1895,  cast in period costume

1. Establishing shot:

Mid shot: Large wooden factory gates.

Fade from black

Gates swing open, and workers stream from the factory; women, men, children, dogs, a few bicycles and eventually a horse drawn carriage.

2. Floating camera pulls back and slightly-up

Extreme close-up: The scene unfolding is seen to be on-screen.

3. Floating camera continues to pull back

Close-up:  The screen is of a mobile phone.

4. Floating camera continues to pull back

Medium close-up: Mobile phone recording the workers leaving the factory.

Fade to black

Total Duration: 47sec.

Hello, and welcome.

Welcome to the inaugural Moderna Museet v3.0 heritage publication.

As part of our centenary celebrations we have been reviewing many of the public domain resources that Moderna co-produced in the preceding hundred years. And, the huge challenge for all of us involved was to attend to the lines of force, the transactions that generated, and continue to generate the nexus Moderna Museet; and not be dazzled by the subjects, objects or buildings they produced.

To trace the history of Moderna Museet, is to trace the history of a creative institution that in 2’12 decisively forked the 19th Century museum trajectory. We diverted from a model which had to constantly expand; commission signature buildings, consume scarce resources, evolve huge administrative hierarchies – exhibition, education, support, management and so on - to a sustainable trajectory where Moderna instituted, in the ancient sense of the word - of founding and supporting, on instituting creative practice.

I participated in Key Ideas one of a series of events organised by the Design Cluster at Camberwell College of Art Design. The series aims to examine issues and theories important to young designers.

Key Ideas: Object tackled the role of the object in contemporary society through multiple readings introduced by different experts via three themes:

Object as Sign

Object as Capital; the Value of Things

The Narrative of Objects

Guest speakers included: Grant Gibson, Neil Cummings, Stephen Hayward, Ralph Ball, Gareth Williams.

I spoke in relation to The Value of Things and tried to shift attention from objects to context; these are the notes for my presentation

At the Wysing Arts Centre just outside Cambridge, I took part in an all-day workshop for artists and students from the Curatorial Course at the Royal College of Art.

It was organized by Kit Hammonds and included Sarah Thornton, and Francis Outred from Christies.

"The Economics of the Art System will take an in depth look at the art market, exploring the financial and cultural economies that drive the industry. From commercial galleries, collectors and art fairs, to the influence of auction houses this retreat will question the value of art as commodity and the commercial influences on artists' practices, as well as considering survival tactics for artists, curators and gallerists."