Showing posts with label Public Art. Show all posts
Showing posts with label Public Art. Show all posts

3.2.14

Artist Walk with Cooltan and Artangel

Developing a new project commissioned by Artangel and in conjunction with Cooltan.

Artangel projects are given shape by a particular place and time. They can involve journeys to unfamiliar locations, from underground hangars to abandoned libraries. Or sometimes they can offer unfamiliar experiences in more familiar environments – a terraced house, a department store or daytime television.

CoolTan Arts believes mental well-being is enhanced by the power of creativity. It’s a charity run by and for adults with mental distress. Cooltan aim to promote positive mental health/well being, bringing about a change in how participants perceive themselves, enabling people to gain greater focus and to re-establish their relationship with society. Cooltan aim to offer life long learning and enable people to achieve qualification and accreditation status in the coming year. They achieve this through quality arts education with professional outcomes such as public exhibitions, and social enterprise principles.

The project in made in collaboration with the commission of Saskia Olde Wolbers yet to be announced so will not expand on that yet.

But for my project I share this description:

This project will be a narrated walk that uses as a source of inspiration the Victorian row house situated at 87 Hackford Road where Vincent Van Gogh resided in 1873 whilst in London. It will explore letters written by Van Gogh about his experience here in London and also consider what it would have been like to see this city through his eyes, allegedly suffering from epilepsy, bi-polar disorder and delusions.

The project will explore walking around the area, passing Van Gogh’s former residence and invite people on to a new journey of discovery. This will be a one-to-one performance, in which one audience members walks on a narrated journey, which they can hear over headphones.

Guided by the product of the Cooltan workshops, the audience is encouraged to delve into an alternate reality of the city, and follow a course through our own chosen route where they will encounter the peoples, stories, rumours, and whispers that inhabit the architecture that surrounds us.

I will work together with participants on the narrative through interactive workshops that explore our own stories in connection to Van Gogh’s. As we learn about him we can learn about ourselves and share this in a special public walk.

The participant on this narrated walking tour examines their surroundings by creating interior visualisations based on their movement through the space. The world they create is influenced by the sounds and smells that come from the environment as well as introduced by what we develop.


Is they city what it seems? What happens when we stop taking it for granted and put ourselves in the vulnerable position of using our imagination publicly…











7.6.11

Budget Cuts Mural @ Bucks New University

Somehow the University gave me free access to create a mural about the budget cuts just in time for the visit of University Minister David Willetts. I'm told her was steered clear from ever viewing it on the day he came to campus. Nevertheless a great endeavour and mention in this article of Times Higher Education.

Click for Link to Article


Created with Admarket's flickrSLiDR.

19.10.10

Susan Philipsz: SURROUND ME

Cycled around the desolate centre of the financial district in London searching for Philipsz sound installations. It was beautiful to wander around trying to find this secluded location and hearing the song from a main road which would lead us into a secluded area. The work itself made all sounds in the city heightened and navigated us to new locations which would have alternately been undiscovered or easily looked over....

Susan Philipsz: SURROUND ME

A Song Cycle for the City of London
Saturdays & Sundays only, 10am - 5pm
9 October 2010 - 2 January 2011


At the weekends an eerie quiet descends on the City of London, in offices, squares, churchyards and streets, broken by the occasional sound of traffic and church bells. The silence of the city has inspired artist Susan Philipsz’s first commission in the capital. Her unaccompanied voice resonates through empty streets around the Bank of England, across postwar walkways and medieval alleyways and along the banks of the River Thames.

SURROUND ME: A Song Cycle for the City of London takes inspiration from the heightened presence of the human voice in Elizabethan London.













15.9.10

Crude 2010 - Liberate Tate





Oil Painting Protest over BP sponsorship in Tate Modern Turbine Hall
Liberate Tate calls for footprint of art museum to be free from Big Oil

Tuesday (14 September) art activists from Liberate Tate staged a guerrilla art intervention in Tate Modern, covering the floor of the iconic Turbine Hall with dozens of litres of oil paint in protest at the museum taking sponsorship from BP.

The flash mob-style event was staged a day before a Tate Board of Trustees meeting. Liberate Tate are part of a growing public movement calling on Tate’s governing body to end its sponsorship agreement with the oil company. Tate’s Board of Trustees has decided to review the BP corporate sponsorship.

At 5pm, around 50 figures dressed in black entered the gallery each carrying a BP-branded oil paint tube. In a circle they placed the paint tubes on the floor and each stamped on one, spraying out dozens of litres of paint in a huge burst across the floor. The installation art work, ‘Crude’, was then signed ‘Liberate Tate’ and offered to Tate for its collection.
Continue Reading

26.8.10

Art in Odd Places

Bokyung Jun
















A festival exploring the odd, ordinary and ingenious in the spectacle of daily life.

Art in Odd Places aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. AiOP reminds us that public spaces function as the epicenter for diverse social interactions and the unfettered exchange of ideas.


7.6.10

I'm With You - Performance Series


















Saturday 12th June, 2010 from 3pm to 8pm.

‘I’m with you’ is a series of performance events, mostly taking place in houses and gardens but sometimes other types of places. The third installment of "I'm with you" on will open 3 gardens in and around Lower Clapton.

219 Glyn Road • 74 Mayola Road • 72 Powerscroft Road

Arrive at 219 Glyn Road for a map and schedule of events (free entry to entire event).
Durational performance, short acts, and installations.

WITH:
Ania Bas
David Cranmer
Alun Davies
Anastasia Dumarey (VA London)
Sharon Husbands w/Oriana Fox
Oliver Hymans
Vasileios- Pavlos Kountouriotis
Barbara Lambert
Johanna Linsley
Arkem Mark
Jan Mertens
Owen Parry
Herbert De Colle & Hannes Ribarits
Alexa Reid
Olivier Ruellet
Roberto Sánchez-Camus (with Yasmin Ghrawi)
Helena Walsh

The event will end with a group interactive performance at 72 Powerscroft Road at 19:00
- come and join in the act!

Check out the event on facebook: http://bit.ly/dAvTGq

Print Event Map: http://bit.ly/9pBvMA

You are invited to attend some or all and join in celebration after at the local

www.imwithyouclapton.wordpress.com

2.5.10

Youth Visions Documentary Screening in Ghana, West Africa












Screened the documentary of the project Youth Visions we created two years ago, a collaboration between myself and Sebastian Fuller who was working with Youth Development Alliance in the Northeastern region of Ghana. We merged my arts practice with his public health work to create a new model of disseminating the HIV/AIDS prevention material. We worked with two different schools, one in a village and one in a city to create a mural and a performance. Participants also went on a radio programme hosted by DJ Kimo of URA Radio Bolgatanga, Part of the project was documenting the process with the students who helped film their work. It was delayed two years but finally thanks to the work of filmmaker Malina de Carlo the footage was edited and a story created from the piles of footage.

Returning to show the film was intense. A 10-day tour that included screenings in three different locations, including an outdoor projection on the side of the school in the village of Kongo, where dry thunder came overhead whilst the movie played to a host of villagers who arrived to see the event... (pic above)

Most of our students were in their last year of school when we ran the project so after two years many had moved to other cities, gone to university, gotten married and had kids and so forth.. But we did have a couple attend, one student Lucy bused into Accra for four hours to attend a screening. She wore the Youth Visions t-shirt we gave them on the last day, it was stark white and new, she had saved it for the two years awaiting our return as we had promised we would. This really filled me with happiness to be able to return and deliver an impressive film marking a great project. Our facilitators flew in from California and China to be there for this as well! Was intense all around...

Read more about the project here: link

See photos here: link

Movie will be screened at the Brunel University School of Arts Postgraduate Researching the Arts Conference on Wednesday May 19, 2010 throughout the day. link

18.2.10

National Identity Renunciation Bureau

http://www.identityrenunciation.org/

We are born and socialized into our national identities. We learn to belong to a community defined by claims to a common culture, language, ethnicity, history, place, and religion.

This sense of identity is not ethically neutral. If we take pride in our nation and its members, we must also bear responsibility for their moral failures.

The National Identity Renunciation Bureau certifies indi-viduals who wish to renounce their national identity and free themselves from that responsibility. The Renunciation Bureau issues identity cards to such individuals after they undergo a rigorous application process.

This renunciation does not address the renunciant’s legal relationship to their nation or state. However, it has seri-ous consequences. The renunciant must forgo all special concern for their nation's past, present and future, and all feelings of national pride, attachment and belonging.

Only those who understand the gravity of this symbolic act are encouraged to apply.

Revolutions in Public Practice

This is an interesting article By Clare Bishop in Artforum regarding Creative Time's summit at the New York Public Library late last year. She problematises the format of presenting socially-engaged work in this way, as well as the kinds of work produced. But most interesting is the Talkback section (link at the bottom of the article) where people can respond to her review. One specific comment to read is Harrell Fletcher's response to her criticism of selling an expensive carpet made in India as art, to then donate the proceeds to the worker/workers who made the carpet. I'll reserve judgement on that, to just say that the exchange itself is worth reading...

Artforum Article

Talkback comments

11.10.09

One & Other: Walking the Plinth


I have been really interested in Antony Gormley's piece happening at Trafalgar Square because it encompassed all the good things and bad things about working within a community context. For starters there's the shared authorship that creates a product that is difficult to critique from a historical perspective on aesthetics. From a material perspective this work seems like a departure for Gormley. I have read about how the work is boring, highlights mundanity, is patronising and so on... In many ways I don't totally disagree, but I was still drawn to the work as its a huge public art project about participation, and luckily I was able to stand in for someone who missed their flight from Belfast.
As I'm working on the Everyman concept for the next year, I thought this would be an interesting place to doing a small intervention, and what a venue. What I found ultimately remarkable was the spontaneous community that was developed in the street. I went on at 2am on a Thursday thus faced a large amount of drunken loitering and heckling which was great. I felt both empowered and vulnerable and thought this is exactly the risk Gormley has taken. It reminded me of working in the community garden in NYC and having all sorts of obscene interventions that added to the work. It's a healthy dose of reality that I would recommend to any skeptic of the work.
One interesting character in the real stage, the pavements below, was Captain John (you can see him at about 36:36 in the video link below). He was a plinther and had since returned daily becoming part of the routine there. One of the main questions people asked when I was up there was 'what does it mean?', and it was the first question posed to me when I got down... But I wonder, does it need to mean something?
Jenna went up as well at 1pm on Saturday to much more docile crowd of tourists and locals. Many people had no idea what the plinth project was at all, and it was great to overhear all the possible assumptions. I realise that the real work of One & Other was this spontaneous dialogue amongst strangers in the street. If you're just looking up at the plinth you're missing the real artwork....

Everyman Walks the Plinth Video

Images

One & Other is a live artwork by sculptor Antony Gormley.
2,400 participants representing every region of the UK each spend an hour alone on the empty plinth in Trafalgar Square for 100 days and nights.