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A Prior

Working SessionCome and join me at the launch of the journal

A Prior #19: Olivia Plender

to coincide with an exhibition at Gasworks.

Wednesday, 25 November 2009
6.30 until 9pm 

Donlon Books
210 Cambridge Heath Road
London E2 9NQ

I contributed a text inspired by Bouvard and Pecuchet.

The issue has been edited by Anna Colin, Kim Einarsson, Olivia Plender and Els Roelandt. Other contributors include Agnus Cameron, Rudi Laermans, Dieter Roelstraete, Frank Maes, Marina Vishmidt, Robert Storr, Goldin & Senneby, Pablo Bronstein, Runo Lagomarsino, and others.

see you there!

[...] The great long wave of financialization, in which every need and desire is reconfigured as an asset to be securitized and competitively traded, only succeeded in submerging the world in a deluge of financial technologies.

Flaubert’s 19th century satire of Bouvard and Pecuchet, has returned as tragedy. Adrift in a world of our own-making, alienated by knowledge that returns to us as failure, we the financialized middle-class are indeed the new cognitive proletariat. And all the while, distributive markets endure, even flourish. Connecting peoples’ needs and desires through material things, via mediums of exchange, interlocked to form an ecology.

To imagine the world as a competitive market was to invite our own alienation from it.

circulation

I wrote a short text, commissioned by katya Sander for Circulation, a special issue of Printed Projects.

I assembled some of the research I did around art auctions........

Markets are a brilliant bundle of technologies, assembled to circulate things. All kinds of things. The most visible form of market, is the competitive market. A neo-classical economic model of a competitive market, pictures rational individuals pursuing their own self-interest - without regard for others - as the motive force for markets. The laws of supply and demand at play amongst these rational individuals, extrudes the values - often represented by a financial price – exchanged, in any transaction. These fundamental elements; rational agents, supply and demand and price mechanisms function in all markets everywhere; like natural laws.

Except of course competitive markets don’t actually work like this. Or at least, only in ideological models.

Ice Trade

This is a short text that accompanied an exhibition at Chelsea Space in London, January 24th - March 3rd 2007

The ice trade, that is the trade in huge cubes of ice hewn from the frozen lakes of North America or Scandinavia and shipped to warmer climes, exists somewhere between brute fact and fairytale.

The trade existed, flourished even, throughout the later part of the 19th century. Grainy photographs depicting sawn meter square cubes of ice, cut from the frozen crusts of freshwater lakes are waiting, stored as documents in relevant archives. You can visit luxury loft apartments inserted into the hollow remnants of bunker-like Ice houses – warehouses for frozen water - found in many former ports of Britain, especially in Bristol, Liverpool, and London. There is also compulsive testimony from the American author, naturalist and philosopher Henry David Thoreau writing one of the foundational texts of the environmental movement, Walden (published in 1854). Thoreau records the cold winter of 46/7 when from the window of his forest cabin he sees the frozen skin of Walden pond being stripped by a hundred Irish labourers, and carted away.

‘[….] in a good day they could get out a thousand tons, which was the yield of about one acre.’

Markets and Morals

Political philosopher Professor Michael Sandel delivered the first of the BBC's 2009 Reith Lectures.

A New Citizenship builds on a lifetime’s work exploring issues around democracy, ethics and ‘politics of the common good’. Many of the themes we are developing within Critical Practice, especially for publicness

The first lecture called for a new politics of the common good.

I wrote into the lecture as I listened, and then ammended those notes

First Sandel suggested we have to recognise the limits, the moral limits of the idea of a competitive market. Clearly, markets are not the best technology for achieving a public good. So, to enable markets to contribute - to a public good, we need to reconnect them to different structures of evaluation; moral, ethical, environmental, etc. And to drives for social justice. Collective integrity and shared values have to triumph over individual greed. But how?

For Sandel, self interest is a personal need; like self respect, self-worth, and self love. And like greed or profit, these drives animate markets. Markets are connected to welbeing, therefore we need markets. They are also very good at distributing resources, but we have to recognise thay are a limited technology. There are some things that money, at work in markets cannot buy - like  friendship, and some things money should not buy - like a child.

Critical Forum

Collecting Moving Images
the Nunnery, Bow, London

I participated in a Forum discussion curated by Cinzia Cremona, around the theme of Collecting Moving Images as part of a survey exhibition of recent work.

The Forum was chaired by Cinzia and included
3 pm Collecting: Myriam Blundell collector and curator, and Lucy Bayley from the Contemporary Art Society
4 pm Coffee and Pampero rum break
4.30 pm Circulating: Peter Lewis, Chris Meigh-Andrews and myself

I screened Screen Tests, and talked about working with public media archives and the possibilities offered by copyleft licenses.

We had an interesting discussion (on-line here) on collecting - storage, exhibition the museum and the archive; circulation - gallery or private exhibition, and the 'free' circulation of material via archive.org or copyleft distribution; economics - the differences in a consumer model, or fee based commissions; and more generally the dynamics of private collections, educational archives and databases; and the impact of changing technologies.

Seven Days

I just finished reading Seven Days in the Art World by Sarah Thornton. Thornton guides us through seven different days –constructed over a five year research period. Each day is a description of one of the institutional structures that comprise the market for contemporary art: a Christies auction, the famous art school ‘crit’ of Michael Asher, the Basel Art fair, the build-up to the Turner Prize, the offices of Artforum magazine, the corporate studio of Takashi Murakami and the Venice Biennale. A glaring omission is that one of the days was not spent at a contemporary art museum, or even a particular high-end gallery.

Despite the odd inclusion of Asher’s ‘crit’, and Thornton's insistance that "the art world is much broader than the art market," her mapping of an art world, revolves around the highly visible competitive market. 

Man on a Plate

 

Winter sun. Just past the lunar equinox. Slack tides. I walk along the Thames path into town to buy On Grammatology by Jacques Derrida. Lost the previous copy.

In front of the old Billingsgate fish market I clamber down on to the foreshore. Combing through the pebblebricks, gravel, shells, bones, pieces of clay pipe, fossils, plastic detritus and ceramic bits-and-pieces.

Notice a distinctive drift of cobalt blue Willow Pattern shards. Squat, sift and see a fragment with an image. I pick-it-up to inspect. In China there's a man on a river foreshore. I'm in a Borges story.

images

whitebalancePamplona cathedraleucalyptusFernandocastrojerixAl Azhar mosque