Michael Safaric Branthwaite is a Contemporary Visual Artist and Educator.
His research focuses on the co-option of archaeological methodologies to explore the nature of objects and how they form meaning in contemporary society. As part of his work, he has exhibited in various International shows with sculptural and digital-based work, exploring this concept and the wider implications of how we relate to and define objects and their histories. As part of this research, he has explored the range of ways objects articulate themselves in society with a focus on how digital hand-held devices can capture the qualities of an object and how this might manifest itself in an information-driven society. He further expands his research by working outside this context exploring the curatorial notions of his practice in projects such as “Finding Treblinka”. He has been the recipient of various funding from bodies such as Arts Council England and the British Council.
Since 2014 he has undertaken several artistic residencies at sites relating to the Holocaust and other traumatic events in Europe’s history. This underpins his current line of enquiry into The Covid-19 crisis and how resulting limitations have restricted the possibilities to continue these residencies and therefore restrict some of the key points of discussion. In Safaric Branthwaite’s view these will be even more prevalent as the consequences of the Covid-19 crisis are felt during the recovery period. This raises the question of how we can continue important socio-political debates and projects during these uncertain times.
The results of this is a virtual residency programme using artistic strategies developed in ‘Finding Treblinka Artists Respond’ and ‘Accessing Campscapes’ to develop residences accessing museums online archives and materials as a way to develop new lines of enquiry. These residencies aim to develop discursive materials for online dissemination that promote debate about the possible causes of racism and xenophobia in the past and how they relate to the current global situation.
His work covers a range of thematics’ with a focus on conflicted histories and heritage and rehumanisation. By exploring the conflicting and competing “truths” he aims to make the audiences re-evaluate their perception of historic events. His interest in rehumanistaion stems from ideas surrounding the individuality of those involved in the in Europe’s traumatic past, and how we might build contemporary connections with this to address both the past and how it is enacted in the present.
From August to December 2020 he is invited to a virtual artistic residency at the Falstad Centre.
His research focuses on the co-option of archaeological methodologies to explore the nature of objects and how they form meaning in contemporary society. As part of his work, he has exhibited in various International shows with sculptural and digital-based work, exploring this concept and the wider implications of how we relate to and define objects and their histories. As part of this research, he has explored the range of ways objects articulate themselves in society with a focus on how digital hand-held devices can capture the qualities of an object and how this might manifest itself in an information-driven society. He further expands his research by working outside this context exploring the curatorial notions of his practice in projects such as “Finding Treblinka”. He has been the recipient of various funding from bodies such as Arts Council England and the British Council.
Since 2014 he has undertaken several artistic residencies at sites relating to the Holocaust and other traumatic events in Europe’s history. This underpins his current line of enquiry into The Covid-19 crisis and how resulting limitations have restricted the possibilities to continue these residencies and therefore restrict some of the key points of discussion. In Safaric Branthwaite’s view these will be even more prevalent as the consequences of the Covid-19 crisis are felt during the recovery period. This raises the question of how we can continue important socio-political debates and projects during these uncertain times.
The results of this is a virtual residency programme using artistic strategies developed in ‘Finding Treblinka Artists Respond’ and ‘Accessing Campscapes’ to develop residences accessing museums online archives and materials as a way to develop new lines of enquiry. These residencies aim to develop discursive materials for online dissemination that promote debate about the possible causes of racism and xenophobia in the past and how they relate to the current global situation.
His work covers a range of thematics’ with a focus on conflicted histories and heritage and rehumanisation. By exploring the conflicting and competing “truths” he aims to make the audiences re-evaluate their perception of historic events. His interest in rehumanistaion stems from ideas surrounding the individuality of those involved in the in Europe’s traumatic past, and how we might build contemporary connections with this to address both the past and how it is enacted in the present.
From August to December 2020 he is invited to a virtual artistic residency at the Falstad Centre.
Exhibitions ( Selected)
Accessing Campscapes. Screening of 3 new video works and panel discussion.
Wiesenthal Institute for Holocaust Studies, Vienna
October 2019
Permanent Departures: Solo exhibition of new video and photographic work
CASS Arts, Manchester
June 2019
Distance Presence: Solo Show of interactive new-media work
Gallery of Varazdin, Croatia
August 2018
‘Spit that Out’ North West based Artists working in experimental film.
HOME. Centre for international contemporary art, Manchester.
Curated by Bren O'Callaghan
January 2018
Zrinski Art Festival: Video work Distance presence
Cakovec Castle, Cakovec, Croatia.
October 2017-Nomeber 2017
Postal Drawing (Artefact)
Het Industriegebou, Rotterdam.NL Basement Arts, Leeds. UK. Work in Collection of Sebring & Zoetmulder Architects Rotterdam.NL
March 2017 (first exhibited)
Vessel (Artefact) 3D Printed Sculpture and digital version in unreal engine.
Priestman Gallery, Sunderland University, UK; Ny Space Manchester,UK; Washington Art Centre. Tyne and Wear, UK; Drugo More. Rijeka, Croatia.
February 2017
Blackdot ( Artefact)
poccagallery- Bilbao Spain.
April 2016 (first Exhibited)
Residency and exhibition exploring the notion of the object in a digitized society.
Funded by ACE/ FACT-R
Finding Treblinka: Artists respond, Treblinka Museum, Poland. August 2015- February 2016
Lead artist working in collaboration with forensic Archaeologist Dr Caroline Colls to produce a work that extends and provokes debate on new findings made at the site of the WW11 Nazi labor and death camp.
Funded by FACT-R
By Distance, Nachts Mid, Rotterdam, Netherlands. November 2015
Group show of UK based artists curated by Elise Zoetmulder.
Funded by ACE
In from the Steppe, Ny Space, Manchester, UK. September 2014
Curated show featuring artists based in Manchester.
Paint like you mean it. Interview Room 11, Edinburgh, Scotland. June 2014
Short listed artist for painting prize.
Speculative Identities, Zona Dynamic, Berlin, Germany. July 2013
Residency and exhibition exploring the nature of identity in relation to blurring physical and psychological boundaries, working with an international group of artists to make new work.
Funded by I-ACT
Disrupted Visions, Schwartz Gallery, London,UK May-June 2013
Group show curated by Ismail Erbil and Patrick Michalopoulos. Work included 3 Giclee Prints
Broomhill National Sculpture Prize 2012, Broomhill Sculpture Park, Devon, UK. May-October 2012
Site-Specific Commission for Competition: judged as ‘Highly Commended’ in October 2012 Fun Funded by I-ACT
Artist in Residence, PITT Projects/rednile Factory Nights. June 2012
Producing related to Hanley Bus Station Factory Night. ACE and I-ACT funded
Creekside Open, APT, London. June 2011.
Works selected by Phyillda Barlow
Fresh Air, Quinington Sculpture Trust, Gloustershire. June-July 2011
Site specific Sculptural Installation for Sculpture Trusts Garden.
Funded by I-ACT
Conjunction 2010 Biennial. Stoke-on-Trent, UK. October 2010
Commissioned Artist- Super 8mm Film.
Saatchi Northern Stars at A Foundation Liverpool, UK. 9th April-23rdMay. 2010
Billed as the most exciting artists practicing and based in the North
Curated by Saatchi associated Director Rebecca Wilson.
Vernacular Intervention, Wirksworth Festival, Derbyshire, UK. Permanent. Installed September 2009
Site specific installation around disused field Barn.
Olyimpolis Project, Platamonas, Train Station, Greece. July 2008
Commission for Public Art Installation using Digital Projection.
Conferences
23rd Annual Meeting of the European Association of Archaeologists 2017 in Maastricht, the Netherlands.
Paper Title: “Curating the Holocaust”: Finding Treblinka, a Transdisciplinary Exhibition at the Wiener Library, London, UK.
Date: 30th September 2017
Co-Speakers: Dr Caroline Sturdy Colls
Research Seminar: Dead Body Politics, Materialities and Mobilities
Paper Title: Finding Treblinka: Artistic responses to findings at Treblinka Camp
Date: 18th March 2016.
Co-Speakers: Dr Caroline Sturdy Colls/ David Griffiths (Senior Lecturer MMU)
Paper Title: “Curating the Holocaust”: Finding Treblinka, a Transdisciplinary Exhibition at the Wiener Library, London, UK.
Date: 30th September 2017
Co-Speakers: Dr Caroline Sturdy Colls
Research Seminar: Dead Body Politics, Materialities and Mobilities
Paper Title: Finding Treblinka: Artistic responses to findings at Treblinka Camp
Date: 18th March 2016.
Co-Speakers: Dr Caroline Sturdy Colls/ David Griffiths (Senior Lecturer MMU)
PUBLICATIONS
Material Culture of Difficult Histories: Section 3, Studying the Materiality of Difficult Histories. co-authored chapter discussing the use of art in material culture studies
United States Holocaust Museum and Memorial Volume. Submitted and Expected Late 2020
Submitted to Cornell University Press for Publication
Treblinka: Archaeological and Artistic Responses (Centre of Archaeology Book Series) Paperback June 2016. ISBN:1534632298
“THIS IS PROOF”?: FORENSIC EVIDENCE AND AMBIGUOUS MATERIAL CULTURE AT TREBLINKA EXTERMINATION CAMP : International Journal of Historical Archaeology
http://link.springer.com/journal/10761
United States Holocaust Museum and Memorial Volume. Submitted and Expected Late 2020
Submitted to Cornell University Press for Publication
Treblinka: Archaeological and Artistic Responses (Centre of Archaeology Book Series) Paperback June 2016. ISBN:1534632298
“THIS IS PROOF”?: FORENSIC EVIDENCE AND AMBIGUOUS MATERIAL CULTURE AT TREBLINKA EXTERMINATION CAMP : International Journal of Historical Archaeology
http://link.springer.com/journal/10761