Shock City: tracing

As a contribution to Shock City, I experimented with a live-tracing of the values that were valued. It's a method developed from the Tracing Values research custer

Shock City: Resilience and the Anthropocene


Shock City was the launch the Year of Resilience (YoR) a two-day international event featuring practitioners from Chelsea, Camberwell and Wimbledon Colleges of Art and beyond.   It was hosted  in the Banqueting Hall, Chelsea College of Arts, London.

Resilience can be understood as the capacity of a bounded network - a person, bacterial culture, a forest, a city or an economy - to deal with change and continue to develop. It is a response to shocks and disruption, like an infection, financial crisis or climate change that spurs creative practice and encourages renewal. Resilience is a means of taking action and creating sustainable ways to co-exist within our biosphere.  

 You can see some of the live-tracings

Table Lamp


For my table, I made a lamp.

erraticsIn March, an insurgent research group I am part of visited Genva to meet with artists, academics and activists at CCC, part of HEAD (Haute école d'art et de design). We were introduced to, and inspired by their nascent work on the Anthropocene Atlas of Geneva (TAAG). Sensing large scale climatic changes and understanding how human activities are influencing these changes, is complex and challenging.  As a result, the reserachers in Geneva are working on micro-investigations in the city, developing local indicators, indicators we learnt to call erratics, of long term climatic change while identifying institutions and communities experimenting with resilience to the changes to come. You can read about our walks, meetings and presentations.

We borrowed some of their methods, and one of our London group, Karel Doing curated the first in our Anthropocene Walk(s), London. I took some tracings of the day and wrote into them later...

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.


XL-1 Kit ChairPre-dawn AngelHelgeEsprit du CheminCat on a hot plastic roof#TransActing stress testing