‘The BAK Summer School: Art in a Time of Interregnum brings together artists, curators, art theorists, and academics to collectively think through, learn about, and imagine critical, politically-informed artistic practices that work to grasp and influence our dramatically changing times. Concepts of the precariat, the challenges of contemporary fascisms, contemporary constructions of “we,” the posthuman and Anthropocene, etc. will be discussed with a thematic inquiry into forms of artistic expression relevant to contemporary destabilizations.’
Discussion groups, formal and informal: in situ at BAK, taking a break, core texts anchoring shared discourse: public spaces for discussion groups, adjacent to BAK, at CASCO (with a memorably beautiful tree): the view from the tower block allocated for summer school accommodation: city centre events (Women’s Euro Finals) and street life at ACU (performance event and street life smoking breaks). An intriguing mix, a delight to take part in, made so much more fulfilling by a responsive and inclusive approach to hosting. Am I the only one to think the manner of hosting and advance work on reading lists made this event uniquely special?
Random image sequence showing each section of this site specific work including a slide projected image of Eric Satie inviting guests into the space. Entry via the bright fluorescent light tilts at the assumption of calm and the chequered grid that suggests a haven of order teases this possibility. The projector piece in the space (photo image of Famagusta beach, 2008) fixes a different reality and acts as counterpoint to the ideas available in the paintings. The decision to make a site specific work is to urge time based considerations where notions of interdependence become inevitable and raise a challenge to premeditated assumptions an audience might initially present.
In the best of senses this work, titled: Border Crossings, reconfigures a site specific work made ten years or so earlier titled: Casualty and there are mutual contextual similarities in both pieces: Casualty hosted public access for three hours and Border Crossing welcomed guests for eight hours. A third iteration may warrant extending the time available for public access…
Many thanks to Navigator North for initiating a range of visits to visual arts venues located in the Tees Valley, today at mima, with forthcoming visits to Platform Arts (Studios and Gallery) and the House of Blah Blah taking place next week.
Really useful to discover the detail and method of work involved when preparing artefacts for secure transit (above, right) archive storage in cabinets and ‘Solander’ boxes (above, left) and hear from one of the two senior curators (Miguel Amado, above, middle) about a key research reference: ‘The Power of Display’ to understand more about the core work of the gallery by its institutional commitment to Arte Útil. The notion of what constitutes Arte Útil has been arrived at via a set of criteria that was formulated by Tania Bruguera and curators at the Queens Museum: New York, Van Abbemuseum: Eindhoven and Grizedale Arts: Coniston. The criteria of Arte Util state that initiatives should:
1- Propose new uses for art within society
2- Challenge the field within which it operates (civic, legislative, pedagogical, scientific, economic, etc), responding to current urgencies
4- Be implemented and function in real situations
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 a system of transformation
It’s exciting for Jean and I to make a return visit to our former home in Nunhead and see how much Ivydale Road and its locale has changed for the better and a bonus to see how South London Gallery (SLG) has evolved as a sensitively refurbished arts venue.
SLG is a well appointed venue offering the opportunity to acquire limited edition art works, has an extensive range of visual arts periodicals and texts, is host venue for artist residency placements and is extending its estate through the acquisition of another building nearby. Progress, progress. SLG thereby presents itself as an active and thriving working space for artists that probably warrants a nod of appreciation to Goldsmiths being nearby and the legacy of the YbA group. I remember seeing a show titled ‘Minky Manky’ at SLG way back in 1995.
The film screening of ‘Strata’ made by Amie Siegel proves to be impressive for its assured recalibration of painterly sensibilities. Seeing this screening in situ and experience the cinematic scale, pace of camera tracking, cutting, focus and editing is really special. I must also say the sound score for ‘Strata’ came across as crushingly literal. Again, way different as a total package from what may have been supposed or deduced from online marketing and advance publicity. Nonetheless well worth the visit and a nudge to return more frequently.
Two of the photographs detailed above show the view from the first floor window (left) looking to the garden area at the rear of the venue and (right) looking downwards to the ground floor cafe adjacent to the garden entrance, and the third image (middle) detailing the majestic front entrance.
Jean and I had made an appointment to meet with James Campion and it is appropriate that the random ‘mosaic’ allocation of photographs taken in the exhibition situate his work centre stage. Such a terrific red. The particularity of his approach is compelling as is his innately respectful regard for painting. James is a generous and engaging host and made us both very welcome. We shared conversations about his co-curating of the show (with Sophie Starling), its reception on the opening night, over the previous week-end and the frequency of additional ‘appointments to view’. Many thanks.
I had seen representations of work ‘on-screen’ by all the artists in this show and am especially pleased to see the world of difference between what might have been supposed and the actuality of their physical presence.
The artist work shown in the small selection of photographs detailed above are: Andreas Medjesi-Jones (upper row, one & two), Daniel Sturgis (upper row, three & four), James Campion (middle), Mali Morris (lower row, one & two), Kes Richardson (lower, three) and Sophie Starling (lower, four). The full extent of the show incorporates twice the number of works than are shown above.
Jean and I had not travelled to London together for what seems an age and are very much looking forward to staying over with friends, visiting some galleries and having a wander. Lovely to have friends who live in London, especially those we have known since our teens who retain exceptional foresight: ‘Do you think we should get the light ready for when Phil and Jean arrive?’ Good decision on their part and literally wonderful to see again. Wandering almost immediately up to Greenwich Park we had lunch with an unexpected guest and then set off to find what is signposted as ‘The Elizabeth Tree’. Finally found ET…ouch.
My first visit with Navigator North studio artists and invited artist practitioners to ‘East Street Arts’ Patrick Studios, the main ESA office site with adjacent studio accomodation housed in an impressively restored Victorian building.
The photographs are: The Building (upper row, left) the view from a first floor studio window (upper, middle), a work in progress revealing itself on a studio desk (upper, right) and upwards again to the Project Gallery in the roof space (lower row, left) detailing a visiting tutor dressed in blue and the gaze of the audience looking towards the work table, stools, residual notes, ubiquitous post it notes and a ladder (lower, middle) and finally in a building nearby named ‘Leeds Print Workshop’ an image of three dimensional constructions (lower, right) to be installed by the resident artist in the on-site exhibition space.