13 December 2012
11 December 2012
The Kiosk is to be built during an intensive two-day collaborative workshop on the 8th and 9th December at Langport. The challenge will be to design and build an inventive, mobile, expandable kiosk, Hip Hawker, to ingeniously exhibit the range of creations collectively produced during a collaborative art project, Café Konvertible (http://cafekonvertible.blogspot.co.uk) which took place during Somerset Arts Weeks in 2011.
‘The philosophy of Konvertible is an open-workshop and a collective brainstorm where participants act as peers exchanging ideas and skills to form a working artistic team. Konvertible projects have been sited in different locations (Madrid, Colombia, London and Bedford) involving a range of participants, each specific to each locale. Our interest is to involve people from the professional to the amateur, each with their own passion, creativity and skills to work together with ourselves and others to share knowledge, expertise and ideas.’
Lead artist Lisa Cheung further explained the idea of their work.
‘We choose materials that are readily available and cheap (including fabric, wood, paper and found objects) in order to produce products that are inexpensive but well-designed and unique. We explore and combine a range of techniques: simple craft & construction, expert craft skills, and digital technologies to produce surprisingly and interesting combinations.’
Hip Hawker is organised and commissioned by Somerset Art Works (SAW), funded by Arts Council England’s lottery fund and kindly supported by Taunton Library.
Konvertible is a design initiative by visual artist Lisa Cheung (based in Granada, Spain & London) and designer Sammy Delgado Escobar (based in Madrid). Working with everyday materials, Konvertible's intention is to produce unique and interesting design objects that are affordable and fun.
2 December 2012
Chetwynd’s Turner Prize piece is bonkers and to quote one Guardian reviewer is, “Like being hit over the head with a pig’s bladder.” Ha, ha, so true but that is what is so wonderfully refreshing about it too. One of the first live performance based pieces in the Turner Prize’s history and set in its own bizarre low budget, sellotaped, painted and glued world of amateur looking stage and costume design. Although it is exactly the amateur looking nature of the set that is worthy of applause as it goes against the grain of the slickness of the professionalised art world. It also helps dissolve the barrier between audience and the performance as there is no clear boundary as to where the stage begins and ends. As Shakespeare famously wrote, ‘All the World’s a stage,’ so if you are Chetwynd why not make the entire gallery space you’re stage? Previous work from Chetwynd has been based on the Wicker Man, carnivalesque and draws inspiration from the work of film directors such as Ed Wood who were celebrated for being ‘terrible’ movie makers. Oddly, I wasn’t that intrigued by the sort of funny but carefully choreographed performances themselves and the characters that animated them. The storytelling, ‘something to do with a slide, some eggs...who knows..’ was lost on me but I was engrossed in the ‘world’ that it was set in and think that with all sincerity there is something great about creating something that is so bad and doing it so well.
Fowler’s 90 minute long film documentary about the life of psychiatrist of R D Laing has echoes of John Akomfrah’s film about Stuart Hall that I recently saw at the Liverpool Biennial. Both present the more personal lives of the men they portray and Fowler’s film shows and I quote, ‘the relationships between individuals and how society changes through time’. But that’s exactly the point, that I didn’t really quite get the point. I don’t know anything much about Laing and really struggled to endure the full length of the film that when I saw Akomfrah’s, whilst I was again ignorant to who Stuart Hall is, I was held by the imagery and storytelling to want to learn more. It feels unfair to compare Fowler in this way as hearing and looking at some of his other work, like some shorts he made for Channel four, actually look really interesting, I just feel like the piece shown here wasn’t doing it for me.
However, Elizabeth Price’s digital film titled, ‘The Woolworth’s Choir of 1979’ would be without doubt the one I’d put my money on to win. The influence of conceptual artist Barbara Kruger’s advertising imagery of the 70’s, 80’s and 90’s seems very evident in Price’s digital montages particularly in the use of black, white and red echoing tabloid newspapers that Kruger and Price both used in their work. A digital collage of media-like text, wording and imagery is cleverly edited to create multilayered meanings to existing and edited footage. In this case stock footage from news reports/interviews from a fire that broke out in a Woolworths department store in Manchester in 1979 and imagery from churches that reads more like a controlled PowerPoint presentation are fused harmoniously together alongside an accompanying finger clicking and Shangri-Las between each image. It creates new meaning that holds you in the same way that punchy advertising can but with more ups and downs as the pace speeds up and then slows down to dramatic effect. After seeing her piece, ‘User Group Disco’ at the British Art Show I was equally impressed and captivated this time. Maybe it is because Price creates work in a media-style language that we are all so familiar and used to that she draws her viewer in and really does create something that is immersive and powerful.
Overall I admired the diversity of work presented and it was particularly refreshing to see a live performance piece and drawing based visual art be nominated. The work shown is serious, satirical and thoughtful which also means there is a great demand and expectation on its audience to engage and consider the work. For me, this makes it all the more interesting and difficult if not a little bit pointless to pick an overall winner. This year’s Turner Prize reminds us the important thing about its legacy is not the prize itself but all of the art it presents.
If you are interested to know the winner of this year’s Turner Prize it will be announced on Channel four tomorrow, December 3rd at 07.30pm.
26 November 2012
18 November 2012
Seems I was not alone in this thinking and I was joined by a mighty [insert collective noun for a group of artists here] of artists at least 15 or more, who all had the same good idea to attend the workshop, ‘Creative Endeavours –a curatorial guide for artists in Somerset’ at SAW’s base of operations the Town Hall in Langport, yeah!
“In our contemporary art world, the term ‘curation or curating’ means the specific knowledge and expertise that a curator brings to contextualizing an exhibition and to presenting art works in a specific location and context. It is a commonly used term in contemporary art exhibitions and projects, and historically it has represented the curator in the context of museums, but in its current meaning represents the contextualization of exhibitions. The curatorial role is still in evolution, and is becoming more defined through active critique and review.”
Site Specific work –
“There is a long history of artists creating work in unconventional spaces. Often the artist is inspired by a location and takes this into account while planning and creating the artwork. Many curators develop specific knowledge and experience working in this particular setting. They will have a good practical knowledge in presenting work in temporary spaces and are often involved in the liaison with nonart partners, identifying a suitable site with artists and assessing the access and safety issues. This is essential for a curator to have such practical knowledge otherwise ideas from artists will not be fully realized. Some of the practical work may be carried out by a supporting role, such as project manager or technician.
lluminos are lighting designer andfilm/installation artist brothers Rob and Matt Vale. Using website, archive, projection and endurance, for Maximum Exposure Illuminos created a unique video projection event along the Taunton Stop Line. Built during World War II, the Taunton Stop Line consists of hundreds of ‘pill boxes’ – military bunkers designed to stop a potential German advance from the west. Over the course of ten nights each pillbox was be illuminated and projected upon in turn, using imagery and iconography from the structures original usage. Stopping at ten sites each evening, by the end of the ten days one hundred structures from the Stop Line were brought into the light."
|Taunton Stop Line as part of 'Maximum Exposure'|
“The Artist/curator is very common and often a pragmatic approach based on financial and practical reasons. An artist who curates their work can be found among artist run spaces/initiatives where artists wish to engage their ideas to wider audiences through organising an exhibition, event or other activities. This approach is common in Somerset and the majority of exhibitions and projects seen in Somerset Art Weeks are initiated and organised by the artists. There may not be a particular role of artist curator, but the two roles are fulfilled by the same person; their curatorial concern evolving from the perspective of the artist themselves. However, the intention of such a cross over role should be further examined, including its intention and motivation, including how this role effectively presents work in an open and stimulating environment for a wide range of audiences. The role of curator is not purely one of just being a facilitator, but being responsible for the thematic and presentation aspects of the show, and by setting a clear brief and defining how artist and curator interaction can be beneficial.”
In example the Tithe Barn at Cotley Nr Chard which sees an Art Weeks exhibition every year put together with a group of artists who either respond to the space and context or have thematically been grouped together. It seems quite difficult to find an example that is just, ‘an artist led’ approach as there seems to be a lot of crossover in all of them. I can remember hearing some fierce debates from artists as to what makes a piece of work ‘site specific’ or an ‘installation’ on depending on how specific they choose to be. If you analyse it too much it can get very tricky. My own thoughts on this are not to be too pedantic about labelling as the work should speak for itself anyway.
|Natalie Parsley at the Tithe Barn, Cotley, 'Context' Somerset Art Weeks 2010|
“This is one of many approaches and it often starts from a particular concern from the curator who selects artists whose work will address or explore the theme further. It has advantages in terms of providing audiences with a clear outline of the work and it is suitable for creating a group exhibition. A curator offers a strategy in addressing the theme through a diverse range of work, as well as considering how to balance the different works. Therefore, the curator undertakes a selection process and this often includes dialogue with the selected artists to ensure works not only illustrate the concept devised by the curator but also present the unique artistic concerns of each of the artists involved. The interaction between artists and curator is key to creating a meaningful show for the audiences.”
In looking back at local exhibitions I’d seen, ‘Sheds’ came to mind as being an example of thematic curatorial practice. Featuring work from the BHAAM artists and exhibited in Art Weeks 2011 the show was a collection of work around the theme of sheds. BHAAM Artists had responded to the theme, each in their own unique way making work specifically for the exhibition. It was one of my personal favourites from that Art Weeks 2011.
|Tim Martin, 'Westward Hoe' as part of 'Sheds' BHAAM, Somerset Art Weeks 2011.|
“Often curators operate within an established venue that has specific organisational aims and policies attached to it. Exhibitions are part of a wider programme of work delivered by the organisation. Curators may play a role delivering objectives set by others which may have specific audiences and groups connected to the venue. Curators involved in some of the visual arts venues in the South West such as Arnolfini, Plymouth Arts Centre, and Spacex are responsible for developing a programme of exhibitions that align with their organisations’ core aims. There is a certain amount of freedom for a curator to develop their own expertise but sometimes it can also be restricted by the physical space offered by the venue. However, many public art galleries now will carry out their work in off site locations, some integrated to their main artistic programme and many are focusing on engaging with particular communities and groups.”
It would be almost too easy to give a Brewhouse exhibition example here, so I won’t (the guidebook gives, ‘Cultivate 2’ as its example) and instead will throw a bit of a wild card into the mix. Musgrove Park Hospital had a project, titled ‘Cabinet of Wonders’ which they curated with SAW for, I think, a year and is my example of venue based curating. It is more of a wild card because of the context of it being a hospital gallery and not necessarily a public gallery that is just a gallery. Which make it a particularly interesting and unusual place to exhibit in that also poses new opportunities and potential challenges. During the ‘Cabinet of Wonders’ artists were invited to display works in two glass cabinets showcasing a selection of works including ceramics, jewelry, sculptures and mixed-media work.
|Natalie Parsley -Work exhibited as part of Musgrove Park Hospital's 'Cabinet of Wonders' 2011/12|
Overall it was a useful experience and a good opportunity to meet new people. The guide goes into a lot of the content highlighted here in more depth and presents the case that curation can open up new themes/ideas in making artwork, create links to other artists, contexts and opportunities and provide feedback and critical guidance. The relationship between curator and artist is a lot more blurred than perhaps it once was, but this too seems like a step forward and has led to more ambitious projects that have further reach in terms of their audiences and impact than before. The relationship might not always be a smooth one at times, but as artists having a greater awareness of the curatorial process can certainly help make issues of negotiation and diplomacy easier. Now we’re all fuelled with this knowledge and information the opportunity and affects will hopefully take shape in what awaits us for Art Weeks 2013.
11 November 2012
The overall vision of the project is to encourage more members of the local community to visit All Saints church in Langport, to recognise its value as a community asset. Another part of the project is youth empowerment, the project is run by the New Saints - young people (aged between 16 and 25) with facilitation from CCT and SAW.
The CCT and the New Saints are non-religious organisations, focusing on buildings conservation and opening the building to the whole community.
The CCT, New Saints and SAW will work with the appointed artist to develop a mini-project around the research, design and creation of Hunky Punk soft toys. All this is to be undertaken with input and participation with children and young people and through a series of workshops. Hunky Punks are the gargoyles and grotesques found on churches in Somerset.
We are looking to appoint an artist to undertake this work who can demonstrate an awareness and willingness to develop expertise in the areas outlined above. Core competencies should involve:
- Understanding of the brief and the context;
- Some experience in working with textiles, product design, working with young people and project management;
- Excellent collaborative, team working and communication skills.
Artists aged 25 and under are particularly invited to apply as this project is very much focused on creating opportunities for young people. All ages please apply however, the artist with the right skills mix will be appointed.
Closing date for applications Friday 30 November
Main activity during February to April, plus showcase event in May 2013. Dates and times to be mutually agreed, activity will be in the Langport area.
Artist's fees £1,000 on a freelance contract (to include approx 7 half day workshops plus R&D, celebration, evaluation)
Why not take advantage of the following workshops to plan your future
Three Stops to Success...
Take Art in association with Reveal partners (Brewhouse Visual Arts, Somerset Film and Somerset Art Works) and Apples & Snakes are running a programme of three workshops for young and emerging artists and anyone else working in the arts who would like some tips and pointers.
Workshop 3: Tools for the Journey on 19 February 2013 at 10am to 5pm - Focusing on tools and resources and how to manage, market and administrate yourself as a self-employed practitioner.