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Works from the Hallucinated Archive (Bonington Gallery, 27 Sept – 16 Nov, 2019)

3 Sep

‘Works from the Hallucinated Archive’ has been comissioned for the foyer and vitrines at Nottingham Trent University’s Bonington Gallery, running from Sep 27 until Nov 16 alongside the final iteration of Legion Projects‘ touring exhibition ‘Waking the Witch‘.

Robert Holcombe -Telekinesis Series (The Golden Dawn) (c.1956)

Artists:

Aslı Anık

Arianne Churchman

Maryam Hashemi

Robert Holcombe

Chloe Langlois

Z.K. Oloruntoba

Works from the Hallucinated Archive brings together material by six artists (five real, one fictional) working across a range of media, approaches, traditions and degrees of initial scepticism. They all share an interest in ideas around folklore, spiritual(ist) belief and art as psychic manifestation or transmission.

The vitrines and foyer are occupied by works from the fabricated archive of an entirely fictional British artist, Robert Holcombe (1923 – 2003). Gathered into an exhibition that might be read as a scholarly contribution to a previously unknown (and wilfully esoteric) chapter in the story of Post-War British Art. Or perhaps a fiction exploring ideas of authenticity, class and cultural identity by ‘restoring’ to our attention a figure who might plausibly have existed but failed or refused to fit the standard narratives and frameworks of his time.

This archival fiction is further layered and complicated by its deployment as a framing device for a group of works by five other artists, mostly contemporary, sometimes hallucinatory in effect, and all real. Their shared fascinations with altered states, fringe beliefs, folklore and ritual, play against their own (and our) ingrained sceptical instincts with humour and a strong awareness of absurdity.

After all, whatever the precise nature of any particular psychic or paranormal phenomenon might be, such subjective experiences plainly share conceptual ground with the transformative, healing and wish-fulfilling objectives of art itself. Just as a fiction is a very literal kind of alternate reality, a song a form of spell-casting or invocation, and any film or photograph in existence a very literal kind of ghost.

The artworks and fictional ephemera featured in Works from the Hallucinated Archive should work together as something that exists between a curated group show and a single installation to generate a kind of ‘Alice in Wonderland’ rabbit-hole: a Holcombe-style collage portal into a parallel world that may already exist within the familiar yet often nightmarish one we currently inhabit.

Artists:

Asli Anik - unfucking your head is a delicate game that involves a lot of squid (2017)

Aslı Anık is a therapist by profession and her richly detailed ink and felt-tip drawings seem designed to transform psychological and emotional states into miniature visual universes densely populated with natural and architectural forms, organic and geometric patterns, and such symbols as birds, squid, candles, DNA strands, foxes, mice, brains, foetuses, towers and masks. Simultaneously decorative and cartoonish, absurdly humorous and intense, Anık’s drawings consciously reference a wide range of conventions associated with Outsider art, folk painting, psychedelic animation, traditional pattern and Tarot design, while continually opening into their own imaginary and psychic spaces.

Arianne Churchman - We Entered Through the Chime Line - Green Vibrations (2019)

Arianne Churchman draws on British folk traditions and customs to create hybrid works incorporating performance, sound, costume, film and sculpture to explore themes of magic, invocation and ritually induced altered states, staging her artworks in forms and contexts that evoke the humour and amateur inventiveness of both real and imaginary vernacular folk cultures. The work included here, ‘We Entered Through the Chime Line’ (2019), creates a quasi-medieval contemporary ritual out of songs and subjects adapted from the work of Ruth Lyndall Tongue (1898 – 1981), an English folklorist who claimed the special status of ‘chime child’ and gained notoriety for crossing boundaries between authenticity and outright fabrication in such notable contributions to the field as her 1968 book ‘The Chime Child, Or Somerset Singers’.

Maryam Hashemi - The Oracle I (2018)

Maryam Hashemi’s work is rooted in her wartime childhood in Iran and the imagery of her paintings often layers the everyday with dream-like and absurd events, figures and symbols. She studied Graphic Design at Azad University in Tehran, held her first solo exhibition in 2001 at Haft Samar Gallery and was selected for a group show of Iranian female painters in Brussels the same year. She returned to the UK in 2002 and has since exhibited widely. She discussed some of her working methods in a BBC 2 documentary, ‘Making Art’, during 2014, and has recently worked more consistently with improvised live-painting, dance and storytelling, while also practising as a Tarot reader and psychic, sometimes in the performative identity of The Oracle, sometimes under her own professional identity.

Robert Holcombe is an entirely fictional British artist (b. Leeds 1923, d. Exeter 2003) whose fascination with collage was first discovered in 1944 during convalescence from injuries sustained while serving as a naval radio engineer in Malaya. He attended the Slade between 1948 and 1951 and until his retirement in 1988 worked as a planning officer in the city of Leeds. Although he did not exhibit publicly during his lifetime, he frequently worked in series, creating variations on an array of industrial, mythic and biological themes. The current exhibition focuses on works presenting evidence of altered states and fabricated paranormal, folkloric and archaeological phenomena, including works from ‘Telekinesis’ (1953 – 1967) and ‘The Tarot Series’ (1971 – 75).

Chloe Langlois - Here Goes Literally Nothing (Telepathy Channeling Performance, 2018)

Chloe Langlois has a background in painting but currently works mainly in performance and video, making work centred on mysticism, fringe belief and the invocation of visionary figures. Using her own props and costumes she gleefully engineers situations that incorporate mistakes and radical deviations from approximate scripts to, in her own words: “embrace the joyful chaos of working without rehearsal, live, in one take.” Influenced by comedy, medievalism and religious art, interested in the energy that comes from devotional intent or altered states of consciousness, her most recent works have taken the form of green-screen psychodramas like ‘Messages from the M11’ (2019) and the improvised participatory telepathy demonstration of ‘Here Goes Literally Nothing’ (2018), from which the ‘channelling devices’ featuring portraits of Jerry Garcia, Pauline Oliveros and Austin Osman Spare included here are drawn.

ZK Oloruntoba - Ink on fabric image from Esther Warner Dendel, African Fabric Craft (1974)

Z.K. Oloruntoba [aka Chief Zacheus Olowonubi Oloruntoba (1934 – 2014)] was a Nigerian artist, herbalist and healer noted for using dreams to channel communications and healing energies between the world of the living and both the traditionally conceived and personally imagined Yoruba spirit realms so often portrayed in his paintings. He studied in the early 1960s with leading Osogbo School artist Twins Seven Seven (1944 – 2011) but the two later had a public disagreement and Oloruntoba moved on to work independently from his studio in Ibadan. In the 1970s he travelled to New York and worked extensively with Jazz musician Ornette Coleman, designing record covers and artwork for a range of releases on Coleman’s own Artists’ House label. ‘The Kernel Breaker’ (1974) dates from this phase of his career – an image painted in vegetable dyes on cloth representing a dreamed spirit that manifests and exists somewhere between traditional Yoruba iconography and Oloruntoba’s own imagination.

Wayne Burrows: Works from the Hallucinated Archive (Bonington Gallery Vitrines, Sept 27 – Nov 16, 2019). PV on Sep 26, 5.30 – 7.30pm: free, all welcome.

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Eastern Bloc Songs: Party, Pop & Politics (Centrala, September 2018)

4 Jul

Helena Majdaniec (Film Spiegel, 1964)

To coincide with the 50th anniversary of the Prague Spring in Czechoslovakia during 1968, and in anticipation of next year’s 30-year anniversary of the fall of the Berlin Wall, Centrala is hosting Eastern Bloc Songs: Party, Pop & Politics, a display based on informal research by Wayne Burrows. The exhibition will feature a broad range of archive materials arranged to tell the story of the development of official popular music cultures in former Eastern Bloc Communist states, gathering EP and LP sleeve art, photographs, posters, ephemera, texts, TV footage and promotional films, all drawn from the back catalogues of state-run record labels in Poland, Czechoslovakia, Hungary and other Eastern Bloc European states between c.1963 – 1988. The result is post-war pop music’s history refreshed and re-told from a perspective on the other side of its standard Anglo-American, English language looking-glass.

This exhibition and events programme will also be accompanied by a book-length illustrated publication bringing together around 65 translated song lyrics, mainly from Poland and Czechoslovakia, with short introductions to key artists and events, telling the story of popular music’s development in these countries during the Cold War years. Building additional context and background to complement the material in the gallery, Eastern Bloc Songs: Party, Pop & Politics will be launched at the exhibition in early September 2018. Sampling the stylistic range, political complexity and musical quality achieved by artists working under the frequently strained conditions prevailing within official cultures, Eastern Bloc Songs might also offer suggestive parallels for artists today, whose own working conditions have evolved in the years since 1989 (and at an accelerating rate since 2008’s financial market crash) into all-too familiar patterns of ideologically-driven diktat and bureaucratic micro-management.

Hana & Petr Ulrychovi poster

Eastern Bloc Songs: Party, Pop & Politics

Contents:

Introduction: Eastern Bloc Songs: Party, Pop & Politics

Filipinki: from Wala-Twist EP
(i) Wala-Twist
(ii) Batumi
Helena Majdaniec: Już raz było tak
Czerwone Gitary: Nie Zadzieraj Nosa
Vulkán & Hana Ulrychová: Sen
Niebiesko-Czarni: Nie Pukaj do Moich Drzwi
Sarolta Zalatnay & Metro Együttes: Mostanában Bármit Teszünk
Marta Kubišová: Two Songs
(i) Rezavý Svět
(ii) Lampa
Czesław Niemen: Dziwny jest ten świat
Prúdy: Čierna ruža
Synkopy 61: Válka je Vůl
Olympic: Psychiatrický Prášek
Karel Kahovec & Flamengo: Poprava Blond Holky
Atlantis & Hana a Petr Ulrychovi: Vůně
Hana Zagorová: Five Songs
(i) Svatej Kluk
(ii) Mrtvá Láska
(iii) Tisíc nových jmen
(iv) Rokle
(v) Verbíř
Illés: Nehéz az út
Olympic: from Pták Rosomák
(i) Báječné Místo
(ii) Pták Rosomák
(iii) Ikarus Blues
Marta Kubišová: from Songy a Balady
(i) Proudy
(ii) Kdo ti radu dá
(iii)Ring-o-Ding
(iv) Tak Dej Se K Nám a Projdem Svět
(v) Zlý dlouhý púst
(vi) Ne
(vii) Balada o kornetovi a dívce
(viii) Modlitba Pro Martu
Atlantis & Hana a Petr Ulrychovi: from Odyssea
(i) Odysseovo Ztroskotání
(ii) Ticho
(iii) Leží nade mnou kámen
(iv) Láska
(v) Za Vodou, Za Horou
Breakout: from Na drugim brzegu tęczy
(i) Poszłabym Za Tobą
(ii) Gdybyś kochał hej
Skaldowie: Two Songs
(i)Dojeżdżam
(ii) Malowany Dym
Alibabki: from Kwiat Jednej Nocy
(i) Słońce w Chmurach łazi
(ii) Kwiat Jednej Nocy
(iii) Grajmy Sobie w Zielone
Marta Kubišová: Tajga Blues ’69
Omega: Gyöngyhajú lány
Urszula Sipinska: Trzymając Się Za Ręce
Czesław Niemen: from Enigmatic
(i) Bema pamięci żałobny-rapsod
(ii) Kwiaty Ojczyste
(iii) Jednego Serca
Klan: Automaty
Václav Neckář: Nautilus
Maryla Rodowicz: Żyj mój świecie
Hana a Petr Ulrychovi: Rozmarýn
Marek Grechuta & Anawa: Korowod
Vera Spinarová: Andromeda
Tadeusz Woźniak: Zegarmistrz Światła
Josipa Lisac: Ne Prepoznajem Ga
Halina Frąckowiak: Ide Dalej
Tadeusz Woźniak: from Odcień Ciszy
(i) Pewnego Dnia O Świcie
(ii) Odcień Ciszy
Izabela Trojanowska: Jestem Twoim Grzechem
Urszula: Wołam Znów Przez Sen
Manaam: Krakowski Spleen
Grupul Stereo: Plopii Impari
Kapitan Nemo: Wideonarkomania
Gayga & DiN: Chodzę, stoję, siedzę, leżę

Appendix I: Mapping the Territory of Star City (2010)
Appendix II: A Note on the Translations (2014)
Appendix III: Out-Takes & Demos (2012)

Discography

Gayga (Krystyna Stolarska)

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.

Slinger_Exorcism_1024x1024

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.

Introduction to Art Writing Workshop at Primary (April 14, 2018)

5 May

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The second session bringing together our Introduction to Art Writing group, a series of four exploratory workshops jointly organised by Backlit Gallery and Nottingham Writers’ Studio, met at Primary on the afternoon of April 14, with the sunny spring weather in the playground outside the former school building making for something of a contrast with the blizzards and heavy snow that had accompanied our first session at Backlit in March. Some familiar and a few new faces gathered to hear from Niki Russell, curator of the public programme at Primary, and to see and discuss Deeper in the Pyramid by Melanie Jackson, a multimedia project designed to unfold across three different venues and take a variety of forms, including an illustrated publication.

For the work’s first presentation at Grand Union, Birmingham, Jackson had presented a sculptural installation with embedded digital video works; at Primary, Nottingham, the same research and text (written by Jackson in collaboration with Esther Leslie, and available in published form as an illustrated book) had been reconfigured as a performance lecture and oblique documentary-style video. A third incarnation of Deeper in the Pyramid is set to be installed at Banner Repeater, London, later in the year. While taking many different forms as it moves between sites, however, Jackson’s project is also an artwork with text, storytelling and the collaboration between visual, literary and performative elements built into its DNA.

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Before hearing from Niki and viewing Deeper in the Pyramid, we first had a round of introductions and talked a little about the range of motivations for attending this new group. Interest in collaboration ranked high, with several participants already involved in collaborative activity, and several people expressed interest in exploring ways of bringing the kinds of informal writing they were doing already into a variety of public contexts, ranging from incorporating interviews with photographic subjects alongside their documentary portraits to finding uses for informal notes on exhibitions or exploring new approaches to making artworks accessible through the creative use of interpretative  labels and text panels in galleries and museums. A few also noted that they had experience of writing at university but expressed interest in developing their writing outside these kinds of academic contexts.

Niki Russell spoke about the role of commissioned texts in expanding the reach of Primary’s programme of residencies and exhibitions, with one or more written responses to each new commission published in the venue’s Programme Notes as a means of ‘creating a legacy’ for the often ephemeral work taking place in the building itself. Writers like Jamie Sutcliffe had written essays in response to Guillaume Pilet’s Dream A Little Drama performances, Padraic E Moore responded with a letter to the installation that resulted from Shana Moulton‘s residency, while Niru Ratnam constructed an oblique fiction in response to Sahej Rahal’s Dry Salvages. Russell noted that sometimes these commissions had led to ongoing collaborations, as when Emma Hart’s response to Jonathan Baldock’s work had led to the two artists developing exhibitions and other work together in the years that followed.

He also talked about his own role as an occasional art critic, reviewing exhibitions and events, and noted how this activity overlapped with his curatorial work at Primary and elsewhere, and fed into his ongoing work with the artists’ collective Reactor, a project developing films, performances and other platforms through inherently collaborative processes. The practicalities of reviewing – from writing with fixed article lengths to tight deadlines and occasional pressures to offer strong opinions even when the work under review might not necessarily inspire them, were also touched on – though ultimately reviewing and writing were felt to open a way of thinking about artworks in depth, giving shape to thoughts that might otherwise remain less well defined, and generally offered a positive way of exploring the works encountered in galleries. The results may not always be the final word, but the texts were part of a process and added a layer of reflection and substance to the fleeting encounters we often have with particular works and the artists who make them.

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In the discussion that followed, we considered questions such as whether the views expressed in published responses were ever revisited and changed (quite often, though less so as the length of time allowed to reflect on the work’s more lasting effect was extended by deadlines), and how magazines and newspapers decided what to cover and what to omit from their reviews and feature sections (a complicated process which venues’ marketing budgets, artists’ public profiles, topicality, fashionability and the relative weight of particular writers’ enthusiasms could all play parts in shaping). Experience of working with editors could vary widely, too, with some editors offering extensive suggestions for revision, others printing texts exactly as submitted – which puts the onus very much on writers themselves to ensure all the information in their copy is accurate at the time it goes to press.

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We concluded the session with a viewing and discussion of Jackson’s Deeper in the Pyramid, in its Primary incarnation a 40m film drawing on documentary and more oblique, fictionalised material to explore the social, cultural and psychological contexts and meanings that surround our relationships with milk. Exploring themes ranging from the mythological significance of milk in Ancient Egypt and Greece, its association with the maternal, its transformations into cheese, cream and butter, its role as a substance inspiring strange dreams in early twentieth century comic strips, its industrial production and packaging in pyramid-shaped ‘tetrapacks’ for sale in Africa and India, its role in sexualising fashion and advertising photography – the film offered a richly layered journey through the hidden meanings of a substance we often take for granted.

Other References:

Art Writing Blog at Nottingham City of Literature

Plastique Fantastique (cited by Niki during his talk)

Kaleidoscope (cited by Niki during his talk)

 

 

Introduction to Art Writing Workshop at Backlit (March 17, 2018)

24 Mar

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The first Introduction to Art Writing session took place on the afternoon of Saturday 17 March, and despite the day’s heavy snow and blizzards drew around twenty five people to Backlit.

Matthew Chesney, Backlit director, introduced the session and touched on some of the host gallery’s activities, including his own experience of putting together a publication, House of the Flying Wheel, that explored the history of the building (once part of the textile empire of Samuel Morley and the Morley textiles company) and the evolution of Backlit itself as a place for artists’ studios and a venue for performances and exhibitions, currently Strike Site, a group exhibition based on ideas and experiences of migration, displacement and borders curated by the writer Sacha Craddock.

Following this, Wayne Burrows introduced some samples from the wide range of outlets for different types of art writing, noting the ways that each has its own particular approaches: an article in an academic journal will take a different form to a review in a specialist contemporary art magazine, while newspapers and more general interest magazines covering art, but not exclusively about art, will make very different assumptions about the reader’s knowledge and potential interest in the subject. Looking at journals as diverse as Frieze and Art Review, Nottingham Visual Arts and LeftLion, and a variety of artists’ books, catalogues, press releases and other publications, we touched on how each makes its own distinctive demands on the writer.

Wayne also discussed the development of his own work, from working mainly with poetry and journalism to projects that use collage, exhibitions, films and performances alongside publications as vehicles for fiction and the building of alternate realities:

Wayne Burrows links: https://wayneburrows.wordpress.com/links/

Beyond the more straightforward field of critical writing, where the standard formats might be reviews, essays and interviews, we looked briefly at those points where writing about art blurs into writing as art, and it was here that the most creative approaches seemed to be found. Whether the more hybrid kinds of poetic essay, artists’ text – or even in works where the artwork itself employs characterisation and narrative, or constructs a fictional world or history – there were forms that art-writing could take that pushed through the confines of the kind of prose found in press releases, exhibition information panels and catalogue essays.

With this range of possibilities and potential responses in mind, participants spent time in the Strike Site exhibition and were invited to write down (or simply think about) a few lines that might embody a response reflecting a particular viewpoint, rooted in the participants’ own interests and reasons for attending the workshop. During the discussion that followed, there turned out to be no standard angle, but rather a range of individual concerns: some focused on the issues raised, others on aesthetics; some were positive, some critical; some considered the forms of the works included, others paid closer attention to their positioning, relationships or content.

In exploring these responses we also discussed some future possibilities for the group, with developing writing skills, sharing work, making connections between people, creating a group to discuss exhibitions on a ‘book club’ model and building a network all mentioned at one point or another. After resolving an earlier technical hitch, we concluded with a short screening featuring three short films, chosen to illustrate the points made earlier about the more creative, ‘expanded’ aspects of how thinking about writing – in the form of both text and strategies of fiction-making or world-building – can apply in relation to particular art-works.

Shana Moulton Whispering Pines II 2007

These films included Shana Moulton discussing her Twin Peaks-inspired Whispering Pines series of artist films featuring an alter ego named Cynthia; footage from a live text-based performance by Sophie Jung; and a short film in which the artists Tai Shani and Florence Peake introduce the fictional archaeological and political ideas that informed their collaborative installation Andromedan Sad Girl at Wysing Arts Centre last year. Links to all three films are included here for those who missed them:

Shana Moulton: https://www.youtube.com/watch?v=5Z1kow40WGY

Sophie Jung: https://www.youtube.com/watch?v=f2TwYQ6bcF4

Tai Shani & Florence Peake: https://www.youtube.com/watch?v=Hv4bavXUV_c

Tai Shani & Florence Peake Andromedan Sad Girl (2017)

As a final note, here are some of the comments written during the day on the pages put up around the workshop space to collect suggestions and thoughts from participants. These will be used, along with the comments made during discussions, to shape future sessions.

Ideas/ suggestions

Mini biogs – ‘As much as I hate them, introduction circle helps my social anxiety to be over ridden. So to intro and bio is easier when everyone does it together’

Facebook page – ‘I need to meet in person to do anything productive. Social media feels too impersonal and lacks accountability sometimes‘ (perhaps we can look at alternative online platforms?)

Seeds to grow, to create a network of writers, creatives and like-minded souls

I love writing in response to visual stimulus/ art in poetic form. Also love overlap of forms – eg: photography, theatre, performance. Would love to hear more about others’ backgrounds and interests…

What is everyone reading? I’m struggling to find new authors…

A ‘bookclub’ but for exhibitions? Go and see it, than have a chat later?

I’d love to see/read other people’s writing

Practical discussion and critique of each others’ own artwork

Thanks! worth coming, maybe fragmentation into sub-groups, also convening to re-connect would be helpful.

Great to be in a room with a dynamic range of people with a variety of reasons for having an interest in writing about the art.

The day has been amazing, informative, great content and brilliant opportunity to network.

Interesting to think about writing with a mix of participants/ fresh views.

Melanie Jackson - Deeper in the Pyramid (2018)

Next Session:

Saturday 14th April, 1 – 4pm at Primary, 33 Seely Road, Nottingham NG7 1NU. Please book your place via the Eventbrite link at: https://bit.ly/2ua96mk

Primary are also hosting an event on Thursday 12th April at 7pm with Melanie Jackson’s performance lecture and exhibition opening, free to attend and no booking required: http://www.weareprimary.org/2018/02/melanie-jackson/

 

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

29 Oct

LW

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]

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)

Shorts and Found Footage with Crate Diggin’: Fridays at Rough Trade (Dec 19 – Jan 16)

20 Dec

CRATE DIGGIN FRIDAYS

Some short films and related found footage will be showing alongside the Truth & Lies nights upstairs at Rough Trade, Nottingham, over the next few weeks. The first selection, themed around the Cold War, screened on Friday 19th Dec, the second – films linked by an interest in Exotica – is on Jan 9th, and the final set of films, built around Disturbances and Design – plays on Jan 16. Crate Diggin‘ is a regular slot hosted by Joff & Ex-Friendly at Rough Trade and covers soul, funk, jazz and anything else the DJs feel like spinning from 7 – 11pm every Friday. The following post offers a few comments on the material selected (note that films are screened at Crate Diggin’ without sound, for obvious reasons, so I will add links to versions with their original scores and soundtracks intact to this post after each event).

Moscow 1972 (Kino)

Part 1: The Serendipity Loops and the Cold War (19 December 2014)

The Serendipity Loops (Wayne Burrows, 2012)

This film runs in six sections, made up entirely of still images, and draws on a large archive of print material produced on both sides of the Iron Curtain during the Cold War period, sequencing Western and Eastern Bloc material in ways that emphasise their essential similarities. Each section is edited to accompany a piece of music, ranging from Tom Dissevelt’s ‘Whirling’ and Dick Mills’ ‘Purple Space & White Coronas’, early experiments in sequenced and atmospheric electronic music; to the late Graham Dalley’s ‘Pacifico’ and ‘Surf Ride’ (both from his privately pressed 1966 LP ‘Graham Dalley At The Barn Restaurant, Solihull’); ‘Elusive’, a Studio G production for an Avon marketing flexi-disc narrated by Patrick Allen (who also did voice-overs for the British Government’s notorious ‘Protect and Survive’ series of 1970s Nuclear fall-out public information films); and the anonymously produced Radiophonic Workshop alien invasion scenario of The Cimex Corporations’s advertising 7” extolling the value of their industrial cleaning services. The introductory sequence, built around machine-like heartbeats and Andre Bazin’s 1946 comment about cinema returning to its origins, reflects this film’s own status as a kind of digital magic-lantern slideshow.

Out Of This World (General Motors, 1964)

A beautifully made commercial film produced by the Frigidaire division of General Motors and based on their exhibit at the 1964 World’s Fair in New York – a piece of corporate Cold War marketing that seems to echo the identical tendency in the Soviet Union at the same moment to promise a utopian future. Its vision is – as such visions usually are – both seductive and slightly terrifying.

Village Sunday (Stewart Wilensky, 1961)

In contrast to General Motors’ corporate and technological vision of the future, another strand of the Cold War narrative is seen in an early form here, as Jean Shepherd narrates a whimsical portrait of New York’s Greenwich Village, just on the cusp of its decisive transformation into a counter-cultural byword. Painters, small theatres, musicians, beatniks and drop-outs – all ending with some great footage of the Beatnik/Surrealist poet Ted Joans giving a recital with free improvised jazz-flute accompaniment at a Greenwich Village artists’ hang-out.

Biological Camouflage (New Zealand) [1978]

Part 2: Entropicalia and Exotica (09 Jan 2015)

Biological Camouflage: Entropicalia (Wayne Burrows/The Soundcarriers, 2013)

Something of an experiment, this film is made up of still collages from various iterations of the ‘Biological Camouflage’ series, made by fictional British artist Robert Holcombe between 1974 and 1978, set to music by The Soundcarriers, then punctuated with a short, repeated animated photo-sequence of a sleeping woman. The song – to whose propulsive rhythm the images are cut – is ‘Entropicalia’ from ‘The Other World of The Soundcarriers’, issued on The Great Pop Supplement during 2013 (a vocal version is available as the title track on the band’s first release on the Ghost Box label, released in May 2014).

Afro Mood (Unknown Director, c.1947)

A short burlesque film in which the dancer Amalia Aguilar pulls some incredible moves to some hot Afro-Cuban jazz. ‘Afro Mood’ is one of two numbers that she also performed in a movie entitled ‘A Night at the Follies’ (1947) which perhaps helps to date this particular clip, which was produced as part of an ‘exotic’ series, ‘Joe Bonica presents the Movie of the Month’, possibly intended for viewing as individual segments on reels sold for private entertainment and parties.

Exotica Fragment (Wayne Burrows/Paul Isherwood, 2014)

A very short loop of re-edited footage from a variety of public domain sources, ranging from a 1920s adaptation of The Lost World to undersea documentaries, Cheerios commercials, burlesque films, a study of ants and an advertisement for a wall street consultancy. The score includes an incantation from an Egyptian son-et-lumiere recording of the 1960s and an early sketch of a track made by Paul Isherwood for a forthcoming project, Exotica Suite, set to be released as a book, vinyl LP and series of films in late June 2015, financially supported by New Art Exchange and Arts Council England.

Disturbances (still) [2010]

Disturbances and Design (16 January 2015)

Disturbances (Wayne Burrows/Jon Brooks, 2010)

‘Disturbances’ is a short film compiled from found 35mm slides and it was originally screened with a recorded score made for the purpose by Jon Brooks, then narrated with a live voice-over as part of an Annexinema event at a disused cinema. Brooks is best known for his work with Ghost Box records, under the identity The Advisory Circle, though he has also released two LPs – ‘Shapwick’ and ‘52’ – on Frances Castle’s Clay Pipe imprint under his own name.

Design For Dreaming (General Motors, 1956)

A visually incredible long-form musical commercial advertising the General Motors Motorama of 1956, presenting consumerism as a fabulous dream world. It’s likely that this was exactly the kind of film that inspired the early days of British pop and youth culture, as seen in exhibitions like the Independent Group’s ‘This Is Tomorrow’, staged at the Whitechapel Gallery the same year.

Film Strip: 1966 (Wayne Burrows, 2012)

A digital reconstruction of a sequence of still images compiled in a concertina book by the fictional British artist Robert Holcombe in 1966, with a score by British electronics pioneer F.C. Castle.

Bonus Programme: the Beats, Smoke & Pickles New Year’s Eve party at Rough Trade, Nottingham, will involve a further set of films, 35mm transparencies and more screenings alongside music from Truth & Lies, Dealmaker & Can’t Stop Won’t Stop DJs and street food by Kimberley Bell (Small Food Bakery). All free, from 8pm till 2.30am.