{"id":466,"date":"2016-08-16T10:08:39","date_gmt":"2016-08-16T09:08:39","guid":{"rendered":"http:\/\/blogs.kcl.ac.uk\/english\/?p=466"},"modified":"2018-10-15T21:11:25","modified_gmt":"2018-10-15T20:11:25","slug":"prize-winning-responses-to-modernism","status":"publish","type":"post","link":"https:\/\/blogs.kcl.ac.uk\/english\/2016\/08\/16\/prize-winning-responses-to-modernism\/","title":{"rendered":"Prize-winning responses to modernism"},"content":{"rendered":"

By Helen Saunders, PhD student<\/em><\/p>\n

In 2013, the King’s Centre for Modern Literature and Culture<\/a>\u00a0 (CMLC) was founded and launched its annual prize for Creative Responses to Modernism. Since then, p<\/span>ostgraduate students working in modernist studies have been invited to submit their responses to modernism and its artistic explosions in whatever art form seems most appropriate. For some entrants, these have been homages, pastiches or parodies; submissions have both continued and challenged the modernist project. The centre and prize are run by Dr Lara Feigel and Professor Erica Carter. <\/span><\/p>\n

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So, undeterred by terrible weather, awful train delays, and general uncertainty about the EU referendum, the CMLC held a party on June 23rd to award the prize for the 2016 Ivan Juritz Creative Responses to Modernism Prize.<\/a> Guests enjoyed cocktails and canap\u00e9s prior to the award being announced.<\/p>\n

This year\u2019s judging panel comprised Lisa Appignanesi, Michael Berkeley, Rachel Cusk, Dexter Dalwood, Jeremy Harding, Deborah Levy and Stephen Romer. The two shortlisted candidates were Ziad Nagy and Cecilia Stinton. Introduced by Lisa Appignanesi, Ziad\u2019s What Lies Beneath<\/em> <\/a>is a short animated film that \u2018plays with surface and depth and with the relationship between technology and the uncanny in a humorous and original way\u2019.<\/span><\/p>\n

Cecilia Stinton\u2019s Der Gelbe Klang<\/em>, introduced by Deborah Levy, is a \u2018collaborative production that creatively and professionally juxtaposes Kandinsky\u2019s colour opera Der Gelbe Klang (1909) with a performance of Franz Schreker\u2019s Kammersymphonie (1916) and Lewis Coenen-Rowe\u2019s new work, A Cosmic Joke (2014)\u2019. Through innovative puppetry and lighting design Stinton and her team revisited Kandinsky\u2019s classic modernist work from a twenty-first century perspective. Stinton discusses the production in the essay\u00a0‘Performing Colour and Staging Sound: Revisiting Kandinsky’s Multimedia Project’.\u00a0<\/a><\/span>
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\n<\/span><\/a>This year\u2019s winner, announced by Rachel Cusk, was Jocelyn Campbell\u2019s \u2018rgn.1 | \u2018nt\u2019rl\u2019d\u2019 | rgn.2\u2019, a composition for piano that \u2018experiments inventively and beautifully with systems of musical invention in an attempt to straddle an ambiguous line between \u2018modernist\u2019 stylistic traits (its emphasis on formal construction and an abstract, non-teleological musical language) and \u2018postmodern\u2019 imitation\u2019. The piece was played beautifully by Rob Keeley in the St David\u2019s room on the Strand Campus.<\/span><\/p>\n