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Posts Tagged ‘events’

NEXT WEEK AT WRITING/ EXHIBITION/ PUBLICATION AT THE PIGEON WING

In Uncategorized on September 10, 2010 at 6:22 am

 

Photo: Matthew MacKisack

 

WRITING/ EXHIBITION/ PUBLICATION presents Initial and Reprise, an evening of films by Matthew MacKisack, 17 September, at The Pigeon Wing, 7pm.  Matthew writes: 

For Initial and Reprise three works will be presented, each with two parts, one verbal and one audio-visual. Each part explicates and exemplifies the other.

The works concern visions – ecstatic, dreamt, utopian – what has been and what is to be done with them: decoded, co-opted and ejected, what remains is negotiation, that is, initial and reprise.

The evening will also include the second installment of Julia Calver’s month long performance/ writing project. Julia describes the project as follows: 

SUNBEAM and FOREST exist inside an interminable argument which takes place at the level of the forest floor. They argue over who forms the ultimate frame for their ongoing dialogue. This work switches on and off through various iterations as SUNBEAM slips into periods of silence and then ‘reawakens’ in new ideas. Performances throughout the exhibition; texts in the space to take away.

ALSO THIS WEEK: A participatory installation by the Eindhoven based project space Onomatopee, specifically commissioned for WRITING/ EXHIBITION/ PUBLICATION. Freek Lomme described the project, and the work of Onomatopee as follows:

In response to David Berridges request to participate in his research project concerning WRITING/ EXHIBITION/ PUBLICATION, Onomatopee proposed to realize a participatory work; a tablecloth utilizing a grid of information and about some of their projects related to this quest. Books posited upon this cloth enable participants to experience and engage with the parameters involved!

Onomatopee operates in between theory and praxis, in between design and art, combining sense and sensibility. Operating this way, Onomatopee often releases progressive textual communication as part of this play. The sum of their projects parameters wishes to create a vibrant, coherent yet fragmented, overview on such specified fields of designed culture, linking up knowledge and experiences. 

Sunday 19th September, 2-4pm, APHORISM AS ART PRACTICE. An informal conversation, writing session, and sharing of material around the use and practice of aphorism. Participants include David Berridge, Julia Calver, Matthew MacKisack, and Mary Paterson. Participants welcome, but places are limited, so please reserve a place by emailing David on verysmallkitchen@gmail.com

COMING UP: Phil Baber will be working in WRITING/EXHIBITION/PUBLICATION on 22-24 September, exploring relations of installation, essaying and geology. He will launch the work on the 25th, and also participate in the LemonMelon Publishing Seminar. See here  for the full line up which also includes a performance lecture by seekers of lice, and contributions from James Davies/ If P Then Q and Marit Muenzberg/ LemonMelon.

WRITING/EXHIBITION/PUBLICATION will conclude on Oct 2 & 3 with two days of performances, installations, discussions and residencies. Full details to follow. And…

Some of the projects unfolding throughout the month of WRITING/ EXHIBITION/ PUBLICATION do not feature in a list of public events. Press Free Press’ A TIME FOR WORK will conclude with a performance on the final weekend, which is one part of a project that sees Ryan Ormonde and Becky Cremin working writing-shifts in the gallery every day, in response to instructions received from their collaborator-employers.

Tamarin Norwood is unfolding a new writing project collecting methodologies from other practices and disciplines, some of which is documented on her Homologue blog here:

So I’ve been trying to approach the birds via the smoother detours of other non-writing practices: human practices rather than avian ones, but physical, material, manual practices distinct from writing by their direct interaction with the physical properties of the world. Writing like bottle collecting. Writing like potholing. Writing like ornithology. Writing like repairing drains… manhandled into instructions for writing.

Pippa Koszerek continues to document the event in shorthand; Hammam Aldouri is coming to the space to find out what tasks Helen Kaplinsky has asked him to perform as part of their contractual arrangement (you can read the contract on the gallery wall); and myself and Marit Muenzberg have also been working in the space on our book project BIG LUSH NIP, a pseudonym for the FESTIVAL OF NEARLY INVISIBLE PUBLISHING.

As one of our generative phrases for the book has it: “A book that…. a book could ruin everything…”

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CELEBRATION OF AWARENESS: A CALL FOR INSTITUTIONAL REVOLUTION IN AN NCP CAR PARK

In Uncategorized on February 26, 2010 at 1:41 pm

 

This project returns to Ivan Illich’s 1967 manifesto Celebration of Awareness, originally written after the 1967 March on the Pentagon. It reconfigures this text as a site specific response for a guerilla re-enactment on the roof top of the Welbeck Street NCP Car Park, a short distance from London’s Oxford Street.

Upon arriving on the ninth floor of the car park, participants are greeted by one of the artists, invited to take a protest banner and proceed on to the roof. There, from an ACCIDENTAL PULPIT made from the car parks own architecture, a series of readers pronounce the following text from Celebration of Awareness. Audience members are invited to enter the pulpit and read themselves, fitting – seeing how the words do or not fit their own bodies and voices: 

We call you to join man’s race to maturity, to work with us in inventing the future. We believe that a human adventure is just beginning: that mankind has so far been restricted in developing its innovative and creative powers because it was overwhelmed by toil. Now we are free to be as human as we will. 

The celebration of man’s humanity through joining together in the healing expression of one’s relationship with others, and one’s growing acceptance of one’s own nature and needs, will clearly create major confrontations with existing values and systems. The expanding dignity of each man and each human relationship must necessarily challenge existing systems. 

The call is to live the future. Let us join together joyfully to celebrate our awareness that we can make our life today the shape of tomorrow’s future.

WHY THE WELBECK STREET NCP CAR PARK

This event comes from a perceived connection between the NCP Welbeck Car Park and a series of radical educational paperbacks, published by Penguin in the series Penguin Education Specials in the 1970’s. These included: Paulo Freire Pedagogy of the Opprressed ; Paul Goodman Compulsory Miseducation; Ivan Illich De-Schooling Society; Everett Reimer School is Dead. 

The striking graphic design of these paperbacks is reflected in the modernist brutalism of the car park itself. As the paperbacks themselves feel dated, the car park has been almost empty since the introduction of London’s congestion charge scheme. If this reading seeks to re-activate such educational ideas, the car park awaits its new function.

To read the paragraphs aloud here is, we propose, to experience a vertigo of time between future, past and present akin to looking straight down from the top floor. Some readers may be immune to the emotive temporal flux of these texts, as others will look over the rooftop edge without any feelings of vertigo.  

The image of an Ivan Illich duvet cover came into my mind with a surprising frequency

 

 

GLOSSARY

ACCIDENTAL PULPIT – (1)a feature of architectural space that provides unintentional opportunities for public speaking and public address. (2) Physical or mental space  resulting in the spatial configuring of speech acts. 

LOCATING INCOMPREHENSIBILITIES – a way of reading that focusses on what becomes incomprehensible in a text through distances of geography, time, or situation. A distinction is drawn between surface practices – texts in unknown languages, for example – and more deeper engagements with the nature of incomprehensibility – texts easily read, spoken and comprehended but certain of  whose effects and intentions have become illegible. 

Welbeck Street Car Park, a model made for the study of re-use by Colin Wharry, Ben Fallows, Julian Merille and Richard Penman.

 

SOME NOTES ON READING ILLICH ALOUD IN 2009

FOR READERS: Consider the phenomenology of THE ACCIDENTAL PULPIT. How do you respond to the distinct experience of the space, and how does it inform your encounter with the text now in your hand? Think of (a) the political speech; (b) a speech at a wedding; (c) an intimate conversation in a noisy bar; (d) private reading; (e) traditional Swiss yodelling. Draw and ignore from each of these in your reading as appropriate.

Many of the artists, when first reading this text from the pulpit, laughed – in response, perhaps, to the strangeness of the situation. If as readers we concentrate intently on the words do we laugh more or less? THE ACCIDENTAL PULPIT will tell you.

FOR AUDIENCE: Stand at a distance as at a conventional rally or public lecture. The acoustics are terrible, particularly if it’s windy. You will probably hear only one or two of the speakers. Move closer, onto the top of the ramp, looking up, to hear the content of the speaker’s words. Experience a false intimacy: a conversational closeness, but towards an other distanced by position, location and script. Whilst hearing and/or not hearing the words reflect on their mixture of opacity and transparency. Stand at the back and enjoy a purely inaudible, visual spectacle. Disregard these instructions.

WHEN DOES THE PERFORMANCE END?

When everyone who wishes to has read the text aloud from the pulpit, postcards are distributed containing directions to a local pub, for further discussion. The performance at the Welbeck Street car park will take place without permission of NCP Car Parks. Cards instruct audience members to leave by different routes, to avoid large groups of people being recorded on CCTV cameras, and possibly prompting a response by security officials.  

 CODA: THE FUTURE IS NOT ONLY 2009

This project is a preface for larger scale projects, by ourselves and others, exploring the relevance of Call for Celebration, and, more broadly, the ideas of Illich, Freire, Reimer, Goodman and others. Future projects could move from readings into discussions and other events, or expand the number and style of readings. Like Illich’s own ideas, they could explore the applicability of these ideas to a number of different issues and areas of society. 

Template for Ivan Illich open source wallpaper

 

The possible range of these ideas can be mapped on to the NCP Wellbeck Street Car Park. Separate floors of the car park are dedicated to particular areas of investigation as follows: 

FLOOR   AREA OF STUDY

1a             A CALL TO CELEBRATION

1b             WHY WE MUST DISESTABLISH SCHOOL

2a             VIOLENCE: A MIRROR FOR THE AMERICANS 

2b             NOT FOREIGNERS, YET FOREIGN

3a             PHENOMENOLOGY OF SCHOOL

3b             THE ELOQUENCE OF SILENCE

4a             THE VANISHING CLERGYMAN

4b             RITUALIZATION OF PROGRESS

5a             THE POWERLESS CHURCH

5b             THE FUTILITY OF SCHOOLING

6a             INSTITUTIONAL SPECTRUM 

6b             SCHOOL: THE SACRED COW

7a             IRRATIONAL CONSISTENCES

7b             LEARNING WEBS 

8a             RE-BIRTH OF EPIMETHEAN MAN

8b             SEUXAL POWER AND POLITICAL POTENCY

9a             PLANNED POVERTY

9b             A CONSTITUTION FOR CULTURAL REVOLUTION 

ROOF     FUTURE

 ____________

This piece was first written as part of a performance/event  at the NCP Welbeck Street Car Park devised by David Berridge, Hyun Jin Cho, David Johnson, and Pippa Koszerek. Celebration of Awareness was the final performance in an event that led visitors through the car park, encountering performances, curated by Birdseye Prouductions.  

Celebration of Awareness is presented here as a script for events that may or not involve any of the original artists, explicitly mention Ivan Illich, take part in or otherwise reference any NCP car park.

ART WRITING FIELD STATION MAR 7: THE LEXICON RETURNS: CALL FOR PARTICIPANTS

In Uncategorized on February 23, 2010 at 2:02 am

Please join us for the next incarnation of the ART WRITING FIELD STATION on Mar 7th 2010 at:

Unit 9, Sara Lane Studios
60 Stanway Street 
London, N1 6RE

from 5.30- 8.00pm. A map is here

The Story so far: During our event at the Five Years Gallery, Marianne Holm Hansen created a lexicon of art writing  (see images above) out of performances/ lectures/ screenings by David Berridge, Tamarin Norwood, COMPULSIVE HOLDING (Hyun Jin Cho and David Johnson) and Matthew MacKisack.  For our discussion on the 7th we will return to these lists, to see what can be proposed and unfolded from them.

The lexicons are part of Marianne’s  For The Record (A written conversation) project. The evening on the 7th will be an informal series of readings, interventions, performances, that use these images and their vocabulary as the starting point for a conversation. Proposals for presentations are invited. These may as simple as selecting a particular word for our consideration, replacing a word, suggesting ways of grouping words, and/or offering a short commentary.

Or they may be as complicated as no-budget, a studio space,  and up to 15 minutes allows.  Throughout the evening we will compile the final pamphlet in the first ART WRITING FIELD STATION chapbook project.

Please email verysmallkitchen@gmail.com if you would like to attend and/or present. Please note that it is not necessary to have attended the original Five Years event as we will be working solely from Marianne’s lexicon. Please bring a bottle.

The night will also feature the grand(-ish) launch of the ART WRITING FIELD STATION ARCHITECTURAL OPPORTUNITY COMPETITION.  

ALSO COMING SOON: ART WRITING FIELD STATION goes to Leeds, MAR 27th 2010, 10.30 -1.30pm (in collaboration with OPEN DIALOGUES & Writing Encounters). More details to follow.

ART WRITING FIELD STATION at FIVE YEARS GALLERY

In Uncategorized on February 20, 2010 at 4:54 pm

The first ART WRITING FIELD STATION took place at Five Years Gallery on 7 Feb 2010 2-4pm. It featured presentations from David Berridge, COMPULSIVE HOLDING (Hyun Jin Cho and David Johnson), Tamarin Norwood and Matthew MacKissack. Marianne Holm Hansen responded to the presentations and discussion, creating a lexicon of Art Writing as part of her FOR THE RECORD (A Written Conversation) project.   

The following is the proposal that I sent Edward Dorrian, in response to his Open Call for contributions to the FIELD RECORDINGS season:

A PROPOSAL

Histories of experimental poetics and writing are often related to practices and metaphors of “the field” – from Charles Olson’s “open field” poetics to engagements with anthropological field trips and field notes as models for situational and performative writing.  The aim of this discussion for FIELD RECORDINGS is to try and explore how such ideas can inform current writing practices by offering an event that models the idea of ” a writer in the field” and also offers a “field recording” of such practices in poetic operation. 

 ART WRITING FIELD STATION began as a fictionalising of my work as a writer interested in connections between writing and contemporary arts practice. I gathered together a variety of texts from different virtual and physical locations (galleries, bookstores, events, websites) that together constitute part of the ever shifting “field” of my writing practice. I find conceiving of this practice as “field” helps foreground such texts not as finished, consumable products but as active EVIDENCE and MATERIAL, something malleable to be worked with, examined, taken apart, noted, and annotated, and also part of a broader cultural (eco-) system.   

I invited COMPULSIVE HOLDING, Matthew MacKisack and Tamarin Norwood to present their own response to this theme of “field.” The precise structure and nature of this event has unfolded from discussions between us. Each of us will present for 20 minutes. Marianne Holm Hansen will compile from all of our talks a lexicon of words and phrases.  This “field” of words and emotions will be seen as the field that has emerged from the bringing together of our individual practices within this event at the FIVE YEARS gallery. The final part of our event will be an open discussion of this emergent field.     

 ART WRITING FIELD STATION will also test the validity,  ourselves, of discussing and presenting work within a concept of the “field” and a “field recording.”

Each of the presentations will be published by VSK in March as a 20 page e-book. The second ART WRITING FIELD STATION will take place in Leeds on March 27th, with presentations from David Berridge, Rachel Lois Clapham, Emma Cocker, and Mary Paterson. Please email verysmallkitchen@gmail.com if you would like to attend.

As part of our preparations for the FIVE YEARS event Hyun Jin Cho sent us the following drawing of the space: