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Archivalprocess

I contribute to Critical Practice, a cluster of artists, researchers, academics and others, supported by Chelsea College of Art & Design, London.

We are collaborating with Kuba Szreder, a freelance curator from Warsaw,  on an international conference exploring the contested, and increasingly relevant to topic of ‘publicness’ or 'being-in-public'. We are working towards Parade (working title) a conference and series of events in the beautiful Rootstein Hopkins Parade Ground at Chelsea, opposite Tate Britain in central London – 4 minutes from the Houses of Parliament. Parade is scheduled for May 2010.

We intend to explore different conceptions of publicness - historical, cultural, architectural  and digital, as represented in Eastern and Western Europe through the contrasting experiences of Poland and Britain.

 

After extensive research amongst the remnants of amateur film clubs in Poland under socialism, I co-developed the Enthusiasts archive. A critical archive of beautiful amateur films found, restored and made available for you.

Presented as a collaborative artwork theEnthusiasts archive enables you to explore how the generosity of the enthusiast reveals a range of interests and experiences generally invisible amongst the breathless flow of the State sponsored, or professionally mediated.

My intention withEnthusiasts archive is to stimulate interest and discussion into the nature of creative exchange, the function of public archives and the future of the public domain. In many ways, the project informed Procesos de archivo/ Archivalprocess and Open Cinema

cafe construction

 

 

 

 

 

 

 

 

This will be the cafe, designed by Caruso St John.

For the last 2 years I've been a trustee of the emerging Nottingham Contemporary. Its been fascinating - and quite a lot of work - to participate in creating a new kind of art institution. An art institution 'fit-for-purpose' in the 21st Century

“Art is what makes life more interesting than art”. Robert Filliou

At Nottingham Contemporary we believe that contemporary artists offer extraordinary perspectives on society, and so:

•    We promote the research, exchange and dissemination of ideas inspired by today’s art practices across disciplines and cultures, working with a wide range of partners.

ArchivalprocessI'm working on a research project with Intermediæ entitled Procesos de archivo/ Archivalprocess.

Intermediæ is an experimental programme for contemporary creative practice developed by the Cultural Department of the City Government of Madrid. Active for 2 years, Intermediae is a process, through which they are constructing an immanent institution. Through their development they have evolved three structural axes: creation as a means for research and production, process for continual experimentation and reflection, and participation as a commitment to their publics.

Procesos de archivo/ Archivalprocess is a reflection on, and a set of artistic projects that explore the construction of an archive of Intermediæ's activities. How can we assemble, present and make available to the public, an archive of an institution conceived as process, and committed to participation?

We understand that public Archives, like collections in Museums and Galleries are built with the property of multiple authors and previous owners. But unlike the collection, there is no imperative within the conventional logic of the archive, to exhibit, display or interpret its holdings.

Guernica WhitechapelOn the 1st October 2008 I screened Museum Futures at Intermediae in Madrid.

Intermediæ is an initiative of the Arts Department of Madrid City Council. It opened in 2007 and is located in the Matadero (former abattoir) in the Legazpi district of the city. It provides Madrid with an arena for contemporary creative arts in which the City Council acts as a catalyst for creativity and its publics.

Intermediæ’s defining characteristic and purpose is process, to make and remake relationships between publics, their city council and creativity. 

Intermediæ aspires to extend its processes and practices to other institutions: public and private, local, national and international.

I intalled the Lapdogs film in the exhibition that produced it, Lapdogs of the Bourgeoisie at the Arnolfini in Bristol. Curated by Nav Haq and Tirdad Zolghadr, the exhibition/research project has been peripatetically roving for the last two years; to London, Berlin, Stockholm, Istanbul and Cairo. For Bristol, I created an environment; part cheap but chic domestic interior, part Lapdogs Media stand at a media trade fair.

The other artists included Annika Eriksson, Dirk Fleischmann/Michele di Menna, Chris Evans, Liam Gillick, San Keller, Hassan Khan, Natascha Sadr Haghighian, Marion von Osten and Anup Mathew Thomas

From 11am to 4pm on Saturday 25th April 2009, I'll be taking part in Kindival an event organised by student campaigner Tom Robbins. It's a series of talks, discussions, exhibitions  and performances that explores the theory and practice of kindness.

I'll screen, give-away and talk about Screen Tests. I'll suggest how restriction and scarcity in the artworld can be replaced by generosity and abundance - at least in the political economy of digital artefacts.

It will take place at Chelsea College of Art & Design.

 

 

Guernica WhitechapelDear Neil,

Invitation to join the debate

Among the Whitechapel Gallery’s inaugural exhibitions is a commission by Goshka Macuga. Her installation revolves around an event where Picasso’s original painting, Guernica, was installed at the Whitechapel Gallery in 1939.

Guernica was brought over by the Stepney Trade Union Council who approached the gallery for help with their ambition to fight Fascism and to promote a Communist spirit within the working classes. They wanted to use a painting by ‘a famous Spanish painter’ to help enlist volunteers for the Republican cause in the Spanish Civil War.

Afterall Showroom seminar

We had a really interesting and lively seminar organised by Pablo Lafuente and Melissa Gronlund of Afterall and Emily Pethwick of  The Showroom Gallery.

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. 

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