Through these blogs we are trying to make the organization and our way of working more accessible.
Please contribute ideas, information and criticism.
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.
website design & build by theusefularts.org.