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Working SessionPARADE: public modes of assembly and forms of address

I contribute to Critical Practice, a cluster of artists, researchers and academics hosted by the CCW Graduate School at Chelsea College of Art and Design. We have a longstanding interest in art, public goods, spaces, services and knowledge, and a track record of producing original, participatory events.

In a bespoke, temporary structure designed by award-winning architects we produced PARADE a programme of events that explored the diverse, contested and vital conceptions of being in public.

PARADE was so successful we were able to produce a legacy publication, the book will be launched on Thursday 3rd March at 5.30 pm with a conversation about public protest with Joseph Heatcott, in the lecture theatre at Chelsea College of Art and Design. Maybe see you there?

Aphasic Disturbance

Exhibition curated by Stephen Bury. 19th January - 19th February 2011

I have two publications in the exhibition, the first, LOOT is from 1992

LOOTI had an exhibition of sculptures at the Cabinet Gallery, in London. They consisted of a series of re-made objects which ranged from classic Melodi Ikea shelving  -like a Robert Morris artwork- Rietveld's prototype of the Red and Blue chair, a Picasso Still Life and a door, amongst other things. They were all made from recycled cardboard, and some laminated with appropriate finishes, like wood veneers or reflective plastic. I was interested in different economies of value and how they intersect and overlap with categories of objecthood.........

For the duration of the exhibition, every day I placed the sculptures for sale in LOOT magazine, a vast pre-digital market of second-hand artifacts so that they could circulate amongst other things, other structures of evaluation. Each day they came into contact with different things.

Every week I collected six copies of LOOT, ringed the sculptures for sale with a pen - a common gesture to suggest interest - and collated them into a bespoke slip-case. These gathered publications became the catalogue for the exhition. I was thinking about curatorial practices and strategies of collecting even as I was fabricating things.

 coming soon

Arnolfini’s Futures: a workshop Monday 24th January

Over the course of Arnolfini's 50th anniversary year, artist Neil Cummings will be working with us to develop a series of self-portraits of the Arnolfini using information from the archive. These portraits will also speculate on our futures.

On 24 January, Neil will participate in a workshop at Arnolfini where we will collectively imagine possible futures for the Arnolfini, and the culture in which it is situated. In preparation, it would be great if you could spend few minutes thinking about:

In 2061 the Arnolfini will be.………..".
My role (or equivalent) at the Arnolfini consists of………..”.
The organisation looks like this……….”.

ChaplinI saw Charlie Chaplin’s The Gold Rush on Monday 3rd January 2011.

The Philharmonia Orchestra conducted by Carl Davis played a live accompaniment to Chaplin's silent classic in a special performance at the Royal Festival Hall.

Featuring Chaplin in his quintessential Little Tramp role, the film was described by The New York Times upon its 1925 release as

‘a comedy with streaks of poetry, pathos, and tenderness, [...] the outstanding gem of all Chaplin’s pictures’.

In Britain, the coalition governments destruction of public funding for university education, and the decimation of financial support for arts and their institutions, has indeed induced pain in the arts.

This is how members of parliament were protected while they voted to triple tuition fees.

With other leading academics, artists, curators and writers I contributed to a symposium coorganised by Lanchester Gallery Projects and the Herbert Art Gallery in Coventry.  What is to be Done? explored events at Coventry School of Art and Design 1968-72 and the wider counter culture context of the 70s. It examined radical regional art education and its legacy, particularly in relation to contemporary experimental institutional and pedagogical practice. The event coincides with a retrospective of the work of David Rushton, founder editor of Coventry-based Analytical Art in the 1960s and Art & Language member from 1972 to 1975.

I talked about the work I do as part of Critical Practice, and especially the Parade project.

ArnolfiniI contribute to Critical Practice and following Parade we have been invited to participate in El Ranchito. We went to Madrid to begin to research the context for the invitation. El Ranchito is a cultural experiment launched at the Matadero in the city of Madrid.

 El Ranchito aims to achieve the following objectives:

more soon.......Timeline Intermediae

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Forsythe's  dance soloBarn doors, RiocalienteBat-eared kittenAngel MoneyRoof AccessBasia