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Melanie Manchot 

Pronouns: she/her

Born: Witten, Germany 

Home: London, UK

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Visual Art Critique: a detailed analysis and evaluation of an artist's work. (allows for social & critical discourse, analysis, interpretation, and artist direction, provides exposure to contemporary art history, yields artist networks, collaborations and relationships).

Small Group Seminars: provide participants with a supportive, inclusive and creative environment to engage with various artforms, encouraging positive social interaction, a strong sense of community, and artistic expression of each individual.

Title: The Camera

How to Use the Camera in a Socially Engaged Practice - Melanie Manchot

This seminar will consider the camera in both still and moving image art projects as an organizing principle and image-making machine. Using theoretical texts from philosophy and current art criticism, she will work with you to best situate how cameras can operate to articulate both ethics and aesthetics.

Snowdance (Original)
10:35

Snowdance (Original)

Melanie Manchot's practice operates on the threshold of choreography and observation, of documentary modes and staged scenarios or events – working with an economy of gestures to articulate relations orchestrated by and around the camera. Her projects often position the camera as an organising principle in which the production of situations and relations occurs alongside the production of images.
Cornered Star (Original)
06:12

Cornered Star (Original)

Melanie Manchot's practice operates on the threshold of choreography and observation, of documentary modes and staged scenarios or events – working with an economy of gestures to articulate relations orchestrated by and around the camera. Her projects often position the camera as an organising principle in which the production of situations and relations occurs alongside the production of images.
Out of Bounds (Original)
05:14

Out of Bounds (Original)

Melanie Manchot's practice operates on the threshold of choreography and observation, of documentary modes and staged scenarios or events – working with an economy of gestures to articulate relations orchestrated by and around the camera. Her projects often position the camera as an organising principle in which the production of situations and relations occurs alongside the production of images.