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Introduction to Art Writing Workshop at Nottingham Contemporary (April 26, 2018)

7 May

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For the third meeting of our Introduction to Art Writing group, a series of four exploratory workshops jointly organised by Backlit Gallery and Nottingham Writers’ Studio, we were delighted to have Sam Thorne, Nottingham Contemporary‘s director, lead us in a ‘mobile discussion’ of the role played by writing in the making of the gallery’s current exhibition, Linder’s The House of Fame. With a group of around 25 participants gathered at the Nottingham Contemporary reception, a mix of both regulars and first-time attendees, we set off into the galleries to explore the exhibits and hear from Thorne about the role played by written correspondence in the process of curating the show and the many literary influences and connections on view in the works themselves.

We began in 1981, the date (then 25 years into the future) represented by Alison and Peter Smithson’s House of the Future, a theoretical design made for the Ideal Home Exhibition in March 1956 and installed at the Olympia Exhibition Centre for the duration of the show that month. Thorne noted that the Smithsons’ proposal had interested Linder for many reasons, not least the coincidence of its theoretical future with the importance of 1981 as a date in her own life and career, this being the time when her collage and performance works – ranging from record sleeve designs, photographs and the wearing of a meat dress while performing with her own post-punk band Ludus – were all laying the foundations of her subsequent career. That the Smithsons’ speculative future and Linder’s actual past converged on the same date had given the exhibition a suitably layered starting point for its overview of Linder’s work and influences.

smithson

Thorne also noted that the connections between the art-works that interested Linder, which she wanted to include alongside examples drawn from her own extensive 40-year body of material, and the evolution of her own works since the 1970s, were explored in a very extensive, wide-ranging and ‘in-depth’ email correspondence, a few excerpts from which featured in the exhibition’s broadsheet newspaper format publication. Even before their first formal meeting in 2017, he and Linder had, he explained, exchanged a large number of emails – so many, in fact, that there were around a hundred pages of them already printed out by the time their first face-to-face meeting to discuss the potential exhibition and residency at Chatsworth House came about.

The stage set feel of the Smithsons’ House of the Future display was echoed by other representations of Linder’s interest in performance and shifting identity, from Linder’s own 1970s photographs of men presenting as women in Manchester nightclubs to Madame Yevonde‘s 1930s images of aristocrats and debutantes posing as mythical Goddesses. The presence of Inigo Jones set and costume designs for Ben Jonson’s Jacobean masque The House of Fame had given the exhibition its title, grounding Linder’s own activity in a long tradition of work in which visuals, costumes, music and text were combined. As Thorne pointed out, one of the touchstone phrases that arose in the correspondence was Moki Cherry‘s comment, “The stage as a home and the home as a stage”, hinting at the intentional transformation of everyday living into art.

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In other galleries, this was refracted through Linder’s interest in spiritualist photography, seances and other occult and memorial practices, ranging from mid-twentieth century archival photographs of mediums generating ectoplasm (often using lace, collaged faces and double exposures to achieve their effects) to Mike Kelley’s tongue-in-cheek re-enactments of these same images in his Ectoplasm series made around 1977/8. Thorne noted that lace-making had been another ‘thread’ in the correspondence, with the structure of the exhibition devised around an idea of ‘weaving together’ many elements to create a whole pattern. This had, in its turn, brought in many images and objects that touched on these ideas, such as the pioneering museum photography of Isabel A Cowper at the V&A in the mid nineteenth century, an example of which featured here – naturally presenting a specimen of lace.

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We also touched on the ways that text shadowed much of the other work on display, from Aubrey Beardsley’s illustration for Lucian’s second century satire on outlandish travellers’ tales The True History and Max Ernst’s ‘collage novel’ Une semaine de bonté, to such substantial presences as Ithell Colquhoun, an English writer, artist and occultist responsible for such literary works as The Goose of Hermogenes and The Living Stones, and Penny Slinger, whose own ‘psychosexual feminist autobiography’ An Exorcism appeared in 1978. These were all obliquely represented in the various rooms of Linder’s exhibition with small gatherings of paintings, prints and collages by the artists.

The intimate connections between the visual and literary aspects of the exhibition were clear enough, though Thorne revealed that one omission had been a reconstructed model of Charles Babbage’s Difference Engine, partly conceived and designed by Lord Byron’s daughter Ada Lovelace. This was a machine that could have made a direct connection between the card-programmed machinery of 19th century lace-making and the punch-card systems of 1950s corporate and scientific computers. Its absence hinted at the complexities behind putting together exhibitions, where curators and artists are not always able to get everything they wish to show. The process, as Thorne noted of Linder’s approach to the curatorial task as an extension of her collage work, could often be as intuitive, surprising and rewarding as the making of artworks themselves.

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Following this tour of the galleries, we moved on to one of Nottingham Contemporary’s meeting rooms, where Thorne had agreed to answer some questions about his own route from studying English Literature at university, to writing for magazines about art and music, and eventually taking up an associate editorship at Frieze and beginning his curatorial career. Subjects ranging from the commissioning process to editors’ interest in writing from regions outside the main (London, New York, Berlin) centres of the art world were discussed, and members of the group spoke briefly about their own interests, confidence levels in terms of writing, and current activities.

Once again, these covered a broad range, from specialisms in fashion and social practice to current activity runnning small scale curatorial and exhibition projects in the city. Several participants spoke about the difficulty of moving away from academic styles and approaches in their more personal writing, and others wondered whether their particular specialist interests should or shouldn’t be made clear in the context of a review. The general feeling was that such specialisation can be a limitation, ensuring writers might be sought only to cover the niches their particular interests suited, but where relevant and appropriate this could also generate its own opportunities. Thorne mentioned that one of his own specialisms at Frieze had been the developing art scenes of the Middle East, so being identified with a specialism was not in itself a bad thing.

Other questions followed, such as a discussion of markets for art writing and reviews outside the core art magazine markets; the changes in publishing’s economics that meant there were more high quality publications but these were generally more narrowly distrubuted than in the past; the influence of fashion cycles on the reputations of particular artists and the coverage given to them by editors; and the desirability, or otherwise, of writers’ opinions being potentially swayed by meetings with artists at openings and events. Was this something to embrace or avoid? This latter point was considered something of an inevitable problem in a relatively small social world like the art scene, where the paths of writers and artists are always likely to cross at some point.

Thorne mentioned press reviewers visiting previews of Linder’s show at Nottingham Contemporary who, during its opening weekend, had sometimes avoided Linder herself as they navigated the galleries, sometimes sought her out. It was probably inevitable that attaching an actual human being’s presence and feelings to the work might influence a writer’s opinion, but this was never going to be easy to escape. And the flipside of this, that a chat with the artist might open up fresh perspectives and deepen or complicate a writer’s viewpoint on the work, was also worth bearing in mind. In the end, though, Thorne noted that he wrote much less since embarking on his current job at Nottingham Contemporary, partly due to time constraints, but perhaps also because his dual roles, as independent writer and director of a public organisation committed to supporting artists, might be seen to clash even where they didn’t.

Next Introduction to Art Writing session takes place on May 17 from 6.30 – 9pm at New Art Exchange (39-41 Gregory Boulevard, NG7 6BE). We will convene for curator Renee Mussai’s talk and walk through of Zanele Muhole’s exhibition Somnyama Ngonyama, Hail the Dark Lioness from 6.30pm, then at 7.30pm will be joined by NAE’s Programme Director Melanie Kidd for a discussion. Booking is free and all are welcome.

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Love Witch Cinematic Happening (Nottingham Contemporary Playlist, 27 Oct 2017)

29 Oct

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On Friday I put together a loop of cut-up visual footage and played records for the Nottingham Contemporary Halloween party, this year built around a screening of Anna Biller’s The Love Witch and live music performances by Cacator & The Sirens (a first outing for the all-new, and excellent, ‘haunted radiophonic girl group’ project of Louise O’Connor, Aimee Neat & Rosanna Gould) and Toy. Decor was by Kashif Nadim Chaudry. The track-list that follows is as complete as I can remember. The only record that wasn’t actually played (but is included here anyway) is the final one: it was all cued up to be the night’s final flourish but the closing time overtook it. A few songs can be heard, accompanied by some of the visuals used on the night, in the playlist here.

Nina Simone: I Put A Spell On You
Rosemary Nichols: Once Upon A Time
Dick Hyman & Mary Mayo: Moon Gas
Frog: Witch Hunt
Don Ralke: Black Panther
Nina & Frederik: Elizabeth I & II
Lake Ruth: The Inconsolable Jean-Claude
Dana Gillespie: Foolish Seasons
Margo Guryan: Love
United States of America: Coming Down
Bob Stone: Hang Cool Teddybear
Vampire’s Sound Incorporation: The Lions & The Cucumber
Brigitte Bardot: Saint Tropez
Birds’n’Brass: Fritzy Baby
Tina Harvey: Nowhere To Run
Crystal Fountain (Wendy & Bonnie): The Night Behind Us
The Lollipop Shoppe: You Must Be A Witch
Fuzz Against Junk: Ballad of the Hip Death Goddess
Proud Mary: Follow Me
Eclection: Violet Dew
Chiyo Okumura: Love Thief
Happy Day Choir: California Dreaming
Margo: The Spark That Lights The Flame
Leslie-Ann Beldamme: The One I Love
Francoise Hardy: Le Temps Des Souvenirs
Joan Baez: The Magic Wood
Sounds Inc: Taboo
John Barry: Vendetta
Dick Hyman & Mary Mayo: Space Reflex
Poppy Family: No Blood In Bone
Buffy Sainte-Marie: He’s A Keeper Of The Fire
Francoise Legrand: Attends Moi
Susan Aviles: Eine Schone Welt
Carolyn Hester Coalition: The Journey
Julie Felix: Snakeskin
Sarofeen & Smoke: Witch
Melanie: People In The Front Row
Jun Mayuzumi: You And The Sun
Graham Bond: The Magician
The Felines: The Sneak
Pandoras: Haunted Beach Party
April March: Sugar
Poppy Family: Free From The City
Alan Tew Orchestra: Light Flight
Baker Street Philharmonic: Daydream
Shocking Blue: Love Buzz
Pete Moore Orchestra: Catwalk
Martin Denny: Incense & Peppermints
Ennio Morricone: Svolta Definitiva
Mandingo: Black Rite
Rafaella Carra: Rumore
Demis Roussos: Let It Happen
Donna Summer: I Feel Love
Jane Weaver: I Need A Connection
Belbury Poly: Scarlet Ceremony
The Soundcarriers: This Is Normal
Lal & Mike Waterson: Bright Phoebus

Telekinesis: Ghost Pornography & Fabricated Phenomena (Watch-It Gallery, May 13 – 28)

4 May

Telekinesis Flyer [Ghost Pornography (Silver), 1980]

Robert Holcombe: Telekinesis: Ghost Pornography & Fabricated Phenomena (1953 – 1980)

Private View: Saturday 13th May 2017

6-10pm

Open by appointment until 28/5/17

Watch it Gallery
18 Granville Road
South Woodford
London, E18 1LD

Tube: South Woodford, Central Line

E: watch-it@outlook.com

Web: http://watch-it-gallery.blogspot.co.uk/

Robert Holcombe is an entirely fictional British artist (b. Leeds 1923 – d. Exeter 2003) whose fascination with collage was first discovered when he began cutting up magazines and rearranging the parts whilst convalescing from injuries sustained in 1944, during active service in Malaya. He was a radio engineer, a contemporary of Richard Hamilton and Eduardo Paolozzi at the Slade School of Art and, from 1955 until 1988, a planning officer in Leeds. Although Holcombe did not exhibit publicly during his lifetime, he made most of his work under two pseudonyms – Gene and Michael Harrison. His works are generally marked by a fascination with consumerist excess, inscrutable apparitions of surgical, sexual, supernatural and folkloric symbols inside modernist interiors, or unsettling disturbances of ordinary space.

Telekinesis Series (1953 – 1969)

Most of the modified magazine photographs and private snapshots making up Robert Holcombe’s Telekinesis Series were created in the mid 1950s, though examples exist from as late as 1969, and other works in the series are fabricated to resemble photographs of an 1880s or 1920s vintage. The motivation behind the whole body of work seems to have been both an interest in the unreliability of photographic evidence and a basic fascination with the telekinetic and other supernatural phenomena the images themselves blatantly fabricate evidence for. Holcombe explicitly cites the notorious Cottingley Fairy photographs, taken by ten year-old Frances Griffiths and sixteen year-old Elsie Wright around 1917, as a key influence on his visual approach to making these works.

Ghost Pornography I – IX (1980)

“I suspect Ghost Pornography began from an observation that the way fabrics were represented shifted noticeably in fashion photographs and advertising at some point during the early 1970s, when rather distinctive kinds of suggestion began to appear in the folds and rumples of clothes and bed-sheets in the pages of magazines. Before this, sex is attached to products in relatively transparent ways but, after 1970, a shift occurs, with sexual cues coded into the products themselves. Was I seeing things, or was this a marketing progression, from the selling of products as mechanisms linked to the achievement of sexual fulfilment in the world, to selling them as things invested with sexual desirability in their own right? From the perspective of today, when the game has moved to another level entirely, these subliminally labial folds and phallic bulges in clothes and beds seem almost innocent: the ghosts of sexual desire coded into the fabrics so often used to make the likenesses of ghosts. Hence, the notion of the ghost in these images as a purposefully animated bed-sheet, as much a matter of Scooby Doo cartoons as the uncanny qualities generated by actual hauntings. These nine Ghost Pornography images, formalised on a grid of chromatic variations, cut several ways. They are simultaneously, I hope, a slightly unsettling joke; uncanny; perhaps even genuinely (if marginally and a bit perversely) pornographic though any true suggestiveness is only ever really imagined by the viewer in response to the title…”

[Robert Holcombe: Letter to Cy Albertine, November 1998]

“An Allegory of the City of Nottingham after Robert Holcombe” (Leftlion #87, March 2017)

28 Feb

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The latest issue of Leftlion magazine, officially published on March 1st but already out and about in all the usual pubs, venues and locations around the city, features cover art in the style of Robert Holcombe, but with an end result that is not actually part of his official body of work for a wide variety of reasons. As an explanatory note inside the issue points out about the artwork and its authorship:

“Explaining the authorship of this month’s cover might take a while. It’s an allegory of the city of Nottingham made by Wayne Burrows in the style of the entirely fictional British artist Robert Holcombe (1923 – 2003), borrowing elements from Holcombe’s Folklore Series work The Innocents III (1974). Making the cover image became a game of ‘how many blatant Nottingham references can I squeeze in without including a single actual thing from Nottingham?’. Ranging from the obvious (Errol Flynn as Robin Hood, Arthur Seaton minding Owl Man‘s owl) to the slightly less obvious (a Bramley apple, DH Lawrence’s The Rainbow, the xylophone of Xylophone Man) and ending up with the occasionally random (a mongoose, a fish-man coelacanth), we hope you’ll have fun trying to spot them all.”

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Holcombe’s Folklore Series work, The Innocents III (1974), was actually one of the first collages made in the fictional body of work that has, since around 2010, continued to grow and be refined, extending both backward and forward in time from that early focus on the work that Holcombe was making in the later 1960s and early 1970s. The collage featured in an exhibition titled Wunderkammer curated by Jennie Syson during the British Art Show fringe festival Sideshow in 2010, and in a few other places between 2010 and 2012, and while the collage itself either no longer exists or is lost (I’m not sure which applies myself) a scan made at the time documents it:

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As you’d probably expect, any resemblance between the two compositions (mainly seen in the central stone megalith and the lunar presence) is completely coincidental. It was only after the Leftlion artwork was complete that its familiarity and a certain sense of deja vu jogged my memory and led me to look again at The Innocents III, which evidently carried a little of the same DNA. Despite that passing similarity, it’s also clear to me that the 2010 image is made in a style from which Holcombe’s work rapidly developed into something else entirely…hence The Innocents III having a current status that places it as, at best, very much marginal to his canon, and perhaps, at this point, outside it.*

An Allegory of the City of Nottingham (after Robert Holcombe) [2017] is not designated as Holcombe’s work either. Its making as a commissioned piece, following a set format and including thematic links to the interests of the magazine whose cover it appears on, means that it not only has differences in technique to Holcombe’s signature approach, but its subject matter simply doesn’t fit into his chronology. Or, to put it another way, I couldn’t contrive a persuasive reason why Robert Holcombe might have taken such an interest in Nottingham, nor how he would have come to include allusions to aspects of the city that post-date his active period by decades. It’s also the second work of its kind to exist fully outside the Robert Holcombe canon in this way.

The first, The Naming of Clouds, was made to a brief for reproduction as a print to be handed out during performances at Somerset House of two works, Cloud Workers and The Naming of Clouds, by Philip Stanier and Penny Newell. The brief for this image (and the grid of 28 postcard-sized images making up a performance score that accompanied it) was based on Newell’s PhD research into representations of clouds in art and literature, and Stanier’s imaginitive response to that research, though within this I was free to flesh out the structure as I liked, with no specific instructions given beyond an initial diagram that positioned the basic elements of the landscape and specified the divisions into ‘flesh’, ‘nature’, ‘machinery’, ‘cloud’ and ‘mathematics’ within the cloud itself:

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Making The Naming of Clouds in 2016 had already helped to define the separation between Holcombe’s fictional body of work and any collages that might be made for other purposes using the same archives and materials, and even some of the same methods, in my studio. For that reason, the effort of trying to bend the Leftlion image to fit Holcombe’s body of work in some way was a step that I could simply skip. The work, then, exists in a different kind of space and is allowed to be exactly what it is – an allegory built around a spatially unsettling constructed landscape, populated with both allusive components and objects present as much for purely visual reasons as reasons related to the meanings hidden away elsewhere in the image. It’s a sort of variation on an eighteenth century conversation piece: a picture designed solely to catch the eye and offer some sort of diversion.

*The Innocents III (1974) tenuously remains in the margins of Holcombe’s canon, perhaps, because it might have been nothing more than a failed experiment, a study he carried out in an idiom that is plainly more an exercise in the style of its particular mid-1970s moment than a work made in line with Holcombe’s own developed stylistic trajectory.

From: Robert Holcombe’s Telekinesis (c.1954 – 1957)

6 Jul

Telekinesis II (1955)

“The game begins when the children, in whatever numbers are available when the desire to play takes hold, form a circle and focus their collective attention on a point in the ground at the dead-centre of their gathering. Each child then imagines the ground opening, mentally invoking a wound or vulva, a mouth or eye at that single point in space. Once the correct degree of focus is achieved each child in turn joins with the song that will slowly grow in volume and force as it passes repeatedly around their human circle, sometimes in the form of an elaborate but instinctively formed round, sometimes as a massed single chant as all the voices present merge into one:

Open, open, turn this earth to mouth,
Show coral lips and ivory teeth,
Cleave this ground to bring forth life,
Slice this stone with a surgeon’s knife.

When the required mass of vocalisation and psychic focus is accomplished a slowly expanding oval will appear in the air, its appearance not unlike a shadow’s penumbra surrounding a brighter central area. Witnesses have variously described this initial apparition as alike to a tiny nebula or cellular form hovering an inch above the ground, its circumference widening at an even rate. After a few moments this portal – for this, it is said, is what has been conjured – reaches its maximum dimensions, as determined by the numbers within the circle, then raises itself to conclude a smooth ascent somewhere around the average waist-height of those comprising the circle that has invoked it. It remains stabilised at this height for as long as the chant is sustained…”

 

Telekinesis [The Forest] (c.1954 - 1957)

‘Behold! The Markets Shall Erase Our History!’ (Nottingham Contemporary documentation by Andy Keate, 2016)

5 May
Salome (1953)

Robert Holcombe: Salome (1953)

Вот! Свободный рынок ликвидирует нашу!, 1973, is a book of collages by Robert Holcombe, a fictional British artist. Presenting evidence from a range of hidden, fabricated and authentic Cold War histories, the exhibition documented here takes its overall title from this work. The specific copy of the book used has its provenance in the library of Sir Frederick William (‘Bill’) Deakin (1913 – 2005), a former literary adviser to Churchill and active British liason officer with the Partisans of Josip Broz Tito in Yugoslavia between May and December 1943. While the image captions of Behold! The Markets Shall Erase Our History! remain legible, allowing ghosts of the source material’s original purpose to show through, the historical content of the photographs themselves is cancelled by layers of advertising, technological and erotic imagery. The display, commissioned for the Small Collections Room at Nottingham Contemporary between January 16 and April 17 2016, was made in response to both Pablo Bronstein’s room design, featuring four antique cabinets, and themes suggested by Monuments Should Not Be Trusted, an exhibition of artworks and objects from Communist Yugoslavia curated by Lina Džuverović in the main galleries.

Cabinet 1: Works from the Robert Holcombe Archive

This cabinet presents a selection of works by Robert Holcombe (1923 – 2003). The display includes a selection from his series Krakow: pour Alina Szapocznikow, 1964, and The Holcombe Family Bible, 1967, alongside Study for Performing the Curtain Ritual, 1966, and the book work Вот! Свободный рынок ликвидирует нашу!. The cabinet also includes a number of undated photographic studies, such as Triceratops and Skegness Comet. Although undated, these studies were probably made at various times between 1951-63.

Cabinet 2: Works, Ephemera and Archive Materials

This cabinet includes source materials and other ephemera from the Holcombe archive alongside smaller works by Holcombe: Mask, c. 1952; The Lawn, 1966; and Argentina, 1976. A deck of Holcombe designed Tarot cards and their 1953 precursor, A Summary Of Contemporary Knowledge About Life And Its Possibilities, also feature. Archive materials include publications such as Youth in the GDR, scientific book club editions of The Drama of the Atom and LSD in Action, a set of 1940s film-star cigarette cards, a 1960 book of speculations by eminent Soviet Scientists on Life in the Twenty-First Century, and an eccentric hand-coloured photograph of a nuclear family.

Cabinet 3: 723 Variations on the Same Theme

The 723 found texts layered inside the drawers of this cabinet are cut from a wide range of consumer, technical and other publications from the 1940s to early 1980s. These cut outs are intended as both a typographic survey and an exploration of the everyday presence of propaganda in Western printed media during the Cold War period. They focus particularly on texts revealing prevailing insecurities and aspirations. The arbitrary number 723, which determines the size of the collection, was originally fixed by the addition to the series of a 1964 strap-line advertising a range of Hasselblad cameras.

Cabinet 4: Eastern Bloc Songs

This cabinet gathers a selection of 7” and 10” record sleeves produced between 1964 and 1981 by official state labels in Poland, Czechoslovakia and Hungary to give a brief visual introduction to the prolific and politically complex popular music cultures of European communist states during the Cold War period. The display is accompanied by a looped audio soundtrack featuring 11 songs by some of the artists featured, including Filipinki, Klan, Marta Kubišová, Czesław Niemen, Hana Zagorová, Sarolta Zalatnay, Olympic, Petr Ulrych, Josipa Lisac, Tadeusz Woźniak and Izabela Trojanowska. A small sampler publication introducing loose English translations of these 11 songs is also available.

Wall: Other Works by Robert Holcombe

Above Cabinet 1: Salome, 1953
Above Cabinet 2: Triptych (Marine Geology, The Sandstorm, The Brocken Spectre), 1955
Above Cabinets 3 & 4: The Modern Interior I & II, 1967

Robert Holcombe’s ‘A Summary of Contemporary Knowledge About Life and Its Possibilities’ [c.1953]

4 May

Drummer, from A Summary of Contemporary Knowledge About Life and Its Possibilities  [c.1953]

Drummer

A set of 40 images adapted from 1920s medical books and a small woodcut publication of the 1640s, retooled as a set of cards. Perhaps within the Robert Holcombe timeline, these can be seen as precursors of the later Tarot Series of 1971 – 1973 in that they appear to serve a similar function, presenting a set of Major Arcana figures and symbols with little to no actual connection with traditional Tarot (or conventional playing card) symbolism beyond a few passing tropes – in this case, the King, Queen and Swords cards. The originals are around 12 x 16cm in size and each of the images is backed with a seemingly random page from a medical dictionary where various terms, only obliquely or tentatively related to the images themselves, are defined: diagnosis, oxygen, antitoxin, anxiety, lymphatic system, morphia, transposition, contraception, breast, head, rigor, adrenal cortex, tobacco, cramp, oestragen, oesophagus, placenta, coma, bursa, strangulation, stomach, transfusion, enzyme, bruise, torniquet, Sigmund Freud, pneumonia, electroconvulsive therapy, sterile, protein, stress, fatigue, blood pressure, curare, culture, doctor, tropical diseases, modified response, and so on. The set was featured (with only one card visible) among the archival materials displayed in Cabinet 2 during the exhibition Behold! The Markets Shall Erase Our History! at Nottingham Contemporary (Jan 16 – April 17, 2016).

Behold! The Markets Shall Erase Our History! (Nottingham Contemporary, 16 Jan to 17 April 2016)

6 Jan

Eastern Bloc Songs Sampler

Behold! The Markets Shall Erase Our History! (Small Collections Room, Nottingham Contemporary, 16 Jan 2016 – 17 Apr 2016)

Drawing together strands from a number of ongoing projects, including 723 Variations On The Same Theme, Eastern Bloc Songs and the fictional archives of the British artist Robert Holcombe, Wayne Burrows presents a display spanning both sides of the Cold War. Curated by Irene Aristizábal, Behold! The Markets Shall Erase Our History! takes in typographic consumer propaganda, erased partisan histories, fabricated Independent Group artworks and artifacts from the histories of popular music in Communist Poland, Hungary and Czechoslovakia. Eastern Bloc Songs: A Sampler, introducing loose English translations from the Polish, Czech, Hungarian and Croatian lyrics of 11 songs featured in the exhibition – all recorded between 1964 and 1981 by Filipinki, Klan, Marta Kubišová, Czesław Niemen, Hana Zagorová, Sarolta Zalatnay, Olympic, Hana & Petr Ulrychovi, Josipa Lisac, Tadeusz Woźniak and Izabela Trojanowska – is published by Nottingham Contemporary to accompany and contextualise the display and will be available at the gallery shop and elsewhere from January 15th.

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Eastern Bloc Disco with UrBororo (Nottingham Contemporary, 16 Jan 2016, 8.30pm to 11pm, free).

To celebrate the opening weekend of Monuments Should Not Be Trusted and expand on the display of Eastern Bloc 7” records in his exhibition in the Small Collections Room, Wayne Burrows will be playing soul, rock, psychedelia, pop, folk and jazz, all drawn from the surprisingly diverse output of the official state record labels of Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, Romania, East Germany and the USSR between the 1960s and early 1980s.

The session will also include a live set from UrBororo, Pil & Galia Kollectiv’s new venture into “skewed filing cabinet swamp blues for corporate inflight listening” – an “objectively boring” band whose songs are made from an unlikely merger between the sounds of surf, grunge and punk and whose lyrics are all borrowed from a 1970s Management Self-Help guide.

“UrBororo are objectively boring. They also view themselves as boring. UrBororo actually refer to themselves with typically irritating self-deprecation as ‘The People Who You Wouldn’t Like to be Cornered by at a Party’. They regard most of what they do as a waste of time. Based on a managerial help book, the songs they play propose a skewed filing cabinet swamp blues for corporate inflight listening.”Pil & Galia Kollectiv (2015)

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Exotica Suite & Other Fictions (Launch at New Art Exchange, July 10, 2015)

20 Jun

Exotica Suite & Other Fictions will be out on July 10th, via Shoestring Press for the print publication, and as a full length album, also titled Exotica Suite, on CD from July and as a vinyl LP in 2016. The recordings feature some of the written texts sampled, remixed, re-edited and performed with music by Paul Isherwood, best known for four acclaimed albums made with The Soundcarriers, most recently Entropicalia (Ghost Box, 2014). The launch will also premiere a cycle of related short films to which the recordings act as soundtracks. It’s all scheduled to take place at at New Art Exchange on July 10, between 6 – 9pm, free but booking via Eventbrite is strongly recommended.

Exotica Suite & Other Fictions

BOOK PUBLICATION CONTENTS & BLURB:

Exotica Suite begins with an Easter Island creation chant in the style of William Blake’s Proverbs of Hell and an imaginary Polynesian colony in England in the 1780s then takes in a series of tall tales featuring Hawaiian musicians. Other Fictions fabricates occult histories in Nottingham caves and embarks on a labyrinthine sea voyage with the body of a late Hawaiian King. Now gathered in one place for the first time, the various forgeries, stories, false lectures, misleading anecdotes and other writings in Exotica Suite & Other Fictions are the flip-side to Black Glass: New & Selected Poems, also published by Shoestring.

Exotica Suite simultaneously exists as a vinyl LP and audio CD made in collaboration with the musician Paul Isherwood, best known for his work with The Soundcarriers.

“…spins a web that oscillates between the fictional and non fictional and encourages us to reflect on how we navigate the past and how this could affect all our futures.”

Katherine Wood on Marine (2013)

Book Contents:

Part One: Exotica Suite:
A Creation Fragment from Easter Island
An Account of the Hawaiian Colony in England (1790)
The Kumulipo Variations
Four Hula Songs for the Goddess Laka
The Sorceress
An Imaginary History of Musical Polynesia
(i) The First Musician
(ii) Joseph Kekuku Between Two Worlds
(iii) Sol Hoopii Finds A Sack Of Souls
(iv) Arthur Lyman’s Marimba Calms Pele’s Rage
(v) Shell-Ears And Tin-Ears
Invocation to Sun Ra (1914 – 1993)

Part Two: Other Fictions
Marine: A Story in Eight Objects
A Marriage of Styles
The Disappearances
The Peel Street Codex
The Nottingham Medlars
An Edible Alphabet
Fabricated Archives
Spirit Wrappings: Some Notes on the Rashleigh Jackson Family Collection
A Mandinka Song: Theme & Variations
Disturbances
The Enigma of Robert Holcombe
Convulsive Beauty: A Fabricated Lecture
Twelve Non-Specific Sites

The Sorceress (1955) Latino Graphics E

Exotica Suite LP/CD Tracklist:

Side 1:
The Hawaiian Colony Ballad I
Creation Fragment
Altar Prayer For Laka
A Hula for Laka (For Link Wray)
The Hawaiian Colony Ballad II
The Sorceress

Side 2:
Ankle Bracelet
Flute Interlude
Kumulipo Variation
The Hawaiian Colony Ballad III
Subliminal (Invocation to Sun Ra)

Avant Garde or Last Minute at Sunscreen (EM15 at Venice Biennale, 2015)

10 May

Photosensitive Abstraction

An animated text, made in the form of a screen-saver for the Sunscreen project, curated by Candice Jacobs in association with EM15 at Venice Biennale, went live on April 27th and is now available to download and install by following the instructions on the Sunscreen website. Avant Garde or Last Minute is very loosely linked to an ongoing Robert Holcombe project involving found texts under the title 723 Variations On The Same Theme, and one of around 40 newly commissioned online art-works, including those made specifically for the project by a number of artists I’ve collaborated with or written about elsewhere, not least Shana Moulton, Yelena Popova, Bruce Asbestos, Frank Abbott, Blue Firth and Simon Raven. The full collection of free, downloadable screen-savers by these and many other artists can be browsed here.