo Galimberti

Money and Attention on the Global Art Scene
Julian Stallabrass in conversation with Malcolm Bull

Cover Art: Over the Town, Wolfe von Lenkiewicz

Wolfe von Lenkiewicz (born in 1966), is a British artist based in London. He is known for his artistic reconfigurations of well-known imageries from art history and visual culture to create ambiguous compositions that question art historical discourses. He lives and works in London.

Wolfe von Lenkiewicz was born in Dartmoor, England in 1966 to Celia Norman and the British painter Robert Lenkiewicz. He is of German-Polish-Jewish descent, with his great-grandfather being Baron von Schlossberg, court painter to King Ludwig II of Bavaria. Lenkiewicz was educated at University of York graduating in 1989 with a degree in Philosophy and specialising in Contemporary Epistemology.