Archive for category Visual Art
Reblogged from Occursus – Amanda Crawley Jackson’s account of the Furnace Park project.
Originally posted on occursus:
In summer 2012, occursus – a loose collective of artists, writers, researchers and students that coalesced around a weekly reading group I had set up with Laurence Piercy from the School of English at the University of Sheffield – organised a series of Sunday-morning walks along unplanned routes in Shalesmoor, Kelham Island and Neepsend. As we looped through the chaotic mix of derelict Victorian works, flat-pack-quick-build apartment blocks, converted factories and student residences, sharing stories and sometimes, quite simply, wondering what on earth we were doing there, without umbrellas, in the rain, we came across the acre and a half of brownfield scrubland we’ve named Furnace Park. In collaboration with Matt Cheeseman (from the University of Sheffield’s School of English), Nathan Adams (a research scientist working in the Hunter Laboratory at the University of Sheffield), Ivan Rabodzeenko and Katja Porohina (founders of SKINN – the Shalesmoor, Kelham Island and Neepsend Network), we’ve been working for over a year now to obtain planning permissions, finalise the lease, clear the site, fundraise and establish a network of partners who have brought their own vital expertise to this experiment in place-making.
So what is Furnace Park? Maybe it’s best to start with what it isn’t. It’s not a children’s playground; it’s not a carefully planted urban oasis and nor is it a readymade space for leisure and the consumption of culture. Furnace Park is a process, rather than a product. A site of collective agency, it brings together groups and individuals who are interested in exploring what can be done with a brownfield site. It’s a project founded on the premise that place-making involves a multiplicity of voices and a sneaking suspicion that right here, right now, the most ‘salutary changes in our world [might] come from a creative social body rather than from the political sphere’ (Andermatt Conley 2012: 109). We’d like to think that Furnace Park is a community-enabling place, although this community is no doubt a temporary and heterogeneous one, grounded in a commitment to shared work rather than a shared identity; to difficult and provocative conversations rather than consultation and consensus. It’s an arts-led space, in the sense that we have adopted and embraced the methodologies of art as a critical and engaged practice that enables alternative perceptions and understandings of the real (Locas 2010). Art as process, then, rather than art as object. A disruptive laboratory, the space seeks to curate and host strange encounters between researchers and creative practitioners, fostering indiscipline rather than interdisciplinarity through the practice of conceptual unhoming. Furnace Park is about the urban as oeuvre – a collectively produced and ongoing, open (art) work. It’s about thinking through how the arts can be involved structurally and methodologically in the production of the urban, rather than at the level of marketing, consumption and decoration. It’s about encouraging, through arts-led practice, ‘the emergence of [a] critical relation to the normal and habitual’. A commitment, then, to ‘moving between multiple ways of seeing the world’ (Locas 2010: 18); to growing – through the chance afforded by localisation, simultaneity and encounter – a radical imaginary that might construe and produce the urban (even if always provisionally) beyond the hegemonic agendas of regeneration, tourism and economic leverage. An imaginary that might take up the call to disrupt the logic of capitalist realism (Fisher 2009) and disclose other possibilities, other perceptions of the urban real, thereby mobilising a counterpoint to the pervasive and influential mantra: there is no other way.
So the intention, at least, of Furnace Park isn’t to contribute to the regeneration of Shalesmoor, although we are working with a site that many people locally have described as ‘an eyesore’, an abandoned and neglected space that encourages anti-social behaviour. (It’s interesting, actually, that the crime figures for this area are very low – another example of how hegemonic, learned perceptions construct and shape our encounter with the real.) We haven’t arrived with the intention of doing good, or of enabling economic growth, attracting business to the area or bodies into beds, or even making an aestheticizing intervention in the area. It’s true, however, that we are part of an already ongoing and dynamic process. There’s a thriving vintage emporium, critically acclaimed real ale pubs, a chic restaurant, some vibrant cafés, recording studios, artist studios, media labs and a handful of exhibition spaces and clubs that attract substantial audiences from across the city. The public transport links are good, it’s within walking distance of the city centre and there’s plenty of rented accommodation already attracting students and young professionals. It remains to be seen what effect these classic ingredients of gentrification will have on the area in the future. What will happen to the social housing and small manufacturing companies? What effect will projects such as our own have on the sex workers and drug users who inhabit the streets and peripheries of local spaces such as the Furnace Park site? What does it mean for us to deem this space a wasteland? What is the power of taxonomy and to whom is it granted? Who and what will be displaced by our re-appropriation? What are – and what will be – the politics of this place?
Originally posted on LES LIGNES DU MONDE:
Comme je me renseigne sur Alechinsky, sa vie son œuvre, je finis par trouver des dessins sur plans – de Paris (ça me revient : “tu sais Alechinsky, il a utilisé des cartes comme support, ça devrait t’intéresser”). Je sélectionne ici les arrondissements que je connais mieux.
L’arrondissement de ma naissance.
2012, for me, has been the year of the blog. The year that through this medium I found a creative outlet, met some fascinating people and discovered some wonderful writers, engaged in some stimulating and unexpected discussions, and generally had my optimism about the internet reinforced. I’ve been uplifted, fascinated and inspired on a regular basis by bloggers such as Diana J Hale, Vertigo, The Fife Psychogeographic Collective, That’s how the light gets in, Weaver’s Journal, Steve Sarson and Decayetude. And my blog on the US election led to a mutually respectful encounter with Rick from Billerica, with whom I would disagree about pretty much everything, except the principle of mutually respectful encounters with those who hold different views. On the Our Island Stories blog, set up in the aftermath of the Olympics to talk about questions of national identity, we’ve had contributions from some of the above, and also from Kate Elmer, Mike Press, Emily Wilkinson and Diane Magras. To all of those people, and so many others, thanks!
The internet comes in for some harsh criticism – and I read ‘below the line’ often enough to be brought almost to despair at the bigotry, the hatred, the cruelty that’s out there, only needing the anonymity of an internet forum to come spewing out. But my own experience has been entirely positive. Through blogging, through Facebook and Twitter, I’ve made friends, had fascinating conversations, shared enthusiasms, learned stuff. I’ve connected with people I would never have encountered at all otherwise, and connected in unexpected ways with people I already knew. This obviously doesn’t invalidate the experiences of those who’ve been subjected to the viciousness of trolls and the deceit of sock-puppets – but it needs saying, that it can be, and often is, an enormous force for good , and that connections made via the net are not intrinsically less ‘real’, less worthwhile than those made by other means.
So, looking back at 2012, these have been some of the best bits, culturally speaking:
- John Akomfrah‘s extraordinary The Nine Muses
- Watching the ever elusive and enigmatic Last Year at Marienbad twice – to be the subject of a later blog.
- TV : Homeland - plot holes wide enough to swallow up the odd aircraft carrier, but the degree of ambiguity in all of the main characters has been wonderfully sustained, and the denoument was unforeseen. Line of Duty and Good Cop shared the best of those characteristics. Misfits and Being Human somehow survived a brutal cull of main characters to emerge still witty and surprising. The Walking Dead kept us on the edge of our seats, where we must remain until February, and anxiously awaiting news of Daryl’s fate (and the others, obv, but hey, Daryl!). Oh, and Dr Who continued to be marvellous, moving and magical.
- I’ve been reading Proust. A statement which will probably feature in my summaries for 2013, 2014 and possibly beyond. I’ve been fascinated by two particular elements recently – the constant referencing of the Dreyfus Affair, and the theme of sexual ‘inversion’ – and rather less fascinated by some of the aristocratic dinner parties that one has to endure almost in real time, such is the detail with which they are described. There have been moments when I’ve wished Robespierre had been a little more thorough. I’m about at the halfway point in the whole A la Recherche project.
- New great stuff from Stephen King (11.22.63), Hilary Mantel (Bring up the Bodies) and Jon McGregor (Even the Dogs)
- First encounters with writers I should have read before and will read more of – Hans Fallada, Alexander Baron, Haruki Murakami and Wilkie Collins.
- Lynn Shepherd’s Tom-All-Alone’s – I approached with caution knowing that she was riffing on my favourite novel of all time, Bleak House, but I need not have worried. Indeed, I went straight from Tom to her earlier novel (Murder at Mansfield Park), and have her next on pre-order – and she led me to The Woman in White as well.
- Theatre - Geoffrey Streatfeild in both Macbeth at the Crucible and Copenhagen at the Lyceum, Betrayal (lovely John Simm) at the Crucible
- Tramlines festival – Screaming Maldini and Early Cartographers in Weston Park, The Third Half at the City Hall, Soukous Revelation in the Peace Gardens, Jim Ghedi & Neal Hepplestone at the Cathedral, and Frankie & the Heartstrings, Field Music and We are Scientists on Devonshire Green. Three days of music spilling out of every bar and coffee shop, of sunshine and people dancing in the streets – literally – and generally being nice to each other.
- Music in the Round – a fabulous Quartet for the End of Time, an introduction to Louise Farrenc, and the early polyphony of Pérotin and the Notre Dame composers in Sheffield Cathedral.
2012 has been the year that the Hillsborough families were vindicated, utterly and unconditionally. The year that the truth was not so much revealed – it had been in plain view all the time – as spotlit, so that there were no shadows in which the lies could continue to lurk. And that justice seems finally to be within reach now. Massive respect to all of those who fought this battle when it must have seemed hopeless, when everything and everyone seemed to be against them.
And it’s been the year of Inspiration for Life. The year a dear friend and colleague, Tim Richardson, was diagnosed with a terminal cancer, and a whole community came together to support him, and to help him set up a charity to do the things he believes in – supporting living, giving and learning. We’ve been both devastated and uplifted.
So – onward to 2013.
No resolutions as such. But anticipations and aspirations -
- Graduating (again), and planning the next stage of my lifelong learning, and publishing (if I can, in real, proper, academic journals) some of my work on Michel Butor
- Fundraising for Refugee Action – having hung up my trainers, I’m not sure yet how I can best do this, but their work is vitally important and I want to do what I can
- Reading Proust, and lots of other stuff. Lots and lots.
- Enjoying to the full Sheffield’s rich cultural life – theatre, arthouse cinema, Music in the Round, Tramlines, Festival of the Mind, Arts-Science Encounters, Site and S1 and Bloc, and more
- Blogging, about Butor, Sebald, French cinema, refugees, Dr Who, national identity, and whatever else is buzzing around in my mind at any given moment
- Enjoying working with physicists, astronomers and other scientists, and facilitating what they do, through what I do
- Continuing to be an utter geek
- Listening to as much music as possible, with as eclectic a range as possible
- Getting Inspiration for Life going – with the 24-hour Inspire at the end of Feb (24 hours of lectures, activities and entertainments), the publication of Tim’s diary, and the art exhibition in May, funds from which will go to local cancer charities (Weston Park Cancer Hospital Charity, St Luke’s Hospice and Bluebell Wood Children’s Hospice).
- Going on about stuff that matters – refugees, environmental issues, injustice, inequality, that sort of thing. Going on and on.
- Doing all the above whilst being a good-enough parent, partner and friend
Phew! No pressure then.
Thanks to all who’ve enriched my life in 2012, and with whom I’ve shared the best bits. Here’s wishing you all good things in 2013.
Fascinating piece on place and memory from Annie Harrison
Originally posted on cities@manchester:
Guest blog by Annie Harrison.
This article draws on the work Annie is doing for her MA by Research in Art Practice at MIRIAD, Manchester Metropolitan University and an associated artists’ residency at Lime, an arts and health organization. Annie also works as a Project Assistant in the School of Medicine at the University of Manchester.
My art practice is concerned with place and memory. Both contribute to our sense of belonging, which in its turn plays a part in social cohesion. I am particularly interested in how memory is affected by the loss of place, and how the visual arts can aid memory in a rapidly changing urban environment. In my MA, I am researching the site of the recently redeveloped Central Manchester Hospitals and working with hospital staff to recover what the Swiss artist Christian Boltanski calls ‘small memories’, the memories of ordinary people.
I’ve been involved in the visual arts for a long time now. First, through working at the – now largely demolished – Psalter Lane Art College site of Hallam University, and subsequently as a member of the board of trustees for S1 Artspace. I didn’t anticipate that working with physicists and astronomers would give me another, equally rewarding, chance to engage with artists and creativity.
Some years back, a colleague in the department sent an email round, asking if anyone else, like him, was doing creative things in their spare time. The result surprised us all. We’re now in our sixth year of holding an exhibition of work by staff and students – now from across the University – and each year people emerge from the shadows, often apologetically offering their work with disclaimers about being an amateur, a novice, not being sure if it’s good enough to be seen in public, but thrilled by the opportunity to take that chance. It’s an annual celebration of creativity.
It’s caused me to ponder on the gulf that often seems to yawn between the two art worlds that I am involved in. One is rooted in the art colleges’ and fine art departments’ contemporary practice, and ideas about that practice. The other is rooted in the individual discovery of the life enhancing and affirming value of creativity, with or without external validation or theoretical context. There’s no value judgement involved here, for me at any rate. But the two worlds communicate very poorly with one another. The contemporary artists often struggle to value work that has no theoretical context. The ‘amateurs’ struggle to comprehend work that requires that kind of context in order to be appreciated. Both are baffled, both lack the language to mediate their own work to the other.
I love both worlds. I’m fascinated and challenged by many contemporary artists whose work I’ve seen – many here in Sheffield at S1, Bloc or Site (Becky Bowley, James Price, Charlotte Morgan, Haroon Mirza, Richard Bartle, George Henry Longly, Jennifer West, Allie Carr, Nicolas Moulin, amongst many others). And I’m exhilarated and moved by the work that is presented to us each year, to go in display in a physics lab, by professors of physics, sociology or medieval French; researchers in electrical engineering, infection & immunity or cosmology; librarians and technicians, receptionists and administrators.
I’m awed by creativity, because I’m not capable of it myself. I envy those who are. I’ve tried – playing the guitar, writing poetry, sketching – but there’s some essential spark missing. That’s OK, this blog is my creative output now, and in connecting with artists, musicians and writers I can share in the magic. I believe utterly and passionately in the creative enterprise – Michel Butor said that ‘every word written is a victory against death’ and with Butor you know that he means not just words but sounds and images.
So this week we’ll be celebrating lots of victories.
The exhibition is open from Wednesday 16 to Friday 18 May, 10 am to 4 pm, in E32, Hicks Building, University of Sheffield, Hounsfield Road, Sheffield S3 7RH.
Les éditions invenit,
avec L’Odyssée – Médiathèque de Lomme
vous invitent à rencontrer
Michel Butor autour de son livre : “Dirk Bouts, Le Chemin du ciel et La Chute des damnés” dans la collection Ekphrasis
le samedi 19 mai à 16h00
Dans le hall d’entrée de l’Odyssée, jusqu’au 19 mai,
venez découvrir une sélection de livres, d’objets et de photos liés à Michel Butor et son travail, qui montrent le poète dans son cadre quotidien de création entouré d’amis et d’artistes.
Possibilité de s’inscrire à des ateliers d’écriture autour de la peinture, dont le premier se tiendra à 15h00, avant la lecture.
Inscription obligatoire auprès de l’Odyssée, places limitées.
L’Odyssée (Auditorium) 794, avenue de Dunkerque, Lomme
03 20 17 27 40
Fascinating – another encounter between Paris and the British industrial northern city. Thanks to Gerry for posting this.
Originally posted on That's How The Light Gets In:
Passing through one of the rooms of the Walker Art Gallery recently I happened to notice, in the corner, a small display of photographs – some by Henri Cartier-Bresson alongside others by local photographer Edward Chambre Hardman. I was surprised to discover that not only had the great French photographer visited Liverpool in the sixties to make a TV documentary about the north, but that he had taken photographs less than half a mile from where I now live. It seems a little fantastical, the idea that the master of the ‘decisive moment’ wandered along Lodge Lane with his Leica.
But it’s true, as one of the photos on display at the Walker confirms. It’s a picture taken outside Lodge Lane wash-house in 1962. In those days there were still several public wash-houses in Liverpool, where women from the local streets who didn’t possess a washing machine would take their laundry. Most families had an old pram to transport cloths to the wash-house, and in the photo Cartier-Bresson shows the prams parked down the side entrance in Grierson Street. Kids would be ordered by their mums to mind the pram by standing outside for hours.
See below for details of a new Butor exhibition/event at MUAC, Mexico City:
The MUAC, through the Arkheia Documentation Center will present an exhibition on the french writer Michel Butor’s (France, 1926) file, including some of his works and books about artists and contemporary art.
Michel Butor has over 1500 publications covering various fields such as music, science, philosophy, literature and the arts. He is known in the field of French literature, mainly due to his most famous novel The Amendment, considered one of the pillars of what is known as the new novel (Nouveau Roman) written from start to finish in second person singular, the spanish equivalent to “thou”.
This novel was adapted by Michel Worms into a film in 1970 with the same title. After posting grades in 1960, Michel Butor stopped writing novels and by 1991 he abandoned teaching and retired to a village in the Haute Savoie. Since 1986 he has worked with over two hundred painters, sculptors, printmakers and photographers from different nationalities and published with them essays and books.
As part of this exhibition, a group of Mexican intellectuals close to Butor, undertake a series of conversations to be held in the auditorium of the MUAC.
The Lyon Printing Museum and the Fondation Marc Jurt pay tribute to the great draftsman, printmaker and Swiss painter, who died in 2006. Professor at the College de Saussure and an avid traveller, Marc Jurt met Michel Butor, a writer he admired, and began a collaborative work. The museum presents some fifty paintings, regarded as the highlights of his production produced between 1994 and 1995.
Collaboration is a vital aspect of Butor’s oeuvre, and his work with visual artists, which in a way began with a very early (1945) piece on Max Ernst, continued and grew, encompassing words about, words to go alongside, and ultimately words within the visual works. The list of artists with whom he collaborated in this way is lengthy – there are around 200 – and includes Alechinsky, Starisky, Kolar, Maccheroni, Monory (see Elinor Miller’s book Prisms & Rainbows for more about three of these). Butor chooses to make his home close to a border (between France and Switzerland) and the idea of crossing or blurring frontiers is key to his ‘oeuvres croisées’.