#The body and the archive archive
#The body and the archive professional
#The body and the archive series

We wanted to take on this content because, like BIM, RELIEF’s focus is the dissemination of pain research findings using clear and accessible language geared to a wide range of readers, including patients and the broader public. For these posts, one of the authors of each research article worked with the BIM team to help communicate knowledge and information about each article to a wider audience, producing highly readable summaries of important research in the field.

BIM, which was established in 2009, published nearly 1,000 blog posts, each one focused on a research article from the field of human studies of pain.

#The body and the archive archive

We are excited to announce that RELIEF will now serve as the archive of content originally published on Body in Mind (BIM), which closed its doors last year.

National, Regional, and Global Pain InitiativesĬollection of posts from influential publication that covered human pain studies now freely available to RELIEF readers.

Global Alliance of Partners for Pain Advocacy (GAPPA).

Desirable Characteristics of National Pain Strategies.

Access to Pain Management: Declaration of Montreal.

IASP Position Statement on the Use of Cannabinoids to Treat Pain.

First Steps: The Early Years of IASP 1973-1984.

Guide to Pain Management in Low-Resource Settings.

#The body and the archive professional

Core Curriculum for Professional Education in Pain.Classification of Chronic Pain, Second Edition (Revised).Pulling together images from Black and White in America and Police Work her intelligent hand-worked artworks collided these two subjects in a fresh way, while remaining true to Freed’s original viewpoint, and at a time when the issues of race and power in America remain no less urgent. At PhotoLondon this year we invited the artist Daria Birang, a collaborator with a number of our photographers on books and exhibitions, to collage works by Leonard Freed. Both the historical and contemporary works benefit from these inter-generational conversations, highlighting as they do cultural shifts and changes in ways of seeing or presenting work as well as the enduring quality of good photography.įinally, developing this one step further we are supporting the production of new work in response to the old. This year at PhotoShanghai, to coincide with the launch of Magnum China, we will show signed lifetime prints on China by Marc Riboud alongside new works by Jim Goldberg and Alec Soth and at Paris Photo work by Ernest Cole will sit with Mikhael Subotzky’s. Middel generated this in her work, combining the real archive with an invented one that filled the holes. She restaged an unsuccessful research trip to the North Pole which is referenced in the Archive of Modern Conflict, a large and diverse private collection of photography based in London, but the film they created, landing on the beach in Iceland was not documented. In ‘Jan Mayen’ for example, de Middel recreated an actual event. Magnum nominee Cristina de Middel’s playful and conceptual approach to documentary has led her to look for the holes in contemporary visual culture and to try to picture the undocumented.

#The body and the archive series

In his most recent series “Yellow Bile (or Work in Progress)” Subotzky has attacked or manipulated his own or found images in multi-media works, deconstructing the photograph to question the process of representation and his own photographic approach. Mikhael Subotzky, part of Magnum’s younger generation, has a practice that has led him on a journey which strays far from the agency’s early journalistic origins, in which he questions the veracity of the photographic image. Physical archives, with their distinct and complex identities, have become not just the subject of research, but a source of inspiration for–or a component part of–contemporary art.

And yet, conversely, as the industry has embraced digital technology, so interest in the print as an object for exhibition or collection has risen in the art market. Not long after this our archives were taken out of service: in New York, donated by Michael Dell to The Ransom Centre at the University of Texas, Austin in Paris and London, deconstructed with silver gelatin and resin prints separated by photographer and placed in storage, their architecture lost.įifteen years later the handling of physical prints has become a more specialised activity, associated primarily with curators, museum collections, exhibitions and print sales rather than the process of picture research or distribution. When I first joined Magnum in 2003 the physical archive with its shelves of boxed prints and complex taxonomy was still on display and available to research in the body of the London office.