The Arnolfini will be fifty years old in 2011, and I've been commissioned by curator Nav Haq to work on project during the year. I'm collaborating with the archivist Julian Warren. We are working on producing something like a self-portrait of the Arnolfini, enabling the institution to represent itself through its records, and dream its futures.
While mining the archive we are experimenting with a series of huge data portraits that we imagine will fill the social spaces of the Arnolfini, especially the atrium.
The project will be lanched in February 2011, and develop and mutate during the year.
16 Narrow Quay
On Friday I'll contribute as part of Critical Practice to an informal discussion on the relations between Money/Space/Art as part of This Is Not A Gateway 2010.
"There is conflict blossoming at the heart of culture, a conflict convened around the property rights that subsist in materials stored in public archives"
I participated in The Future of Art, Archives and Special Collections a collaborative event organised by Tate's Library & Archive and Chelsea College of Art & Design.
In the archive, and surrounded by relevant materials we had a really vibrant discussion around future access to art and art archives, futures embedded in the past, and more general issues of access and redistribution of knowledge. My contribution was informed by working with Intermediae on the Procesos de Archivo project, in making Museum Futures and Screen Tests.
In addition, the vocalist Ellen Southern created a new copyleft remix score, which was also performed live.
The Open Music Archive is a collaborative project to source, digitise, and redistribute out of copyright music. For The Brilliant and the Dark Ben and Eileen remixed the music and lyrics of the original composition, colaborated with musiicians and performers and produced a new music video. Filmed on location in The Women's Library the video re-animates the original 1969 performance of the cantata at the Royal Albert Hall.
All creative work is born into copyright; every image, text or sound is automatically designated as the property of its apparent author. Copyright is founded on the right of exclusion, and even material deposited in Public Archives is considered a property, access to which is subject to the generosity of archivists and keepers. Effectively copyright restricts the creative re-use of public resources. Ben and Eillen's projects explore theses tensions.
Through negotiation, reinterpretation and the restaging of the first performance, including some of the 1960's costumes - documented by photographs held in the Library’s archive - Ben and Eileen have created anew The Brilliant and the Dark.
I went to London zoo to participate in an extension of an exhibition and conference. The exhibition at Gasworks was Hydrarchy: Power and Resistance at Sea, which explores contemporary conceptions of the sea as a contested cultural, political, legal and socio-economic territory.
The artists in Hydrarchy: Power and Resistance at Sea explore themes of colonialism and the slave trade, commerce, tourism and offshore finance, as well as maritime folk history, piracy and the tyrannical figure of the captain.
Saturday 18th September 2010
Unfortunately I missed the conference, although clearly it was exploring some of the theoretical terrain suggested by the exhibition. The sea has functioned as a historic space for the exercise of violent, tyrannical and world-transforming power; like capitalism, empire, slavery, etc. On the other hand the sea offers a possibility of resistance, where alternative, sometimes revolutionary social orders can be imagined and practiced; pirates, mutinies, offshore finance, etc.....