Histories of the PresentIn 2008 I took part in an event called Disclosures II: The Middle Ages it was part of Nottingham Contemporary’s Histories of the Present, and a beautiful publication of the year long series of events has just been published.

Disclosures II: The Middle Ages explored the idea of ‘commons’, both in the sense of agricultural commons (the grazing of animals and growing of crops on shared land) and what’s increasingly known as the ‘cultural commons’: the shared production and free distribution of digital resources, and more broadly culture in general.

Disclosures II: was set in the unique Nottinghamshire village of Laxton: unique in that it is the last substantial surviving example of the medieval ‘open field’ system of farming in England. In Laxton farmers farm individual strips of land in shared fields, now owned by the Crown, as they have done for centuries.

Over the course of 2011, which is the Arnolfini's 50th anniversary year I will be working to develop a series of self-portraits of the institution using information from their archive. Presented throughout the building, these data portraits will expand throughout the year, tracing their histories and speculating on possible futures.



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’.


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