• 9th March & 10th March 2022, 9 AM – 12 PM
• Room 266
• Upon Registration Only

Merging culture studies, in which anthropology intertwine with artifacts’ social life, with reflections around natural ecosystems: in this masterclass, we will investigate the possibility to think of designed objects as a direct and pure representation of humans’ activities (=endogenous), and/or rooted in specific geographical and cultural contexts (=endemic).

The use of a biological framework is motivated by the idea that a sort of Lex Naturalis (Natural Law), intended here in its secular exception, should drive design towards solutions that create as little friction as possible between the natural environment and its inhabitants. Moreover, we will analyze how adjacent subjects, such as material studies and circular design could play a fundamental role in explaining how endemic and endogenous design is defined and what are its principles and methods.

This masterclass is, in some way, at the crossing between the four Tasmeem axes touching on critical elements such as design utopias, vernacular knowledge, post-colonialism, and new ecologies. After an initial brainstorming and gathering of creative stimuli from the local environment, participants will engage in some physical experimentations chasing endemic and endogenous design opportunities. The final outcomes could result in both still images, videos, or physical representations depending on the nature of the conceptual paths that each participant/group will decide to undertake.

This event is an in-person event for the VCUarts Qatar community only. Please use the registration button to register.

• 9th March & 10th March 2022, 9 AM – 12 PM
• Room 101c
• Upon Registration Only 

It is 2022, and the idea of circularity shouldn’t be “radical”. Yet, it is. We continue to promote consumption, at unsustainable levels, with little or no thought to the end-of-life considerations of that consumption. At the core of Circularity lie materials: raw, processed, and waste. For many of us, these are foreign elements – something “out there” and vastly incomprehensible. Using the device of cooking, however, this workshop will treat materials as “ingredients”, and seek to acclimatize participants with the creation of new materials through this familiar act. Drawing on the culinary metaphor – the ephemeral and intoxicating soufflé is the result of four simple ingredients that everyone has in their kitchen at this very moment. The key is in the handling of the materials.

With assistance from Yasmeen Suleiman, Rabab Abdulla, and Abdul Rahman Anwar.

This event is an in-person event for the VCUarts Qatar community only. Please use the registration button to register.

9th March 2022, 4:15 PM – 5:15 PM
Atrium
Upon Registration Only

DESIGN EARTH is an architectural research practice that deploys the speculative project to make public the climate crisis.

Founded by Rania Ghosn and El Hadi Jazairy, DESIGN EARTH is an architectural research practice that deploys the speculative project to make public the climate crisis. They are recipients of the NY Architectural League Prize (2016), ACSA Faculty Design Awards (2014; 2017), Boghossian Foundation Prize (2017), Jacques Rougerie Award, and other honors.

The work of DESIGN EARTH has been featured in numerous international exhibitions, including commissioned projects for Bauhaus Museum Dessau (2021), Venice Architecture Biennale (2021; 2018; 2016), Seoul Biennale of Architecture and Urbanism (2017), Oslo Architecture Triennale (2016); as well as in shows at Milano Triennale, San Francisco Museum of Modern Art, Matadero Madrid; maat Lisbon; Sursock Museum, Beirut, and Times Museum, Guangzhou. Their project “After Oil” was acquired by New York Museum of Modern Art and exhibited in the New MoMA inaugural exhibition entitled “Energy”.

Ghosn and Jazairy are authors of Geographies of Trash (Actar 2015), Geostories: Another Architecture for the Environment (Actar 3rd ed. 2022 [2018]), and The Planet After Geoengineering (2021). Their essays and projects are widely published in professional and scholarly press, including Domus magazine, Journal of Architectural Education, and New Geographies.

Rania Ghosn (Lebanon, b. 1977) is an Associate Professor of Architecture and Urbanism at the Massachusetts Institute of Technology. She holds a Doctor of Design Degree from Harvard Graduate School of Design.

El Hadi Jazairy (Algeria, b. 1970) is an Associate Professor and Director of the Urban Design program at the University of Michigan. He holds a Doctor of Design Degree from Harvard Graduate School of Design.

This event is an in-person event for the VCUarts Qatar community only that will be streamed live. Members of the public are welcome to ask questions in a moderated chat, at the end of each session. Please use the registration button to register and receive a link to your chosen event.

• 8th March 2022, 2:00 PM – 3:00 PM
• Atrium
• Upon Registration Only
  

Jessica Charlesworth and Tim Parsons from art and design studio Parsons & Charlesworth will discuss their multi-part project Catalog for the Post-Human, an expansive satire that critiques the tech and wellbeing industry’s drive to enhance human productivity to fulfill the needs of data-driven capitalism.

The latest iteration of the work, shown at last year’s Venice Architecture Biennale, takes the form of a near-future organization’s trade fair booth showcasing a series of body augmentation products for contingent workers, complete with animated infographics, marketing copy, an infomercial, and accompanying website.

The project provides a case study in critical worldbuilding, and in this talk, Jessica and Tim will share the processes and tools they used when developing and realizing the project, including how their research informed the satirical objects, texts, branding, and digital content that make up the Venice installation.

This event is an in-person event for the VCUarts Qatar community only that will be streamed live. Members of the public are welcome to ask questions in a moderated chat, at the end of each session. Please use the registration button to register and receive a link to your chosen event.

• 8th March & 9th March 2022, 4:15 PM – 7:15 PM
• VIRTUAL
• Upon Registration Only

The workshop is designed to help anyone who wants to engage in complexity, narratives, systems, design, business, problem-solving in a people-centered and futures-oriented way. It is meant for anyone who is interested in learning and ideating about how to design for and with people, understand mindset and behavior. Participants will have hands-on experience in mapping systems and unpacking people and doing problem-solving with an empathetic humanistic and systemic worldview. We will do this through a gamified experience (with sets of tools and cards designed at D.epicentre). This will potentially open conversations on the future of many aspects with reflections of the nature of crises we are undergoing.

Participants are required to bring their laptop with Zoom already installed.

This event is an in-person event for the VCUarts Qatar community only that will be streamed live. Members of the public are welcome to ask questions in a moderated chat, at the end of each session. Please use the registration button to register and receive a link to your chosen event.

What new trajectories are created when future visions from different worlds connect, converse, and influence each other?

Futurisms is a possible trajectory. It is a cross-cultural journey mapped by the desire for a future filled with love and beauty. This exhibition brings together artists Jasmine Murrell, Saba Taj, Alisha Wormsley, Saks Afridi, and the artist collective, Hyphen Labs, to initiate a conversation between Afrofuturism, Sci-fi Sufism, and Muslim Futures. Each artist reminds us that we can still find the utopia within the dystopia. Here, embodied knowledge is liberatory technology. A technology activated only through vulnerability, reverence, empathy, and excitement. Futurisms engages this technology to offer a way forward. Futurisms charts strategies for imagining a fruitful future, one that helps us to confront ourselves and recognize the magic inside.

The term Afrofuturism was coined in 1996 by cultural critic Mark Dery. Afrofuturism as a cultural movement, however, has continued to evolve into a multidisciplinary, intersectional, multi-temporal visioning practice that foregrounds the past, present, and future of Black bodies. Speculating about the future through art is a central characteristic of Afrofuturism. During its evolution, other practices have emerged, such as Arab-futurism, Gulf-futurism, Muslim-futurism, and Sci-fi Sufism. Each practice has developed and can be defined differently, and yet each, inspired by Afrofuturism, query whether possible futures are sites of concern or innovation. Futurisms further expands this inquiry by traversing radical dreaming and ancestral kinship to survey the multiple dimensions of our shared realities.

Jasmine Murrell presents abstraction as expressed through the aging Black body. The tapestries are evidence of Black life woven into our future. Each tapestry calls to attention Murrell’s process. We see the final form of materials collected over 10 years. Among them are images of a Black female body, signaling that her wisdom must be central to our future.

Saks Afridi introduces us to Sci-fi Sufism through his series Space Mosque. We are pulled into a para-fictional narrative about a phenomenon of spiritual machines appearing on Earth. The event has ended, and we learn through newspapers and artefacts that these spiritual machines revealed the best and worst of our humanity just by answering our prayers.

Alisha B. Wormsley collaborates with Li Harris to investigate ways to activate a network of portals that lead to safe pleasurable places. In D.R.E.A.M.=A Way to AFRAM, the video documents the process of opening a portal in Marfa, TX. The tension we witness between the two is the necessary energy to help transport us to utopias they’ve identified here on Earth.

Hyphen Labs’ NeuroSpeculative AfroFeminism is a multi-media installation combining design, virtual reality, and neuroscience to craft a surreal world that is protecting communities by distributing communal memories to “escape cognitive tyranny.”

One of the tenets of Afrofuturism is that the Black body cannot be entirely free until all other oppressed groups are free. Our liberations are tied. They are bonded, and they seep into each other. To that end, the agenda of subjugation and extraction, be it from the land, body, or the skies, the systems that bind the Black mind, body, and soul also bind the mind, body, and soul of everyone, even if expressed differently.  We train each other in the tools of emancipation.

By reminding us that there is beauty within grief, pain, confusion, and frustration, each artist of Futurisms offers a modality towards the revolutions of freedom that speak to and support all future visions of justice.

• Artists: Alisha B. Wormsley (in cooperation with Li Harris), Hyphen-Labs, Jasmine Murrell, and Saks Afridi
• Curator: Ingrid LaFleur
• Exhibition Dates: March 7 to April 9, 2022
• Opening Reception: March 7 at 7 pm at The Gallery  (You must register for each event separately)
• Panel Discussion: March 8 at 5:30 pm in the Atrium (You must register for each event separately)
• Entry: Free and open to the public upon prior registration.
• Venue: The Gallery at VCUarts Qatar / Panel discussion in the Atrium (virtual + in-person options available)

Image by: Saks Afridi, Spacetime, Print on Aluminum, 2018. Courtesy of the artist.
In collaboration with Narcy (Yassin Alsalman) with Tamara Abdul Hadi, Roï Saade.

This event is an in-person event for the VCUarts Qatar community only that will be streamed live. Members of the public are welcome to ask questions in a moderated chat, at the end of each session. Please use the registration button to register and receive a link to your chosen event.

• 7th March & 8th March 2022, 9 AM – 12 PM
• Room 266
• Upon Registration Only

This Masterclass by Jessica Charlesworth and Tim Parsons from art and design studio Parsons & Charlesworth reveals how satire can be used as an effective tool in the creation of provocative fictional worlds. Using their recent installation at the Venice Architecture Biennale, Catalog for the Post-Human as a case study, Jessica and Tim will take participants through a fast-paced process from digesting critical ideas about the future to creating descriptions and visualizations of satirical products. Along the way they will show examples of satirical works from different genres and illustrate how speculating upon the objects we may use in the future can be an effective means of questioning the values of the present.

The workshop will explore ethical concerns about human enhancement and the future of work, focusing upon four areas: Cognitive Enhancement, Enhanced Productivity, Optimized Wellness, and Expedited Recovery. This research, concerning the ethics of how technology might be applied in our futures, will be combined with the development of personas and scenarios, to generate new ideas for products which will be written up and visualized. The combined output of the workshop will form a new “page” in the Catalog for the Post-Human.

The workshop responds to the theme “The Institute of Speculation – Future Fictions, Dystopian Worlds & Imagined Artifacts”, covering topics including alternative futures, post-human narratives, and speculative sciences.

This event is an in-person event for the VCUarts Qatar community only. Please use the registration button to register.

Artists: Alisha B. Wormsley (in cooperation with Li Harris), Hyphen-Labs, Jasmine Murrell, Saba Taj, and Saks Afridi
Curator: Ingrid LaFleur

What new trajectories are created when future visions from different worlds connect, converse, and influence each other?

Futurisms is a possible trajectory. It is a cross-cultural journey mapped by the desire for a future filled with love and beauty. This exhibition brings together artists Jasmine Murrell, Saba Taj, Alisha Wormsley, Saks Afridi, and the artist collective, Hyphen Labs, to initiate a conversation between Afrofuturism, Sci-fi Sufism, and Muslim Futures. Each artist reminds us that we can still find the utopia within the dystopia. Here, embodied knowledge is liberatory technology. A technology activated only through vulnerability, reverence, empathy, and excitement. Futurisms engages this technology to offer a way forward. Futurisms charts strategies for imagining a fruitful future, one that helps us to confront ourselves and recognize the magic inside.

• Exhibition Dates: March 7 to April 9, 2022
• Opening Reception: March 7 at 7pm at The Gallery  (You must register for each event separately)
• Panel Discussion: March 8 at 5:30pm in the Atrium (You must register for each event separately)
• Entry: Free and open to the public upon prior registration.
• Venue: The Gallery at VCUarts Qatar / Panel discussion in the Atrium (virtual + in-person options available)

The term Afrofuturism was coined in 1996 by cultural critic Mark Dery. Afrofuturism as a cultural movement, however, has continued to evolve into a multidisciplinary, intersectional, multi-temporal visioning practice that foregrounds the past, present, and future of Black bodies. Speculating about the future through art is a central characteristic of Afrofuturism. During its evolution, other practices have emerged, such as Arab-futurism, Gulf-futurism, Muslim-futurism, and Sci-fi Sufism. Each practice has developed and can be defined differently, and yet each, inspired by Afrofuturism, query whether possible futures are sites of concern or innovation. Futurisms further expands this inquiry by traversing radical dreaming and ancestral kinship to survey the multiple dimensions of our shared realities.

Jasmine Murrell presents abstraction as expressed through the aging Black body. The tapestries are evidence of Black life woven into our future. Each tapestry calls to attention Murrell’s process. We see the final form of materials collected over 10 years. Among them are images of a Black female body, signaling that her wisdom must be central to our future.

Saks Afridi introduces us to Sci-fi Sufism through his series Space Mosque. We are pulled into a para-fictional narrative about a phenomenon of spiritual machines appearing on Earth. The event has ended, and we learn through newspapers and artefacts that these spiritual machines revealed the best and worst of our humanity just by answering our prayers.

Painted during the COVID-19 pandemic, Saba Taj creates a Muslim future world cloaked in glitter. In her series, There are Gardens in the Margins, Taj seduces us to an edge, a place where the undefinable is the abundance. Her paintings give us permission to indulge in beauty and to be undefinable as well.

Alisha Wormsley collaborates with Li Harris to investigate ways to activate a network of portals that lead to safe pleasurable places. In D.R.E.A.M.=A Way to AFRAM, the video documents the process of opening a portal in Marfa, TX. The tension we witness between the two is the necessary energy to help transport us to utopias they’ve identified here on Earth.

Hyphen Labs’ NeuroSpeculative AfroFeminism is a multi-media installation combining design, virtual reality, and neuroscience to craft a surreal world that is protecting communities by distributing communal memories to “escape cognitive tyranny.”

One of the tenets of Afrofuturism is that the Black body cannot be entirely free until all other oppressed groups are free. Our liberations are tied. They are bonded, and they seep into each other. To that end, the agenda of subjugation and extraction, be it from the land, body, or the skies, the systems that bind the Black mind, body, and soul also bind the mind, body, and soul of everyone, even if expressed differently.  We train each other in the tools of emancipation.

By reminding us that there is beauty within grief, pain, confusion, and frustration, each artist of Futurisms offers a modality towards the revolutions of freedom that speak to and support all future visions of justice.

Image by: Saks Afridi, Spacetime, Print on Aluminum, 2018. Courtesy of the artist.
In collaboration with Narcy (Yassin Alsalman) with Tamara Abdul Hadi, Roï Saade.

This event is an in-person event for the VCUarts Qatar community only. Please use the registration button to register.