Work included in a group exhibition at Charlie Smith Gallery, London curated by Juan Bolivar and John Stark. Exhibting artists include: Juan Bolivar, Dan Coombs, Graham Crowley, Karen David, Nathan Eastwood, Geraint Evans, John Greenwood, Sigrid Holmwood, Kate Lyddon, Maharishi x Rebecca & Mike, John Salt, John Stark. The term 'Anti-Social Realism', which acts as this exhibitions title, is not one that is commonly understood. It is intended to pose questions such as: is 'revolutionary' art a viable possibility today? What does it mean to be (anti) social in an increasingly interconnected but physically separated society? Can we, through archaic practices such as painting and sculpture, engage with notions of 'social realism' now presented on a daily basis through the new silver-screen veneer of the digital age? In response, this exhibition attempts to pose pictorial possibilities and create tensions through the selected artworks, tackling notions of contemporary realism and in turn offering us a distant echo of a political reality. The wry misnomer of the exhibition title slips between many interwoven threads, simultaneously conjuring up images of 'anti-social behaviour orders' (ASBO), anarchist riots, or the solitary artist locked away from the world attempting to connect on a higher level. In this light, the exhibiting artists are presented as 'social mystics' and it could be said that their work operates by a means of turning inwards to create social radiation.
'Play, Life, Illusion' performed the Festival Stage TOTAL, Bauhaus Museum, Dessau Directed by Daniel Sturgis, Sarah Kate Wilson, Juan Bolivar and Matthew Draper Performed by students from Camberwell College of Arts: Amy Lott, Rafaella Lazarou, Molly Brown, Helen Ainscough, Robin Pickering, Oscar McQuillian-Bryan, Joseph Tebbutt, Martin Del, Busto Ruiz De Velasco, Zviad Sokhadze, Luke Parry, Clare Marsden Commissioned for the Festival Stage TOTAL, BA Fine Art students from Camberwell College of Arts reimagined and staged Xanti Schawinskys' performance-installation 'Play, Life, Illusion' (1936). Schawinsky was taught by Oskar Schlemmer, who led the Stage Workshop from 1923 – 1929. Schawinsky became particularly active in the Stage Workshop and eventually led the course, a course that investigated all aspects of performance. Later on, Schawinsky moved to America and founded the Stage Studies Workshop at Black Mountain College. Importantly, Schawinsky saw the theatre as a place of action where '…teaching and learning is shifted from the classroom to the stage as a practice ground and a laboratory for demonstration.' Schawinsky referred to 'Play, Life, Illusion' as a Spectodrama, a total experience performance installation concerned with duration, light, sound, colour and bodies moving in three-dimensional space. 'Play, Life, Illusion' is a non-narrative work, ordered into a series of episodes, within which the performer figured in a tableau and addressed particular themes such as colour, the news, motion and endlessness. The Camberwell group undertook research into Schawinskys' oeuvre, recognising him as a Bauhäusler unrestricted by media, who worked across painting, photography, architecture, graphic design, stage design and played saxophone in the Bauhauskapelle (Bauhaus band). In reimagining 'Play, Life, Illusion' students and staff worked together as a community of artists to produce a series of innovative performances which were staged throughout the entirety of the four-day programme of the Festival Stage TOTAL. Following a similar episodic structure to that of 'Play, Life, Illusion', the Camberwell group produced seven performances (episodes). The creation of these episodes began with students and staff selecting an object, sound and idea, that captured something they wished to develop into a performance demonstration. These included: Yoga Mats, an egg timer, a medical bag, the butterfly effect, a gift, absurdity, over-engineering, illusion, a synthesiser, WhatsApp pings, atemporal sounds, homelessness, a trap door, velcro, a mirror (on the floor), a raised heart-beat, an oak branch, discussions around immigration. Senior Lecturer Sarah Kate Wilson explains, '…the conversations that arose in our initial meeting pivoted around migration, surveillance, human rights and the political unrest we find ourselves in, in the UK, in 2019. Working with the objects, sounds and ideas generated in this initial meeting we set about organising these ideas under the following themes Socio-Political-Technological, Protest, Colour and Painting and London.' These topics extended far beyond the groups staged episodes, into the set lists, costumes and activities devised for the evening parties which the Camberwell group hosted each evening. Similarly to the way in which Schawinksy devised his Spectodramas, the Camberwell group worked across mediums to produce costumes, soundscapes, scripts, films, improvised actions, paintings. They played instruments, made sets and moveable sculptures. Each episode used a variety of technologies to explore the radical ethos of the Bauhaus, inflected through performance. The low-tech came into contact with the hi-tech, AR filters, drums, record players, smartphones, painting and live streaming were are all employed. Costumes that incorporated prosthetic limbs that hindered instead of helped the body, emergency silver blankets were worn as 'thought clouds' and bespoke tailor-made hand-painted jumpsuits drew attention to the way colour moves in space. Inspired by Schawinsky's painting 'Trac', (1960) the Camberwell group made enormous paintings using spray paint. Cans were attached to the undercarriage of skateboards, therefore the skaters left painterly marks as they traversed the canvas. These 4m x 2m canvases were stretched and installed, freestanding in space and formed the backdrop to much of the groups performances. Another element of the set was a wooden structure formed of interlocking trapeziums, populated with circular colour wheel paintings which had been painted or printed by each performer. These colour wheels were danced, choreographed according to a diagrammatical translation of a tableaux from 'Play, Life, Illusion'. Live soundscapes were produced as performers were attached to electric guitars via extended wires, therefore the movements of the body registered in eerie metallic sounds from the guitars effects loop. Performers broke the forth wall by offering toasted cheese sandwiches to spectators and elsewhere an all seeing being incessantly questioned the audience, asking the public to do something, and save the planet. One episode saw Camberwell BA Fine Art Sculpture alumna Hannah Skinner re-staged her degree show work, which explores themes of queerness, mimicry and humour through soft sculpture, air and sound. In another episode notions of protest and upheaval were explored, workers in hi-vis jackets carried enormous white banners aloft. These banners quickly become walls that were used to barricade and trap people. Performers danced in response to sounds made when contact mics interfaced with objects just as rocks and trees. In one episode the vision of performers was replaced by a gopro camera, which streamed by way of a live feed on Instagram, what the performers could 'see', the performers could see the audience, therefore the audience, in watching the performance by way of the live feed, could 'see' themselves. In their reimaging of Schawinsky's seminal work, the Camberwell group wholeheartedly embraced the spirit of the Bauhaus by choosing to work alongside one another as artists, sharing ideas whilst developing and exchanging skills. Following the festival at the new Bauhaus Museum, Dessau, their performances were re-staged at Camberwell College of Arts on the 24 October 2019 as part of the University of the Arts London OurHaus Festival, a programme of events that celebrates 100 years of The Bauhaus.
Pepsin is a protease used in many different applications, and in many instances, it is utilized in an immobilized form to prevent contamination of the reaction product. This enzyme has two peculiarities that make its immobilization complex. The first one is related to the poor presence of primary amino groups on its surface (just one Lys and the terminal amino group). The second one is its poor stability at alkaline pH values. Both features make the immobilization of this enzyme to be considered a complicated goal, as most of the immobilization protocols utilize primary amino groups for immobilization. This review presents some of the attempts to get immobilized pepsin biocatalyst and their applications. The high density of anionic groups (Asp and Glu) make the anion exchange of the enzyme simpler, but this makes many of the strategies utilized to immobilize the enzyme (e.g., amino-glutaraldehyde supports) more related to a mixed ion exchange/hydrophobic adsorption than to real covalent immobilization. Finally, we propose some possibilities that can permit not only the covalent immobilization of this enzyme, but also their stabilization via multipoint covalent attachment. ; We gratefully recognize the support from the Ministerio de Ciencia e Innovación from Spanish Government (project number CTQ2017-86170-R), Agencia Estatal de Investigacion (PID2021-122398OB-I00) and CSIC for the project AEP045. The FPU fellowship (Ministerio de Educacion) for Mr. Morellon–Sterling is gratefully recognized. Dr. Tacias-Pascacio thanks the financial support from "Programa para el Desarrollo Profesional Docente" (PRODEP) from Mexican Government. ABM would like to thank Ministerio de Ciencia, Innovación y Universidades and FEDER (Project RTI2018-095291-B-I00) and the Generalitat Valenciana (PROMETEOII/2018/076) for financial support.
