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(I move from Korea to Japan to work with artists Fernando Garcia Dory on his farming and food project in Maebashi – it is kind of meant to be a holiday)
As with Seoul, Maebashi is a city of almost completely renewed buildings, both flatten by war and the drive to modernity - looking out over these places I feel a sense of tragedy, grief really, the odd tear has fallen on several occasions (quite incomprehensible really, always when I am on the 23rd floor or so) over the ‘sublime’ in the extreme urbanscape, a kind of combination of wonder and horror, a ‘what have we done’ feeling – the extraordinary human endeavour, the sense of what is underneath – not only the landscape but a former built environment, in effect the place. The character the cities have is now more of a geographical position than a visible history or culture – they could almost be any place, any person’s home. The few ‘natural’ elements are hardly there, in Maebashi the river can perhaps offer a little solace – not really sure why a river would do that but somehow it does – all that flowing on and on stuff it’s always getting up to.
I noticed that Seoul has been voted 3rd worst city in the world, that does seem somewhat upside down – it is surely one of the best cities in the world, very efficient, energising, interesting, varied, law abiding, big. I guess the downsides are the phenomenally built up quality, but even that is majestic, awe-inspiring.
5 days in a window less, equipment free, ex pizza kitchen in a mental health day centre is one experience of Japan that I might not repeat in a hurry. The last day – a holiday - was however a delight and flowed smoothly from dawn to dusk starting with a visit to an exquisite house and garden in the Maebashi suburbs. The key feature and centres piece to the stroll garden being the large open expanse of dry stream bed acting as a stone garden in the dryer months and a shallow pond in the wetter ones – really inspiring. All the usual elements of the stroll and water, rock and inner gardens including the usual buildings, tea house, viewing platform – the no nails building design certainly inspired me again - Lawson park get ready to get your freak on and this time it’s going to be sharp.
This visit was quickly followed by a work-wear shopping trip in the utterly vast agricultural store – a place where you can by a bridge large enough to drive over. Picked up a set of working clothes all pockets and padding to add to the LP work wear of the world collection. We then headed out to Airko sacred mountain but while stopping for petrol noticed an abundance of pots outside a house – turned out to be an absolute treasure trove of amazing folk art and other antiques run be a lovely old couple who made us coffee and gave us rather good deals on our somewhat paltry buys. I bought a tight collection of red lacquer wares Fernando somewhat randomly bought a child’s kimono and a paper mache fox – I think this may say something about our respective characters, and why the previous 5 days had been such a struggle. He’s a freewheeling charmer and I am an uptight delivery freak.
From there our artist friend and guide Hiro Masuda drove us to the top of the sacred mountain and as we climbed the leaves of the - incredibly diverse range of trees - changed – autumn was about half way down the mountain and blow me if it wasn’t the E word again and this time in spades, or rather maple, acer, sycamour, birch and very many others.
Next stop was a pig farm and sausage producer followed by tea with a teacher of the tea ceremony providing me with a close look at her superb collection of tea bowls and their exquisite multiple boxes, each more E than the last. The extraordinary attention to detail involved in the ceremony is kind of nuts – like a really OCD obsession, the angle of the light, the crawl of the raku glaze, the bump in the foot of the bowl, the finger marks left by the potter – all have names and are to be paid attention to. It was a fascinating insight into a disturbing obsessive world – Fernando was transfixed – so alien for him, for me, I would be there if I took off the restrainers – so more like fear in my case.
Seoul’s Hermes store is a thing of extreme and slightly sickening perfection, from the white leather upholstered stair rail to the exquisite window mastic. The function of the building is unfathomable – 5 floors of taste and quality, populated only by staff, selling saddle soap, bridles, saddle blankets and of course their incomprehensibly expensive scarves – but whatever these cost it does not add up to this kind of operation.
Again this curious notion of authenticity – that is the nebulous currency that compels people to buy directly from Hermes. I was told many years ago about a retail experiment in a Tokyo department store (I was told this in a pub so almost certainly fiction). 2 lots of exact same Vuitton bags were laid out in the store one lot were priced at half the real cost – the full-price bags sold quickly, not one half-priced bag sold.
This trip took in the hyper rich quarter of Seoul, the Samsung art museum with its 3 – so famous you think they must be dead – architects. The auction house where the ‘experts’ verify the authenticity of objects and one of the most exquisite galleries, the Horim Museum, the result of one man’s obsession with Korean folk art. There is a curious schism in the galleries – the objects are mostly simple functional items, components of normal life – albeit a normality that is now hard to imagine in terms of aesthetic quality – this is set against the most luxurious of galleries, I suspect if I was an archivist I would be off the ground in transcendent ecstasy at the ‘conditions’. Conditions very far removed from ‘normal’ life – it seems an odd choice. However the objects are inspiring, a kind of Korean version of the Mengei museum and all the ideas behind that.
I arrived with an idea of what we could do with the project, that has inevitably shifted a fair bit – partly due to the wonders, partly the unexpected and not least the scale of Liam’s structure and the nigh on impossibility of moving it.
A ceramics biennale
Toya, Toya, Toya, (pottery, pottery, pottery) sing the chipmunk choir – the soundtrack to your visit to the Incheon Ceramics biennale, a place where everything is made of pottery – some might say a dream come true but even as a devoted lover of clay it was too much for me – too expanding the form, too much art, too many people declaring pottery is art – mainly ‘here’s something that looks like contemporary art that I made in clay’. In a way the joy of pottery is it’s building block quality, it’s integration in the ordinary – not it’s desire to fly. Of course clay is possibly the most versatile of any medium, from high performance engine, cladding for a space rocket and the always sharp knife, to the coprophilic splogs and splats of self expression.
The pottery biennale along with many other things has made me think again about the perception of authenticity – a long historical and contemporary exchange between east and west, from the pottery of the 16th century to the prints of the 19th century and the commerce of the contemporary. Everywhere I see copies of contemporary design, in itself retro design – copies of things that are themselves copies of other things – but somewhere in this endless exchange someone claims authorship and copy right (usually a photographer). Perhaps the most perplexing copy is the copy of the up-cycled look, the faking of recycled materials.
There is an interesting alternative in Korean pottery, there are master potters that make pots in the traditional style, 15th century style, these pots sell for £40,000 as much if not more than the ‘originals’. They are perfect versions, they are made with the same materials the same technology and the same craft skill and by people who are part of a living link - no changes, no stepping outside of the form.
When the western potter then copies this style – slavishly reproducing all the authentic details the result is of a high value but nowhere near as high as the Korean potters, the western potter adopts their own kind of other authenticity, when that is then reproduced it again drops in value. I suppose the issue is when the production techniques change and the same items become factory produced of less individual resonance, but probably better technical quality. Differences that the majority of people will not notice, and arguably why should anyone care. The difference between a good and great bottle of wine – largely symbolic for the majority of people. The symbolic and votive significance become paramount.
You can tie yourself quickly into a tight knot thinking about this stuff.
When Bernard Leach was heavily forged by the pottery class inmates of Wormwood Scrubs prison the bottom dropped out of the Leach market – the prisoners work was terrible all they really copied was the stamp.
In the north of Seoul is a small village area of winding streets and exquisite crafts. I visited the Folk art museum guided by Jina from APAP who translated and guided me through the complexities of the travel and food and all the rest – amazing to be so well hosted, so much more productive and you get the sense that you are perhaps actually valued, that something worthwhile is actually expected of you – so many residencies give the impression they just wish you weren’t there even though you are only there because they invited you. Anyway Jina (middle name Patience – no really) answered my millions of disparate questions tirelessly including the translation of 5 moral tales illustrated in a screen at the museum – it seemed to be telling stories similar to ones my uncle used to tell of his adventures - two brothers, one went to fight in a war, he died, the other brother had a sandwich – the end – it was quite hard to work out the moral messages.
The whole area is full of craft and making at all levels – it is also full of large groups of Chinese tourists who do somewhat destroy the bucolic calm of a solo visit to the chicken museum or the knot making school – other than that - what a place to live.
The evening we visit a retro music cellar, all 70’s design and music – it is founded and run by an artist/dj and is becoming increasingly popular for a mainstream audience. On a random note Jin tells me that until quite recently all album releases were legally obliged to have a health song on them, a positive educational message – that could be a great compilation series – from the west the plethora of positive songs in the James Brown catalogue spring to mind – well they would would’nt they that’s the sort of nonsense my mind is filled with. Trying to find out a bit more on K-pop and the musical heritage - although American influenced from the war period music seems to be largely Korean, albeit fusion. Korean pysch soul is well known in the esoteric circles of muso land but what did it mean? I found a film based on a group called the Devils that seems to suggested the Korean president blamed the loss of the Vietnam war on pych soul!! and the group were imprisoned and tortured before making a post-military comeback – the music seems largely to be pretty pedestrian soul cover versions – a Korean Blues Brothers albeit the blues brothers were sadly never tortured before after or during the film - although Beluchi did do himself some damage by all accounts.
Second hand Seoul (ok that will be the only soul pun) and Pottery biennale - bet you cant wait
All the usual fun of the long flight – 10 hours + the children exploring the rhythmic stylings of Stomp using the clack of the seatbelt, the crash of the table and the sickening guillotine jolt of the arm rest, while dad texts. My seat enemy seemed to have to urgently leave her seat minutes after the meal has been laid out – really extremely awkward to pick all that stuff up and move, and the most unpleasant of all flight phenomena the toe massage – from my rear seat enemy – a girl absolutely determined to explore the full potential of her seat’s capacity for alternative function and the back of my chair for some complex foot work.
The film selection was a bit of a struggle, I was delight to note the Fast and Furious has reach 6 – actually might watch that on the way back, heard it was so beyond reason it had started to get good and Vim Diesel is always a jaw dropping watch – what’s with the ‘I’ve got a blocked nose’ diction. Did watch ‘The Intern’ a rom-com with the Vaughn/Wilson jerk-a-thon formulae - those guys really have got the portrait of unutterable tossers off to perfection. The Wilson seduction scene always a must watch for shear wincing agony.
Incheon airport is a groovy super breeze, and the relaxed coach ride into Anyang a pleasant sojourn through the combination of high rise, flyovers and spectacular landscape that is a familiar style in Asia – made more comfortable by not having the burden of a suitcase – erroneously left on some tarmac somewhere.
Met by Jin and Jina from APAP - and taken on a tour of the art works of the public art programme – a series of YBa period works in the new city, Gillick, Gary Webb et al. All looking a bit down in the ears, and kind of irrelevant in what is a kind of difficult context – the other part of the programme is closer to a sculpture park in a rural setting, much like a contemporary version of old Grizedale – mostly large scale sculptures in the landscape.
Both programmes driven by slightly different visions coming from the city government – the principle ambition being to do with status and city brand – to raise the ‘cosmopolitan’ factor. Also to attract tourists – despite that seemingly absurd notion.
The programme has to make decisions about various works in need of conservation or re sighting, difficult things to agree to spend money on and big money at that – big sculpture, big money.
It would seem a good idea to try to make some of these art works, actually work, take on some kind of function other than mildly pissing off the local population. Some are conceived as ‘social spaces’ particularly the architectural ones. However most have some ‘reason’ they cannot be used, often something like power or water supply, or impractical materials – which ends up meaning that they are all in effect symbolic. We are looking at moving Liam Gillick’s sculpture, ‘a scale model for a social sructure’ it seems logical to make it function for a community in some form.
And that’s where the problems start - this is a big thing, built to stay put, although looking structural it isn’t in many ways. So using it as structure for a further components is a bit problematic. The cost of moving it and re construction really means that you are principally trying to preserve a Gillick art work - that becomes the financially dominant aspect. It kind of becomes some sort of post-apocalyptic scenario where once extremely valuable things are used as components in mundane activities, kind of like cutting up the tyres of a lorry to make cheap shoes or using a Durer drawing as a men’s room pin up or some impressionist paintings as a floor covering (all real examples). So Liam’s million pound sculpture can be a sign-post and a support for an honest shop.
Director Adam Sutherland is on a project development trip to Anyang, South Korea and Maebashi, Japan.
Expect regular blogs throughout the next 2 weeks - focused on public art, 2nd hand stuff, home and professional crafts, agriculture, fear of flying and a hatred of travel.
All UK gardeners stand with bated breath at this time of year, but this Spring is a marked contrast to the last few here, where really warm days and droughts have not been uncommon. Though the rest of the country probably notices this year's very cold spring much more than we do here - where the growing season always starts late and finishes early - the last few days of warmth have been the first to break the unremittingly cold and snowy last few months.
Teensy green hawthorn leaves are beginning to unfurl in hedges, and our cherry plums, tough as boots, are just starting to flower (usually this happens mid / late March). The daffodil we have here, 'February Gold' (clue as to what it should do is in the name) has just opened its blooms, mid April.
The advantage of all this cold is that we can keep planting bare-rooted trees, a job we are way behind with, and start this season's big border clear up and mulch, which has usually all happened by now. So the suspended Sprin is a bit of a blessing for the disorganised like me :-)
I probably need to begin with an apology… maybe two? First of all, this is the first JR memorial blog entry from me for well over a year – I don’t know where the time has gone, other than saying that the world has gone quite mad and, like everybody else, I’ve been busy trying to stave off the forces of terminal instrumentalization. Second, and far worse, this blog entry isn’t about DeLorean cars, flying skate boards, sleeveless bubble jackets or the consequences of calling McFly ‘chicken’ (though it has to be said, big JR would have made a good stand in for mad professor type person Dr. Emmett L. Brown). But this is about time machines – or, more accurately, Mechanics Institutes as they were once called. Yes folks, the good folk up at Grizedale have done it again. Just as we thought we didn’t have an appropriate metaphor to think through the process of ‘thinking ourselves otherwise’, up pop Adam, Alistair and Co with a reminder to look in front of our own eyes. And in my case into the history of the very institution I work in/for.
As you probably all know by now, Grizedale took the ‘Colosseum of the Consumed’ to Frieze Art Fair last October. During this multi-media, multi-project, multi-faith fandango, Alistair found time to communicate to us (at The Autonomy School in Liverpool) via the new fangled technology of Skype (something McFly and co could only have dreamed of in their Back to the Future II world of 1989). During this conversation, Alistair began to elaborate on various developments in Grizedale Art’s ongoing project. Most importantly, he invited us to imagine a bell curve of Social and Industrial assent and decline – beginning with the late Enlightenment/First Industrial Revolution and ending in our present economic chaos. If we were to draw an imaginary line back across this bell curve, from our present point in time, Hudson argued that we would find ourselves somewhere around the beginning of the 19th Century – a time in which Europe was beginning to re-define itself along the lines of democracy, emancipation and extended social inclusion. This period probably reached its ideological apogee in the revolutionary year of 1848 and laid the foundations for the ideas of citizenship and cultural value that we are currently clinging on to (and re-defiling) today. Amongst this hubbub of this activity was, of course, the growth of the Mechanics Institute – those utopian expressions of social progressivism funded by self-elected (and usually liberal minded) pillars of society. Amongst this list of alumni was, of course, our own big JR who kindly funded developments in the rural/industrial village of Coniston.
What is important here for Hudson and the crew of the good ship Grizedale was JR’s insistence on teaching art as part of an extensive and integrated education – making it part of a syllabus that would also include literature, the sciences and the acquisition of everyday practical skills. Not only did this kind of syllabus lead to the Mechanics Institutes becoming crucibles of self-organisation and social change (centres of early union activity as well as the foundations for many of our current UK Universities), it also remind us of a time when art was also ascribed a socially integrated use value. For Hudson, ‘the current state of art galleries and museums is still determined by the framework marked out by economic and truth values; where value is ascribed to works of art based upon their operation within a market system and their perceived ability to reveal or lead us to seeing the world as it really is. In this scheme (from around 1848 onwards) the third value of art, based upon its utility or usage, has been largely suppressed, or diverted into the arena of craft, activism, politics and so on’. Re-inventing use value as the crucial third term (against the accepted mode ‘dual mode of advocacy of and advocacy’ – displaying works of art according to a consensus of what constitutes a work of value [as commodities in both monetary and aesthetic terms] and then advocating this value to the museum or gallery’s constituency) then becomes crucial. It becomes the cornerstone for beginning to re-imagine a more permeable and open form of arts institution – one not bound by its physical and geographical manifestation or legislation.
In its humble way, the time machine of big JR’s Mechanics Institute at Coniston begins to open up this possibility, the possibility for re-imagining a socially re-integrated art production which forms part of our productive identity and collaborative notions of citizenship, individual civil rights and access to what we have left of community. Such a time machine also gives us the opportunity to look back to the future, to re-assess the roots of our culture, to sift through what was kept in and what was thrown away in the processes of epistemological construct that were (and still are) our inherited Modernity.
So! In our next issue of the Big JR Blog more on Time Machines - and a big thank you here to discussions with Francesco Manacorda, Director or Liverpool Tate, whose own (and far more elegant) use of the ‘Time Machine’ as curatorial device put me in mind of McFly and Co (and also, if I’m honest, made me begin to re-think the Machines and Machinic illogics/counterlogics of Guattari’s ‘Chaosmosis’). Maybe also something more on permeable institutions? Oh, and we probably need to start a reconsideration of craft at some point I would have thought? Until then may all of your Ruskin beards be trim, may all of your bushy sideburns stay hearty (in a non-gender specific metaphorical way of course), and may your Workers Soup remain forever on low simmer.
Open Pamphlet Call for Radical Aesthetics event
organised by Loughborough University at The People's History
Art, Politics and the Pamphleteer
A RadicalAesthetics/RadicalArt (RaRa) event
People’s History Museum, Manchester,
FRIDAY June 14th 2013
Call for Participation
The RadicalAesthetics-RadicalArt (RaRa) project invites artists and scholars to prepare and submit a pamphlet for presentation at a one-day event, Art, Politics and the Pamphleteer. Instead of the traditional ‘paper’, submissions must essentially be for or against something – in essence a protest. The form that the protest takes is open to interpretation, for example print, paper, images, video, performance, public intervention. We invite you to address the idea and format of your provocation/declaration as imaginatively and radically as you wish.
How have artists used the trope of the radical pamphlet? How might it be utilized as a format?
Art, Politics and the Pamphleteer will explore the history and relevance of the pamphlet for contemporary art practice through presentations by speakers and performers. The one-day event will coincide with a small display of selected pamphlets from the PHM collection (curated by the RaRa organisers) together with a selection from our ‘call for pamphlets’. See below for more information.
Deadline for proposals: 30th MARCH 2013
Context: Radical Pamphlets, the People’s History Museum and RaRa
It is written because there is something that one wants to say now, and one believes there is no other way of getting a hearing. Pamphlets may turn on points of ethics or theology but they always have a clear political implication. A pamphlet may be written either for or against somebody or something, but in essence it is always a protest.
George Orwell (1948) in British Pamphleteers Volume 1, from the sixteenth century to the French Revolution
For Orwell, the pamphlet is a polemical provocation. Through the 20thc and beyond, artists have worked and acted provocatively and polemically with text, images and performance, publishing writings and producing pamphlets and manifestoes, including the Futurists (1909), Surrealists (1924), Fluxus (George Maciunas, 1963), First Things First (Ken Garland 1964), Mierle Laderman Ukeles (Manifesto for Maintenance Art 1969) and Stewart Home’s Neoist Manifestos (1987). More recently, in 2009, Monica Ross and fifteen others co-recited the Universal Declaration of Human Rights on the Anniversary of The Peterloo Massacre at John Rylands Library Manchester and the Freee Art Collective have performed their manifestoes in a range of public settings. The edited book (2011) by Danchev 100 Artists' Manifestos: From the Futurists to the Stuckists (Penguin Modern Classics) demonstrates it as subject of current interest.
The last decade has seen art’s increasing engagement with political and social issues, whereby in some instances artists’ activities have become indistinguishable from social activism (e.g. Wochenklauser) or other disciplinary functions (e.g. artist as ‘anthropologist’ as in Jeremy Deller’s Folk Archive).The art community’s current preoccupation with revolutionary movements and global politics is being addressed from different perspectives. The format and traditions of the ‘radical pamphlet’ may provide an alternative platform for artistic intervention and provocation.
People’s History Museum (PHM)
The People’s History Museum is a national research facility, archive and accredited public museum, which contains unique collections of documents and artefacts. The collection includes the British Labour Party and Communist Party of Great Britain papers, extensive amateur and documentary film holdings and the largest trade union and protest banner collection in the world. The Museum suits our particular brief of radicality in its focus on histories of radical collective action.
The project will extend invitation to a range of social groups in Manchester, for example: Manchester Social Centre, All FM Community Radio, Manchester Radical History Collective, Radical Routes network of co-operatives, Working Class Movement Library, Manchester, Centre for Research in Socio-Cultural Change, University of Manchester.
The RadicalAesthetics-RadicalArt (RaRa) project was initiated in 2009 at Loughborough University (LU) under the auspices of the Politicized Practice Research Group (PPRG). The RaRa project and its associated book series (with I.B. Tauris) explores the meeting of contemporary art practice and interpretations of radicality to promote debate, confront convention and formulate alternative ways of thinking about art practice. Previous RaRa events have included ‘DIY cultures’ and Radical Footage: Film and Dissent at Nottingham Contemporary.
Gillian Whiteley/Jane Tormey
I have recently returned home after spending a week with Grizedale Arts in the Lake District. The week was highly enjoyable and a unique experience. From the first day I spent my time working on a range of tasks, such as feeding the pigs/geese, cutting down holly for the Christmas decorations and cooking apple pies for a village meal. A less successful task was my attempt at unblocking a drain in an icy puddle which confirmed my fears that my southern roots where not made of tougher stuff! Informing friends of my recent activities, there seemed to be a consenting confusion and an asking of ‘Why? ‘. My answer, which I can say more confidently in retrospect of my stay, was ‘Why not’.
Art comes in many different shapes, sizes and pretentious prices and thus Grizedale comes as a refreshing change as an organization that is concerned with the little things that help a community sustain and grow, as well as maintaining a respected presence in the big, bad art world.
I left Grizedale with a clearer and stronger understanding of art’s relationship with society, however my plumbing skills, sadly are yet to be improved.
We had a recent visit here from useful artist Tania Bruguera who is working on a Museum of Useful Art for the Van Abbe Museum in October next year, part of the project The Uses of Art: the Legacy of 1848 and 1989 we have been developing with the Internationale group of European museums. We spent the weekend with Nick Aikens, a ginger curator of the Van Abbe Museum, refining the criteria of Useful Art or Art Util as she prefers to call it. Whilst here we hooked her up with the Fernando Garcia Dory, awarded last month with $25,000 and the gong for The Leonore Annenberg Prize for Art and Social Change at the Creative Time Summit in New York. Fernando and Tania only ever communicate via Skype, the preferred medium of purposeful artists. Here you see them head to head in a feed back loop of social engagement. Fernando is currently working in London on Now I Gotta Reason, go use him.
To be arte útil it should:
1- Propose new uses for art within society
2- Challenge the field within which it operates (civic, legislative, pedagogical, scientific, economic etc)
3- Be ‘timing specific’, responding to the urgencies of the moment
4- Be implemented in the real and actually work!
5- Replace authors with initiators and spectators with users
6- Have practical, beneficial outcomes for its users
7- Pursue sustainability whilst adapting to changing conditions
8- Re-establish aesthetics as an ecosystem of transformative fields
The show at the Jerwood Space opened for business yesterday. Co-curated with Marcus Coates, the premise of the show is looking at ways in which art, artists and culture can play a more useful role in society. The main discussion so far seems to be about money and in particular the artist and their unpaid or unvalued labour. As we will be making the budget spend transparent and encouraging the artists to think about generating income through their activity, money talk is no surprise so we will see where these discussions take us in the coming weeks.
Not really, he doesn't exist. However, we could really do with some help bringing special seasonal art cheer to our local village. From making Christmas decorations, serving mulled wine at the Christmas Lights Switch On to offering a gift wrapping service at the Farmer's Market and Art Fair, you can use your creative skills in lots of useful ways. For more information, email Maria.
Art Critic Louisa Buck enthusing about the best thing at the Frieze Art Fair this year.
Even more astonsihing than the Tim Marlow revelation is Alan Kane saying something positive about Grizedale Arts
Art historian and media legend Tim Marlow consumes a cake phallus from Bedwyr William's Curator Cadaver Cake at Grizedale Arts' Colosseum of the Consumed at Frieze Art Fair 2012.
Lord knows it's been a rough year for anyone in cahoots with
Even in a good weather year we do have to work at getting Lawson Park productive in the fruit and veg. department. We have a short season, with soil temperatures only reaching the optimum for seed germination (8-10 degrees) in May usually, and plentiful wind and rainfall all summer. To top it all off we get slugs so big you could get a saddle on to them. Each year the Paddies get a bit more fertile with our green-manuring and general soil improvement, but this year may well tread water as the low temperatures, rain and low light levels have left the soil empty for much of the season apart from rampant couch and buttercups, especially sad as we had a garden intern for the first time ever, the irrepressible Ben Preston, who valiantly tried to counteract the summer apocalypse that beset us. We've sown some late green manures and will need to think a bit more about how to prevent what little goodness is in the soil from leaching out over the long, wet winter ahead - plastic sheet being impossible on such a large scale. Soft fruit - apart from the mice invasion that nicked our strawberries - was excellent as ever, currants galore and blissfully trouble-free.
This year we did have the foresight to erect a large new polytunnel in March, without which we really would have empty trugs and plates. In it we have done much propagation as well as growing a fair crop of very late tomatoes, plus some experiments with early carrots, lovely basil and other tender herbs, and dahlias for cutting. It's bliss to be in there with the rain hammering down outside.
So, a few notes on the best and worst trials this season:
Our very young orchard had a fair show of apples on three trees - varieties Keswick Codlin (very local), Monarch and Bardsey Island (a Welsh heritage variety). Eastern European pear 'Humbug' has made healthy growth too.
Like many, we tried grafted tomatoes alongside our seed grown this year - from seed we raised 'Stupice' and 'Latah', both from the wonderful Real Seed Company, both eastern European cool-weather hardies. ' Latah' is a bush variety but we grew it as a single cordon as usual, and both are still cropping well (to be honest they didn't start till September). Stupice has the better flavour and rather endearingly odd shaped fruits.
Of the grafted varieties we bought from Suttons, old fave Shirley did best in flavour and cropped reliably. Santorange is a yellowy-orange large cherry type and we liked its flavour and healthiness. Conchita tried to make very long cherry strings of fruit but set was very poor - weather probably. Belriccio has large, tasty, ribbed fruits, which set well. Elegance cropped heavily but isn't such a good flavour for us. Cupido has small and tasty cherry type fruit and plenty of them. I'd agree that cropping is heavier and plants are more vigorous than seed-grown ones but you'd need a decent season to truly test the grafted varieties to the max.
Our pale green indoor courgette 'Segev F1' continues to fruit healthily in mid-October. Leaves are now slightly mildewy but its been mighty impressive, the cropping starting in late June. Potatoes Cosmo and Red Duke of York remain reliable for us, and mangetout pea 'Shiraz' has yielded a heavy and beautiful purple harvest for weeks outside. Lettuce 'Reine des Glaces' had a superb flavour and stood well in the ground, and pea 'Kelvedon Wonder' never fails to crop well here.
I came to Lawson Park with very little idea of what to expect from volunteering with Grizedale Arts - I decided to volunteer because I was aware of the organization through family connections with the area and wanted to find out more about it. I was immediately impressed with how much was going on - no two days were the same and every day was very busy. The jobs I did ranged from feeding the pigs to archiving the library, making pizzas with the youth club (and the film poster, as pictured) or doing the ironing and making beds, and every job was made interesting (even the ironing!) because of the people I was working with and I learned so much just by being involved.
What I found most interesting about working at Grizedale was the sense of a community working together, both at Lawson Park and within the village, And the feeling that everyone there is valued and has their own important role in the day-to-day running of the organisation. At mealtimes visitors, artists, staff and volunteers all ate togther and discussed what they had been doing and at the institute people from all aspects of life in the village were involved.
Overall the week was a very good experience which I hope will not be my only time at Grizedale Arts.
My five or so days at Grizedale were filled, for the most part, by working in the garden. My activities included mowing the grass, turning compost, and a tremendous amount of weeding.
On a few occasions I accompanied the Grizedale group to the village, to help out at the Coniston Institute. Consequently, I was able to gain a little insight into this project and the relationship between the people of Coniston and the Grizedale staff.
Overall the week was enjoyable and I came away with a clearer idea about the way Grizedale works. Another perk was sampling the delicious home baking, which was really welcome after a long day in the garden.
The second text I would like to share with you is a draft outline for how a UK manifestation of the 1848 project might be and this is underpinned by a question relating to the issue of how we might measure usefulness and how we might measure aesthetics.
If we believe in the idea of usefulness and if we believe in aesthetics (in its widest conception of the reception, communication and processiing of the senses) as the how and why of art and society - how do we measure these things, as Sam provokes, without damaging the object of study?
The New Mechanics
The New Mechanics is a touring concept and a project to develop youth citizenship that is delivered over multiple venues across the England. It is being developed with three UK art institutions and Grizedale Arts.
The New Mechanics is designed as the UK component of a larger international project 1848: The Uses of Art, an ambitious 5 year project, conceived by Grizedale Arts and developing six major European Musuems and two Universities. This pan-European Project aims to reintroduce the idea of Use Value as a central function of art and to develop the civic future of museums and galleries using the concept of the Mechanics Institute.
At the heart of this endeavor is an ambition to use art, artists and art institutions more effectively in civic society and to build a form of citizenship based on creativity and social responsibility.
This process would involve a drive to reshape museums and art, based on current socially oriented art practices and revisiting the Mechanics Institute as a mechanism for social change – working with a more comprehensive, expanded constituency, reaching and building new audiences and developing a model of art that is valued more widely, beyond the current conventions of economic and personal impact.
The consensus of opinion that has grown around this project (particularly the idea of the usage of art) has formed from a new generation of work by artists and curators that aims to be effective outside the performative frame of art – that is understood for how it works, not how it is consumed.
This project was initially formed out a synthesis of recent work by Grizedale Arts around a rethinking of John Ruskin, the 19th Century Mechanics Institutes and Liam Gillick’s current work around European revolution in 1848 and grown with interest from writers such as Barbara Steiner, Marie Jane Jacobs, Jeremy Millar, Simon Critchley, Tom F McDonough and Stephen Wright. It will consist of a long term programme of activity (a touring concept rather than a touring exhibition) built around three key themes:
1. Education: the use of art and creativity as an educational and developmental tool
2. Land: The role of aesthetics in social and ecological change
3. History: Rethinking the story of how art can be used in society
The New Mechanics in the UK will primarily focus on education and rethink how art is presented within an art institution. This is envisaged not as a stand alone project, but one that will emerge out of existing relationships forged through the Plus Tate Learning project and create content for and inform the larger European Touring programme over the next five years.
This project addresses some crucial questions around the role of art, artists and art institutions:
The participating UK venues of Grizedale Arts, MIMA, Tate Liverpool and Ikon Gallery are currently working together via the Plus Tate network on a JP Morgan funded programme re-thinking young peoples’ learning programmes. This project consists of each Institution developing learning programmes though residential trips to the Lake District with their respective youth programmes. This experimental research stage culminates in a conference with all 18 Plus Tate partners in December 2012. Rather than seeing this as an end, we would like to think of this as the start of a durational set of evolving relationships that comes to fruition with active projects in The New Mechanics, expanding on the work already undertaken, drawing on education as a way of thinking about institutions and how they engage with audiences and communities and in particular young people.
The Mechanic Institutes of the 19th Century are a neglected model for how culture can work effectively in society today. The Mechanic Institutes sprung up across Britain as places of education, social reform and where the growing working class could develop with the new skills of the age. Much like a cultural centre for the working man, the Institutes provided educational instruction in technical subjects - including the arts - and access to literature and learning in a variety of different fields and trades via a small subscription. The Institutes were built around a holistic and altruistic programme of arts and sciences and social, collective action.
This project proposes that the art gallery today should be re-viewed, much like the Mechanics Institutes were used in the 19th and early 20th Centuries, as a place for learning and public interaction. The principal is to develop a programme, across all four venues, of artist commissions, events and activity focussing on young people as an emerging generation of civic participants, who will build the next generation of institutions. The programme will be developed by all partners to draw on their education and social programmes as the central activity, to enhance their existing work but to find linkages and cross programming to interact with the other sites. At the core will be a range of young people focused art-based projects that attempt to reinstate creativity to the centre of civic society. Using the Mechanics Institutes as an inspirational starting point the project will open up how an art gallery is used and perceived by their visiting audiences and the wider constituency.
The programme, as with the methodology of the wider European project, is not a touring exhibition but a touring concept, creating an active network of discussion and development for young people to reshape the institutions for the future.
The key to this will be to develop large scale projects for each partner with their constituent youth groups, working with an artist or artists whilst ensuring that the young people are genuinely empowered to drive the project.
The project is conceived over a long timeline of 12 months to ensure strong relationships and meaningful evolution. Each project is initiated in April 2013 on the back of the research and findings of the Plus Tate programme.
It is therefore not a one off project, but the nexus of a continuum of thinking and activity that will work to re-establish the fundamental role of the Institution within society and make it fit for purpose.
Four venues will work together to develop an artist brief with their locality in mind however there will be a relationship between all partners to establish core principles and keep a coherency across the project – as the aim of the project will later be manifest in the European touring project as exemplars of effective practice. It is hoped that the six key partners of the European project will advise and contribute to artists selection.
Throughout this process opportunities will be created for exchanges and collaborations between projects and people.
Where appropriate activities will be integrated into the galleries ongoing curated programme, with the full participation of the curatorial teams, who will see this project as part of core programme, not that of the outreach nor education departments.
There will be encouragement for the young people to take over gallery resources for the purposes of the project. We will be commissioning artists to work with the gallery and young people to develop projects that embed the activities of the gallery back into the fabric of their everyday lives, pushing the idea of active citizenship for both young people and the host institutions.
Beyond the 12 month period of the project in 2013 the 4 projects will feed into the expanded European project with the potential to develop the idea of a ‘touring audience’ to work in international partner venues.
The project would be centred on a research question, which comes from the groundwork undertaken in the current Plus Tate/JP Morgan project between Grizedale, Ikon, MIMA and Tate Liverpool. In turn this question should in effect come from the participant groups of young people and look at changing the way the sector works.
The project is aimed at challenging the established ways of touring programmes. It is a large scale and important body of research, which aims to genuinely find strategies that work for each partner and to genuinely fulfil the goals of public funding and government agendas. In this process there should be an emphasis in learning from each other, given the range of contexts, experience and scale of operations.
As a consequence it has to be experimental and, to certain extent, open ended in nature: although it is thought that a reasonably prescriptive brief is drawn up for the artists’ projects.
Within the process there will be a series of conversations around sociology, the role of culture and growing institutions in relation to current thinking beyond the art sector for example, economics, sociology, wellbeing, history and so on.
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