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Atelier Brancusi

 

An iteration of Brancusi's studio, Paris, June 2015

After many years knowing about his work, as part of Re-source at Foundation Gallery Lafayette in Paris, I finally met Neil Cummings.

Lafeyette Re-source 

Any Other Business I collaborated with Neil Farnan and Metod Blejec to produce a currency for #TransActing.

About a year ago, we started discussing the possibility of developing  a Local Currency (LC) for #TransActing; a Market of Values. We thought it would be good to have a medium which could be used to exchange knowledge, goods and services, and at the same time a technology to heighten awareness to what was being transacted, i.e., attention, time, care, and by whom. These are things that, traditionally, money tends to erase. We wanted the currency to be one of the places where the various values transacted at the market, would leave a trace.

Mari-sketches I'm working as part of Critical Practice to produce

#TransActing: A Market of Values
Saturday, 11th July 2015, 12 - 5pm

This bustling pop-up market will feature artists, designers, economists, donorpreneurs, civil-society groups, academics, ecologists, activists and others who creatively explore existing structures of evaluation and actively produce new ones.

In thinking about how to construct the 'market stalls', the physical infrastructure for #TransActing, we decide to try and embody our interest in resilient evaluative practices. Our intention was to recycle materials from the terminated degree show exhibitions at Chelsea College of Arts - every year, there is a suite of skips used to dump unwanted artworks, trashed exhibition making materials, unloved things - to produce the markets stalls.

With this in mind we have been working with Public Works to explore possibilities, and at a previous meeting Andreas (of Public Works) introduced the autoprogettazione furniture series of Enzo Mari from 1974. The series utilised standard timber section to produce a range of tables, chairs, beds and bookshelves, using simple tools - a saw, ruler, square, hammer and nails, and requiring only basic DIY skills. The plans, with dimensions and cutting log for the furniture were also freely published by Mari in a premonition of a Free Libre Open Source Software (FLOSS) ethic, and a gesture towards a cultural and material commons.

We decide to use Mari as our guide, and develop potential stalls.

On Saturday I went to the Pitt Rivers Museum in Oxford, the first time in a long-time….

sympathetic magic

 

In the 1990's I used to lead a five week seminar at Chelsea College of Art and Design entitled Adrift in Taste. It was a chance to leave the college to visit other exhibitionary institutions, and also reflect on our -students and staff - habits and practices. Here's the introduction;

This seminar will presume to dismantle some of our prejudices about art, and evolve tools to build some new ones. It will in part, attempt to put `theory' into `practice'.......

On an individual and cultural scale we are described by a bewildering range of clothes, tools, art, trinkets, gifts, cuisine, souvenirs, electronic technology and rubbish. Objects and images are spilling from every shelf, cupboard, display case, television, vitrine, monitor, supermarket, studio, gallery, shop, museum and land-fill site. Adrift in Taste will begin to unpick our learned habits; the values our parents, teachers and friends taught us about art. We will also uncover some of the the wider institutional structures that have evolved to produce, accumulate and classify the stuff -therefore the meanings- within our cultures.

Open CinemaOpen Cinema a collective adventure in digital filmmaking and sharing; March–October 2015

Open Cinema is an 8-month long digital film project that offers free training, a range of free events, and the opportunity to collaborate on the production of an exciting 2-day cinema event at Open School East.

Values we value

 

I was invited by Joasia Krysa, the then Director of the Kunsthal Aarhus to contribute to a programme of events entitled The Perfect Institution: Culture 2017.

On the 11th December 2014 I made a public presentation using Self Portrait: Arnolfini and V&A bicentenial as speculative case studies. And on the 12th I facilitated a closed workshop  for Aarhus staff.

The Perfect Institution, was a programme of events across the fields of culture and business that took place  between September 2013 and February 2014 . It set out to offer a pragmatic guide to constructing an art institution that responds to future cultural and economic conditions. The aim, was not merely to adapt to change, but to begin to shape those changes. ­

I contributed a presentation to an international conference at the Free/Slow University of Warsaw in October 2011, and today published by MayFly books, is a beautiful 274 page English version of the earlier Polish publication of the event.

A JOY FOREVER: THE POLITICAL ECONOMY OF SOCIAL CREATIVITY 
Free/Slow University of Warsaw. Volume 4

Cultures of Resilience The publication presents critical perspectives on our artworlds, our creative classes and their relations to the 'real' economy.

The book covers more than the narrowly understood art world, here art is understood as a social laboratory, where innovatory ways of organising labor and its modes of appropriation are tested, as well as different types of production, speculation, generation and accumulation of value.

The third in Open Cinema's workshops was developed and lead by documentarian, Jose Velazquez. Jose trained at the BBC in new broadcast technologies, he  has a vast knowledge and hands-on expertise in acquisition - we learnt to say 'ingestion'-  transport, storage, compression, management and delivery of moving image content.

Jose introduced some archives of digital moving image content, like Archive.org, and YouTube, and explained how they work; media hosted on a server and streamed on demmand. ..........More soon

 
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