Göteborgs universitet
Göteborgs universitet
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Sarah Tuck

Universitetsadjunkt

Enheten för konsthantverk och fri
konst
E-post
sarah.tuck@akademinvaland.gu.se

Avd-/Sektionschef, Inst

Enheten för konsthantverk och fri
konst
Telefon
031-786 50 03
0766-18 50 03
E-post
sarah.tuck@akademinvaland.gu.se
Besöksadress
Kristinelundsgatan 6-8
Göteborg
Postadress
Box 131
40530 Göteborg

Om Sarah Tuck

Dr Sarah Tuck is a post-doctoral researcher in Photography and Human Rights, a collaborative initiative of Valand Academy, Gothenburg University and the Hasselblad Foundation in Sweden. Her work has traversed a wide range of situated practice, including community development, post conflict processes and institutional networks where questions of agency, knowledge production and representation have always been central. Her work in this area has included curation of the eighth edition of Ulster University Festival of Art and Design in 2016, leading the national development agency for collaborative arts in Ireland, Create, to the publishing and dissemination of ideas on the ‘public sphere’ and agonism. She is the author of After the Agreement – Contemporary Photography in Northern Ireland (2015) a curated research project which explores the affective meanings of images and the socio-political context of post Agreement.

 

The research project Drone Vision (2016-2018), a collaborative initiative between Valand Academy and Hasselblad Foundation explores the affects and implications of drone technologies on warfare, surveillance and protest. Of particular interest is how drone technologies impact on conceptualisations of human rights and the ways in which the affective meanings of drone vision are marked by emotional, ethical, political and social mediations, not least the lived experience and effects of conflict, and the proximity and physical distance to drone warfare. As such it is an attempt to bring critical debates on drone technologies more fully into line with the proliferating verticalities of urban development and surveillance, and the corollary of US led drone warfare that targets the ‘Muslim’ body and is co-extensive with the increased Islamophobia in the cultures of everyday life in the West. In order to avoid any totalising logic of sovereign politics or the affective meaning of seeing without being seen, a series of roundtables with international photo based artists, critical theorists, and activists will be hosted in Gothenburg in 2017 to consider drone vision in the dual dimension of colonial use and decolonial potential. The material from the three roundtables will be published on the partner websites in Sweden, Cyprus and Pakistan as part of a shared research process that will culminate in a triptytch of exhibitions in 2018 at the Hasselblad Center, Gothenburg, Sweden, Nicosia Municipal Arts Centre, Nicosia, Cyprus and the Zahoor Ul Akhlaq Gallery in Lahore, Pakistan. While the curatorial research led by Hasselblad Center, Nicosia Municipal Arts Centre and the Zahoor Ul Akhlaq Gallery is shaped by the same questioning of the colonial use and the decolonial potential of drone technology, the resultant exhibitions in each gallery will be informed by the artists commissioned and the complex realpolitik and histories of place. In this way the curated research will look to explore if and how drone vision can be mobilised as part of a pedagogical political culture of being in common that has effects on political and artistic praxis and counters the vertical cartographies of imperial expansion and drone warfare.