Short 🧵 from #Krasis 20, week 3, led by @Ninya_vey.

4/ We closed by performing as ‘crowd’ and reflecting on the experience: in the galleries, completing the circle around the dead Christ in Van Dyck’s Deposition; then in a collective reading of the Passion narrative from Mark 15. It was a moving session; many thanks to @ninya_vey

Short 🧵 from yesterday in #Krasis.

3/ From the @TerraAmArt Collection-in-Residence loan, Minji chose Crawford, Avery and Archipenko, and we explored the translational role of the curator, imagining the prints alongside sculptures and paintings by Hepworth, Bomberg, Braque, Bacon & Morandi. Tremendous. Thanks.

2/ We visited the Kabuki Legends show of kappazuri prints by Hiromitsu Takahashi, and the Flemish Drawings show to examine the inter- and trans-medial relationships between print, drawing, sculpture, painting, theatre and nature.

Today at #Krasis….Art historian and curator Minji Chun led a conversation about translation (between media, ideas, languages), interpretation (of environments, bodies, things) and representation (of the world, people, places).

3/ In Cranach’s Martyrdoms we see that incipient violence actualised, watching each Apostle’s end as one half of an encircling crowd.

2/ Out of the Marsh and Coleman prints comes a conversation about the incipient violence of the crowd, the threat of instability and danger it embodies, and of our participation in it as viewers of the prints.

Krasis(h), Krasish, Krasesque, whatever it is we are doing we are doing it now, led by Eugenia Vorobeva of @engfac.We have Reginald Marsh and Glenn Coleman from @TerraAmArt and we have Lucas Cranach from @AshmoleanMuseum and we are thinking about crowds.

We’re off. Again. It is exciting. DPhil researcher Connie Sjodin leads us in thinking about tattooing and all its surrounding discourses of race, class, history, colonialism….We start with Pio Abad in conversation with Anthony Gardner of @TheRuskin .

After a long hiatus, something resembling something not unlike something reminiscent of Krasis will be back at @AshmoleanMuseum in Trinity. Wednesday afternoons 2-5pm. DM here or email us for details, or if you’re interested in joining the conversation. krasis@ashmus.ox.ac.uk

The eagle-eyed among you will have noticed the absence of Krasis live-tweeting on Wednesday afternoons this term. The programme was suspended this Autumn but we hope to be back in 2024 in some form or other. Watch this space!. In the meantime, here’s a picture of Leia the puppy.

11/ It has been a wonderful term. A huge thank you to every #AJTF Teaching Fellow and every #KrasisScholar for making it so. If you want to be part of #Krasis and haven’t applied yet for Michaelmas, you still can. Write to us at krasis@ashmus.ox.ac.uk. Closes 5pm, 8/9/23

10/ And so we end, on the thought that every #Krasis conversation is a wilful act of multiple translations as we listen, speak and interpret from discipline to discipline, respecting expertise generously offered, choosing to try to understand.

9/ We all think about moving from image and object towards sound, sense and bodily action. We are less good at dancing, but the journey from translating words into words towards translations across media, from abstractions to concrete forms, is no less enthralling.

8/ In the Galleries, Marta, Ghazal and Julia dance, translating an internalised response to an artwork into an externalised action. It makes something beautiful.

7/ Tom Phillips’ ‘Brunetto Latini: Running Man’ offers another translation to explore. Here is Dante (again) but also the photographer Eadweard Muybridge, and the question of how image and language translate into movement.

6/ Amid subjective views of the possibility of objectivity in translation, we return to Dante, to think about how we might express the inexpressible - how can we make concrete that which is not: dreams, love, God. Blake anchors us.

5/ The discussion opens out, via Caliban and The Tempest, to embrace Matthew Reynolds’ ‘Prismatic Translation’ and Federico Italiano’s ‘Dark Translation’.

4/ To understand Lucifer requires a centuries-long act of collective, cultural translation of idea to image. To understand these particular Lucifers requires further translations, from Roman history and the Bible: Who is Casio? Who is Simon Magus?.Why is Lucifer consuming them?