Torn, Folded, Curled: Orphan photographs sourced from the Arab Image Foundation

“Torn, Folded, Curled: Orphan Photographs Sourced From the Arab Image Foundation (Crafting an Archaeology of the Recent Past, One Photobookwork at a Time)” is a reflection on the methodologies I developed during a residency at the Arab Image Foundation, a MENA—Middle East North Africa—photographic archive. The focus is the investigation into different types of archival organisation in public photographic archives and their translation into photobook structures. Working with orphan photographs that are “torn, folded, curled”— a term used at the Arab Image Foundation to categorise heavily damaged photographs that require special care in storage and preservation—meant developing specific strategies to account for themes of war and memory in photobook sequencing. The essay uses five anchors of my practice- organised around three photobooks sourced from the Arab Image Foundation photography collections – to analyse ways in which photographic and book art practices integrate with and complement each other in the work with photographic archives. 1. The photographic collection: how to handle a large number of photographs, using the group/series/sequence formula; 2. The story-showing technique: a documentary approach to elevate orphan photographs from archival storage to lived experience; 3. The photo-text authorial position: how to combine photographs with text and typography for creative disruption of meaning; 4. The haptic mode: the sensorial and materiality identity of the book object that engages the reader’s sense of touch; 5. The book dummy: the handmade maquette used for project development and get the work seen by partners or a publisher. Paper presented at The Archive: Visual Culture In The Middle East Symposium (Publishing as an Intellectual Design Platform: Lebanon) Lebanese American University, School of Architecture & Design Department of Art & Design symposium. Organised by Yasmine Nachabe Taan and Melissa Plourde Khoury. LAU Byblos campus, April 5, 2019 Note:The paper has been submitted for peer-review to be published online through the symposium websit

Orphan Editions

ORPHAN EDITIONS are photobooks and photographic editions sourced from the Found Photo Foundation— a photographic archive for the study and care of orphan photographs. As an experimental publishing project, ORPHAN EDITIONS investigate how specific aspects of the photobook medium expand readings of orphan photographic archives that are sequential and trigger a "story–showing" documentary perspective. Each work explores a particular approach to publishing the printed material in the Foundation’s collections

msdm publications

“msdm publications” is a small press and publisher established by paula roush as an imprint of the msdm studio; msdm publications are a small-scale model of photobook publishing, integrating photographic practice and book art processes. Photobook medium Projects are guided by artistic research and the persistent investigation of both formal and conceptual aspects of the photobook medium. Book manufacture combining hand-made with automated print on demand, makes for a distinctive approach to photobook publishing. Education msdm publications are represented in public artists’ books collections worldwide, where they are accessed by a broader audience and used as educational resources for students and researchers of photobook art. this is complement by a wide-range of presentations, from hands-on workshops to lectures about photobook publishing history and practices hosted at msdm studio or at partner sites. Exhibition msdm curates exhibitions, installations and performances of photobook art. “ə/h/-books” and “photobook pop-up” are two parallel programmes of exhibitions, artists’ talks and publications developed in collaboration with Photography and Photobook learning at the London South Bank University. Other exhibitions as “The Expanded Book” aim to promote photographers’ publishing practices within a participatory framework. Social publishing msdm delivers free/low-cost photobook making workshops to humanitarian organisations working directly with their artists to document, exhibit and publish their photographic archives. These offer work placement opportunities to undergraduate photography students

Bus-spotting + a story

BUS-SPOTTING + A STORY 4 books on a slipcase 108 pages, b&w, duotone and colour 21 x 30 cm (Parts 1, 2 ,4) and 14.8 x 21 (Part 3) Laser printed on Fabriano 120gsm and 200gsm (slipcase) Edited and designed by paula roush Text by Mireille Ribière, with Colin Stannard Photographs from the Found Photo Foundation by Colin Stannard, Douglas F. Parker, G. Mead, J. G. S. Smith, Phil Picken, Robert F. Mack, T.E.S., T. L. Jones, and unknown photographers. edition of 250, numbered and signed, released 2016 msdm publications BUS-SPOTTING + A STORY is a 4-part photo-essay. Parts 1 and 2 (Bus Ride) comprise a sequence of 32 photographs in the form of twin books, split in images of double and single-decker buses. Far from being static, the collaged sequence suggests a bus ride through past time and spaces. The momentum stems from the varying points of view the constantly changing street scenes, as well as from the way complete and partial images alternate and run on from page to page, leading the reader’s eye back and forth. Part 3 (A Story) engages with the narrative and fictional potential of found photographs – a different approach to the material – using text and image with reference to the genre of photo-romance. Part 4 (Transport Enthusiasts) elucidates the raison d’être of the overall work, as well as the context in which the photographs were taken, through correspondence with one of the original photographers; additional material such as the reproduction of the copyright stamps at the back of the prints, as well as a letter dated 1971 between a photographer and a collector further highlight the tangible nature of the collection. Bus-spotting + a story marks the launch of the Found Photo Foundation’s Orphan Series. Each work in the series explores a particular approach to publishing the printed material in the Found Photo Foundation archive. Orphan #1 Bus-spotting + a story is the result of the collaboration between paula roush, artist, publisher and creator of the Found Photo Foundation and Mireille Ribière, author, photographer and scholar. Selected for: The Photo-text Award at Arles Les Rencontres de la Photographie July 4- Sept 25, 2016 THE PHOTO-TEXT Award, supported by the Jan Michalski foundation for writing and literature, rewards the best work mixing images and texts, whether through the interweaving of text in the image, the preponderant place of writing within the dummy book or a writer’s text that supports the photographic intention. Kaleid Editions exhibition at the KhiO Oslo National Academy of the Arts Library "Rigorosamente Libri" IV Biennale del Libro d’Artisti “Strictly Books...” IV Biennial of The Artist’s Book Selected by Maddalena Carnaghi and curated by Vito Capone & Gaetano Cristino Fondazione de Monte Uniti di Foggia June 1- July 15 201

The Beauties of DECOMPOSITION

The Beauties of DECOMPOSITION paula roush & Michael Hampton Foil-stamped grey board box contains: Unique handmade paper specimen Three laser printed books (varied sizes), with loose colour photograph on gloss paper. Special edition of 12 copies accompanied by a certificate of authenticity signed by the authors. msdm publications 2017 Concept-specific paper is a refined substrate in the world of artists’ books. The logic of the work is materially inscribed in the fibres of handmade paper. In the case of The Beauties of DECOMPOSITION, the paper’s meaning is derived from ‘The Book Dispersed’ exhibition project curated by the collective Media Instaveis/ Unstable Media. Each bookwork contains a paper specimen composed of pulp from the abortive funding application for ‘The Book Dispersed,’ blended with pulp from Michael Hampton’s magnum opus "Unshelfmarked: Reconceiving the artist’s book" (author’s copy), together with extra pulp from Samuel Smiles’s Self-Help (a print on demand copy purchased on eBay). The book, dedicated to the late Auto-Destructive artist and activist Gustav Metzger, is a work about dispersion exploring in the book medium the tension between collecting/organising and scattering. Book 1 is composed of an essay, cartoon and documentary photographs of the working process, placing it in a continuum along with other self-published books such as Smiles’s. ["Decomposition," 40 pages, 21x15cm, stapled, colour, evercolor cream paper 80gsm, varied inserts] Book 2 aggregates the scanned records of the handmade paper specimens, verso and recto, viewing them as a series. Since they will be dispersed, each original specimen is included in one book of the edition of 12. ["Scanned record of paper specimens: #1-12," 24 pages, 27×19.5cm, stapled b&w , corona offset paper 120gsm] Book 3 contains the scanned letters that Gustav Metzger sent to Michael Hampton by Royal Mail Post (always first class), mostly trying to arrange meet ups at specific galleries to see exhibitions, and participate in symposia and other art events.[“Thanks for the information and good news,” 25 pages, 18.5x17cm, scanned b&w letters bound by a brass cylinder post, canon paper 80gsm

JASM: Active Pedagogy for Foreign Language Learning in Higher Education.

PROJ/IPV/ID&I/030JASM project (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) consists of an experience of active pedagogy with students of the undergraduate course in Media Studies at the School of Education in Viseu (Portugal). The main objective of JASM is to promote the acquisition of multilingual and multicultural skills and to generate multilingual awareness. In addition to the cognitive dimension, students explore the aesthetic and emotional dimensions of language. Experiences of artistic creativity (media arts, multimedia art, among others) enable multimodal communication in English and French, starting off with information gathering pertaining to the cultural and linguistic diversity of Viseu. After conducting research on the countries of origin of the chosen nationalities as well as the underlying cultures, the students, working in groups, found out about the life stories of migrants on the basis of interviews. Experiences of artistic creativity made it possible to exercise multimodal communication. An object or a tradition mentioned in the stories told by migrants allowed them to build a fictional story around the said object or tradition. Photos were taken at all stages of this work. A storyboard of each fictional story was developed. The Korsakow system made it possible to create dynamic documentaries. The disclosure of this learning experience is made public on the project site and through an e-book.The students' language level (written and oral comprehension and expression) was assessed at the start of the project, using tests. The intermediate evaluation is of a qualitative type as well as the final evaluation (interview type, carried out with students and teachers) due to COVID-19 crisis. The progress of the learning process, as well as the involvement of the teachers could thus be documented.info:eu-repo/semantics/publishedVersio

JASM Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior

A inovação pedagógica (IP) está no centro das prioridades do ensino superior (ES). O aperfeiçoamento nas línguas estrangeiras (LE), sobretudo com estudantes que não seguem formação em línguas, não escapa a este questionamento, até porque as competências em LE no mundo do trabalho são reconhecidas por unanimidade como vitais, sendo por isso, de pleno direito a sua inclusão nos planos de formação. A abordagem pelo recurso da pedagogia de projeto, numa perspetiva de interdisciplinaridade e de trabalho colaborativo, com recurso à multimodalidade na comunicação (Farias, Obilinovic, Orrego, 2011) é uma aposta consistente para trabalhar as várias dimensões da linguagem em francês e inglês, nas suas ligações com as representações mentais (Blumenfeld, 1991; Hamez, 2012). O projeto JASM visa desenvolver uma experiência de pedagogia ativa (Stoller, 2006) na Escola Superior de Educação de Viseu (ESEV), com alunos do curso de 1º ciclo em Comunicação Social, inscritos nas várias unidades curriculares de LE, no sentido de promover a aquisição de competências multilingues e o desenvolvimento duma consciência plurilingue graças à mobilização das várias dimensões da linguagem (estética e emocional, para além da cognitiva) (Berdal-Masuy, Marion, 2013) num trabalho criativo, colaborativo e interdisciplinar, aliando as LE à arte digital (Boss, Krauss, 2007; Budach, 2018).info:eu-repo/semantics/publishedVersio

Torn, Folded, Curled

“Torn, Folded, Curled” was produced in the context of the research project “Found Photo Foundation: sourcing from the Arab Image Foundation.” From 22 June to 2 July 2015, the Found Photo Foundation was in residency at the Arab Image Foundation, Beirut, with the support of the Centre for Media Research (London South Bank University). This residency was primarily focused at sharing archival methodologies used by the Found Photo Foundation in its exhibitions and publications and explore the potential of the Arab Image Foundation’s photographic collections as source for photobook publishing. Different types of archival organisation in public photographic archives were investigated, as well as their translation into book structures. Working with “torn, folded, curled” images— a term used at the Arab Image Foundation to categorise heavily damaged photographs that require special care in storage and preservation— also meant developing specific strategies to account for themes of war and memory in photobook sequencing

Chaos of Memories: Surviving Archives and the Ruins of History According to the Found Photo Foundation

“Chaos of Memories: Surviving Archives and the Ruins of History According to the Found Photo Foundation” is a reflective essay drawn out of existing artistic practice. The focus is the Found Photo Foundation, an experimental archive of orphan photography that mobilises vernacular and queer feminist models of the archive to document (in) visible lives. The essay uses two moments of situated practice—organised around two particular exhibition projects—to examine ways in which the theory and practice of archival art challenge each other through reflective practice. One is the exhibition “Dear Aby Warburg: What can be done with images? Dealing with Photographic Material” curated by Eva Schmidt at the Siegen Museum for Contemporary Art. The other is the display “The past persists in the present in the form of a dream (participatory architectures, archive, revolution)” curated by HS Projects for the exhibition Paradigm Store. These two different curatorial contexts provide a framework to survey the creative processes within the Found Photo Foundation and reflect the diversity of media and archival methodologies deployed in the work with orphan photography, including the use of provisional taxonomies and the foregrounding of participatory tools. CHAPTER IN THE BOOK Order and Collapse: The Lives of Archives. Editors: Gunilla Knape, Louise Wolthers, Niclas Östlind 192 pp., Bi-lingual English and Swedish Published by: Photography at Valand Academy, University of Gothenburg/ Hasselblad Foundation and Art and Theory Publishing, 201