- affect data
- Art and science
- bence jones
- Blood counts
- bone marrow
- Daily data summary
- Daily data summary 2013
- Drugs costs running total
- Feb 2013
- February data 2013
- graphs and viz
- Haemoglobin running total
- hat index
- January 2013 data
- March hat data
- medical data
- Monthly data 2013
- Multiple myeloma
- Nov 2014
- open source
- Platelets running total
- raw data
- Stem Cell Transplant
- weekly blood counts
- Weekly round up February 2013
- white blood cells
- white blood counts running total
- March round-up 2013 wp.me/p379SE-ea via @wordpressdotcom 8 years ago
- Graphing Stoicism Feb-March 2013 wp.me/p379SE-do via @wordpressdotcom 8 years ago
- Weekly blood counts data 26th March 2013 wp.me/p379SE-da via @wordpressdotcom 8 years ago
- Affect data, March 24th 2013 wp.me/p379SE-cB 8 years ago
- Chemo drawings 3, UCLH February 2013 wp.me/p379SE-cA via @wordpressdotcom 8 years ago
Some of the data from this blog is being exhibited in a one person show in Istanbul, my thanks to Gavin Baily my collaborator, Senior Curator: Lanfranco Aceti, Associate Curator: Vince Dziekan, Curator: Ozden Sahin and Junior Curator: Jonathan Munro. A number of my hats are off to Istanbul as we speak. Shame I can’t be there.
BODY OF EVIDENCE BY TOM CORBY AND GAVIN BAILY
Senior Curator: Lanfranco Aceti
Associate Curator: Vince Dziekan
Curator: Ozden Sahin
Junior Curator: Jonathan Munro
Produced in collaboration with Goldsmiths College, Sabanci University, The University of Westminster and The Museum of Contemporary Cuts.
Body of Evidence by British artist Tom Corby, in collaboration with Gavin Baily, is taking place at Kasa Gallery, Istanbul from March 21 to April 20, 2013.
The exhibition initiates a series of new artworks and installations designed to blur the boundaries between medicine, data, documentation, economics and art. Conceived as a complex autoportrait of the body undergoing advanced treatment for cancer, the exhibition serves as the primary site where the possibilities, visibilities and public manifestations of the body at its most vulnerable are tested to their limits.
Body of Evidence forms part of a larger, multi-faceted project (Blood and Bones) in which the artist faces a complex set of questions about the meaning of life and death. [*] These are fundamental questions that art has wrestled with for centuries. The challenge presented in the case of Tom Corby’s exhibition is how to make sense of the relationship between physicality and data; materiality and immateriality; medical intervention and metastasis (where, in the broadest material and clinical sense of the word, the death spiral of the afflicted body is mirrored by the wider economic and environmental ecologies within which it is situated).
Employing an idiosyncratic set of approaches to the process of data visualization, the installation is composed of a series of objects related to the artist’s treatment that together act as a physical visualization of the data his illness is producing during his treatment. These data touch upon personal objects such as the hats he wears on a daily basis and which he documents via his blog. Together, these elements reveal a meticulous and methodically structured approach that challenges viewers to detach themselves from all emotional aspects. As the body becomes subjected to the procedures and processes of ordering, selecting, sectioning and framing, it transforms into a grand taxonomic work. In this sense, the exhibition exhibits a certain character typical of the British mindset; particularly, calling upon the indexing fetish attributable to the great scientific explorers of the Victorian era.
In this case, however, the exploration that Tom Corby is embarking upon is not across an uncharted ocean, unexplored land mass or previously unseen/inaccessible dimension of physical reality. The exhibition Body in Evidence charts the artist’s expedition inside his own body and across his own soul, exploring the existential data of a body/object subjected to medical intervention; the body as a system that while in the process of shutting down, continues to produce data.
In equal parts heroic and obsessive, this project touches on attitudes to death and disease in a wider sense, namely a desire to find ways, processes and forms to transcend the act of termination and come to an accord with our feelings about it.
[*] The project also involves Kasa Gallery’s 2013 art residency: Body in Residence. This special international residence focuses on the relationship between human data and the body. During this period, Tom Corby will present his international solo exhibition titled Body of Evidence at Kasa Gallery and, in collaboration with MoCC – the Museum of Contemporary Cuts – will produce a new set of artworks for the exhibition titled No Detectable Level that will analyze the relationship between contemporary financial cuts and the body representing and re-asking basic questions that have been left unanswered.
Exhibition Dates: March 21 – April 20, 2013
Opening Cocktail: March 21, 2013 at 18:00
Address: Kasa Galeri Bankalar Cad. No: 2 Karakoy Istanbul
Visiting hours: 10:00 – 17:00 every day except Sunday
Curatorial team: Lanfranco Aceti (Kasa Gallery Director and Senior Curator), Vince Dziekan (Associate Curator), Ozden Sahin (Curator) and Jonathan Munro (Curatorial Assistant)
Tom is the Director of CREAM’s Doctoral Programme, deputy Director of CREAM and coordinates the experimental media cluster research at Westminster. He studied Fine Art at Middlesex University (1987) and completed his PhD at Chelsea College of Art & Design in 2001. He has taught at Westminster since 2001 after previously working at Chelsea College of Art and Design and the University of Hertfordshire.
His interdisciplinary artworks (in collaboration with Gavin Baily and Jonathan Mackenzie) have been internationally exhibited and have won numerous awards including: nomination for the FILE Festival Digital Language award 2010; the jury nominated award at the 10th Japan Media Arts Festival in 2007; honorary mentions at the Prix Ars Electronica 2006 and 2000; honorary mention: “The Post-Cagian Interactive”, “Art on the Net” The Machida City Museum of Arts, Tokyo and the main festival prize Cynet Art 1999. In 2000 he was nominated for the “International Media Art Award 2000”, at Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe, Germany and was the artist in residence at the ICA London 1998. Reviews include Art Review, Art Monthly, Intercommunication, Artist’s Newsletter and Acoustic Space.
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A busy week work-wise, and I mean work-wise not in terms of the blog where I was hoping to put more time into exploring how the data translates into watercolour structures and material. My working week has managed to continue reasonably uninterrupted to date despite a heavy demand on my time From the hospital. I’ve got used to being largely hairless but feel physically able. Mostly.
My treatment involves bursts of a full week of chemo followed by weekly squirts. I’ve just had a full week of a heavy dose of daily steroids (dex) which I’ve just come off. The emotional and physical side effects from this are quite tough to take and will reflect in the data I’m sure.
One of the things I want to do is output the data in different forms of media including both digital and analogue. There will be a series of watercolour renderings of different data where I’ll be converting numerical data to colour values.
This is the first test of that process using a primary colour triad of Indian red, yellow ochre and cerulean blue admixtures on hot pressed, extra smooth 1401b watercolour paper. Much of these early tests will focus on developing colour palettes structural ideas to follow.
For detailed description of parameters see the Data Methods part of this website
Stoicism: Grin and bare it = 5
Mood: Subdued = 5
Control: Some control = 5
Discomfort: Moderate = 4
Recently I came across a project by Salvatore Iaconesi whose The Cure website has open sourced all the clinical data from his brain tumour with the aim increasing his chances of survival and contributing data to the international research community. It’s a magnificent project that has already had an impact on debates around the role of the patient and data in cancer treatment. I very much see blood and bones as connected to this vision in terms of putting the patient in control of their data and enabling wider uses of it. There are divergences of approach, my project is less resolutely about open-source politics, I don’t think it will contribute to a cure, although it may contribute understanding to the ecologies of treatment that patients, diseases and medics are entangled in. I also feel blood and bones is a more traditional (if I can use that word) aesthetic project concerned with the collision of the bureaucratic and the personal, the material and the informational, in a way that draws upon conceptual traditions in the arts and wider digital culture.
Please visit his great project: