Reading Mrs. Dalloway: June 13 2020
Craig Saper (aka DJ Readies) with Zara Worth
In honor of #DallowDay, Craig Saper's excerpt of his 2020 version of Mrs. Dalloway (with a reading of the new version by the UK-based social media artist Zara Worth) has been published by Textshop Experiments.
The piece can be used as a prompt, assignment, or example in discussions of either conceptual writing and reading, or of the echoic potential of Woolf’s Mrs. Dalloway in 2020. What I am interested in highlighting is the echoes of today’s situation (pandemic) already in Woolf’s text and now desedimented as if I was reading it imperfectly now on June 13, 2020 based around a the homonym in the novel's opening line. Besides rewriting the text as if the opening line’s homonym directed the rest of the novel, I have also re-masked Clarissa Dalloway on the front cover.
Delight to say that the special of the Journal of Writing in Creative Practice that I have guest-edited - ‘SMS (Social-Media-Speak) as/for/in creative practice’ was published online this December and is now out in print too.
The issue includes contributions from: Emma Bolland, Paul Conneally, Gabrielle de la Puente, Robert Fitterman, Tina Francis, Patrick Goodall, Yvette Greslé, Brenda Hickin, James Kennedy, Hardeep Pandhal, Matthew Parkin, Simon Morris, Zarina Muhammad, Alison Raybould, Sid Sidowski, Carol Sommer, Mark Staniforth, David Steans, Cathy Wade, Gavin Wade, Larry Walker-Tonks, Gabriella Warren-Smith, and Steven Zultanski. Special thanks to the journal’s directors Julia Lockheart and John Wood, and to Emma Berrill from Intellect Publishing
Click HERE to access the issue's contents page and find details on how to access or purchase a copy of the issue. You can also read my editorial online for free by clicking HERE.
Sharing some older works from 2014 in the forthcoming exhibition 'CRAFT' at Thought Foundation. 'Untitled (Tweet to Mary Beard)' and 'Untitled (Tweet to Caroline Criado Perez)' were two of the first pieces I made which responded to online communication through social media, and were created during my first year out of art school during a time of real experimentation and change. Particularly excited to see work by Kathryn Lund and West End Women installed in this exhibition.
An extract from my essay ‘Shared Meals: Instagram as a space for virtual feasting and rites of incorporation’ for Feast Journal is being included in a new publication from The Photographers Gallery to coincide with their latest exhibition
Loose Associations is The Photographers’ Gallery's printed journal, offering a diverse set of reflections on photography and image culture. Loosely inspired by the gallery’s exhibition programme, it includes essays both written and visual, artist pages, images, interviews, fiction and philosophy from a wide range of contributors. This issue takes TPG’s Autumn 2019 exhibition, Feast for the Eyes as its starting points.
More information on the exhibition and the publication HERE.
Truth, time and authenticity on Instagram
Delighted to be sharing a new piece of writing, 'Truth, time and authenticity on Instagram', written for the Cognitive Sensations blog.
"Worth shares with us her research exploring the relationship between Instagram and time. In her essay she compares the intention behind Instagram to portray the 'right here right now', with the more realistic framing of posting culture, which encourages a more crafted approach to publicising one's activity. Worth poses that instead of acting as a record, Instagram posts convey an element of a testimonial."
Read the full essay HERE.
Very excited to be participating on the 'Cognitive Conversations' Panel at FACT as part of the 'Cognitive Conversations' programme.
The event is on the 20th February at 18:30 and tickets are FREE.
I will also be presenting 'The Artist's Presence' during the event. Head over to the FACT website for more details on the event, or the Cognitive Sensations website for more information about the programming.
I am very excited to announce that I will be joining Yorkshire Sculpture International as an Engagement Artist.
Yorkshire Sculpture International is a festival produced by the Yorkshire Sculpture Triangle; a group of art galleries and institutions comprising of: The Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield, and Yorkshire Sculpture Park.
"A festival of sculpture
Across Leeds and Wakefield
Saturday 22 June – Sunday 29 September 2019
Free and open to all, the festival will showcase sculpture in all its forms. From new work by international artists to sculpture drawn from our world-class collections.
Featuring exhibitions and events inside the galleries at the Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield and Yorkshire Sculpture Park and major new outdoor sculpture commissions in unexpected places across Leeds and Wakefield.
Yorkshire Sculpture International will be accompanied by an extensive engagement programme with schools, universities, communities, and a professional development programme for artists based in the region."
I will be contributing to the YSI Festival as an Engagement Artist. More details to follow.
You can find out more about Yorkshire Sculpture International on the Festival's website.
Delighted to be sharing 'Herself' (2017), 'FEED' (2017) and 'FEED' (2018) in 'Cognitive Sensations: Fields of Perception', curated by Gabriella Warren-Smith and Anne Fritz at THE CUBE, London.
Preview: 6:30pm 20/11/2018
Find out more HERE.
Spend a reflective morning with artist Zara Worth exploring Instagram culture in this creative collage workshop. You will explore how identity is constructed and patched together, much like a collage, on social media. An opportunity to make hand made collages and discuss online imagery and identity presented on Instagram. Pay What You Feel but pre-bookable.
🙋♀️ Don't forget to reserve a place, just call or email Rachel Horton on ☎️0191 433 3864 or 📧firstname.lastname@example.org 😁 see you next Saturday 🌈
Zara Worth is an artist, writer and researcher.