Pipe

Exceeding & Extending: The input/output of today’s artist

noreply@blogger.com (Pipe) — Thu, 23 Jun 2016 08:53:00 +0000

In relation to the digital network or Stack, Benjamin Bratton observes that the ‘plural User subject’, who is ‘conjoined by a proxy link or other means’ and ‘could be composed of different types of addressable subjects: two humans in different countries, or a human and a sensor, a sensor and a bot, a human and a robot and a sensor, a whatever and a whatever’^[1] – therefore how does the artist operate within the type of inexhaustible network of connections and sensory inputs that Bratton describes here? As he asserts, it is conceivable that in an online exchange, any of the correspondents involved might not be human, even if posing as such. The wide-spread introduction of Captcha (software developed in order to identify non-human sensors, generally inputting spam) is testament to this relatively recent online trend. This is a situation indicative of what is, and will continue to become more common and less questioned all the time. Therefore, in this sense the human user also becomes a type of sophisticated sensory constituent, in a vast open interconnected multi-directional system. The artist and their relationship with the Internet, allows them the potential to become an active sensor par excellence. I consider that today’s artist – those vigorously engaged with the communicatory digital sphere – generally function in three fundamental ways. One, consuming vast amounts of information; secondly, (in)directly ‘creating’ from this material and knowledge; and lastly, distributing these creations and communicatory data, back into the ‘network’. By way of a connection here, Vilém Flusser writes in 1989: ‘Owing to the manner in which images are currently transported, they must serve the same function as’, ‘codes of conduct’. ‘They must transform their addressees into objects. This is the intention of portability.’ (…) ‘In our contemporary society, the new media are currently geared toward making images into models of behaviour and people into objects.’^[2] His descriptions in this text could be describing what we have come to know as the World Wide Web, two years before it was properly developed. Crucially in this context though, his idea of ‘people as objects’, relates to my suggestion of the human as, with and occupying the position of a type of complex inhuman computational sensor. The artist’s role here, within the contemporary Post-Internet environment, continues to become a most active, committed, adaptive and multi-faceted, participatory one.

Art is a visionary engagement that exceeds and extends beyond quantification.^[3]

The assumption that Capitalism needs to subsume everything in order to continually reproduce itself and in the process, create the general artist - one that is able to exceed capitalist subsumption through an abstraction of capital and by negating use value and creating their own self-valorisation^{^[4]} - is worth considering in relation to Post-Internet and the artist. As Brad Troemel points out, ‘Modes of production employed by artists are often a reflection of the larger cultural Zeitgeist.’ (…) ‘And for the generation of artists coming of age today, it is the high-volume, fast-paced endeavour of social media's attention economy that mimics the digital economy of stock trading, a market increasingly dominated by computer-automated algorithmic trades. For these artists, art is no longer merely traded like ‘stock’; it's created like one, too.’ ^{^[5]} Presently, the artist uses the Internet as a primary source material for their work. Regardless of the form the work takes or materials used; often these are acquired through, and then from Internet sources. This constant form of mediation has now become subliminal and isn’t even a consideration for most - hence this is when the Internet becomes ‘Post’. Comparable to ‘stock’ in Troemel’s description, this continuous stream of data extractions & then insertions by the artist, is steadily becoming the standard means in which they research, develop, reflect, interpret their experiences, and in turn, facilitate their role as an artist within capitalism’s reproductive system – a system, where ‘value’, in all its forms, is the overriding principle.

The artwork is a socially mediated commodity that transcends the standard value form, as it adheres to a different set of ideas in this regard. It is a commodity absolute, because it is aware that it is one. Therefore it can and often does reflect upon this reality, unlike other commodified objects. A claim made by Benjamin Noys when discussing ‘the realism of the Abstract’ and where art’s critical engagement with the paradox of valorisation is established. He suggests that, because of its ‘functionlessness’ and lack of any real and actual necessity, art is therefore ‘rooted in the paradox of abstract labour’.^{^[6]} But moreover, it has the capacity to embrace and communicate such ideas, where labour (deemed abstract or otherwise) never does.

The art object is the same as the image or ‘art image’ in this way: ‘All objects create another’^{^[7]}, since they prompt or pre-empt a certain cognitive or even biological process, that introduces or leads to another thought, image or object. This sequential process is potentially inexhaustible. ‘The meaning of an image can be changed according to what you see beside it or what comes after it’^{^[8]}. This quote from John Berger is a simple description of a fundamental process within human cognition. And from an image or object, for the artist, many more are devised, literally and symbolically. The morphing and merging of ideas into new ones, then fed back into the system, defines the Post-Internet experience. Think of the artist working from online material today; the abundance and accessibility of which, is beyond comprehension and unparalleled. In reference to Flusser again and echoing Berger’s previous comments on images, their successions, ‘objects’ and their aftermath, he writes that, the representations in representational images, ‘form a circle, that is, one draws its meaning from the other, which in turn lends its meaning to the next.’^{^[9]} What does this mean then for the artist saturated by images and objects; making work from all manner of ‘texts’ and cultural sources? The banal, trivial and even mistakes (in the ‘Freudian slipped’ sense) make for interesting and often profound statements on class, capital, society, culture (the high, low & in-between varieties) etc. And clearly, the opposite can also be true, where this comment is concerned.

If social capital comes from the practice of taste-making (compiling images instead of making them), artists who have been called ‘post-internet artists’ can be considered alchemists. They take stock of the rubbish heap of net history. They turn shit into gold by compressing and decompressing digital artefacts, rehashing them into something informative, intellectually abstract, and visually elegant.^{^[10]}

Chan’s remarks on the artist here emphasise the hybrid nature of this method of ‘tactical web surfing’ and the ‘hyper-mediation of existing genres’ that help categorise the modes in which the artist uses the digital network. If, as Gene McHugh suggests, ‘new media’ becomes art by mutating ‘itself to become more like the art world art, the work mutates art world art to become more like the internet.’ This creates ‘work that has one foot in the history of art and another foot in the experience of network culture.’^{^[11]}

To conclude for now, if one considers the unbounded potential (constructive and otherwise) of the digitalised, tele-networked, global society we now exist in and are (pre-)determined by – there seems no rational arguments for accepting the world in any pre-determined form. I judge the practice of individualised questioning and analysing, potentially all images, objects or matters of attention, has now become standard practice. This is the way in which most artists now function. The idea that what we experience, or ‘the/our world’, was made a certain way ‘and that we should not presume to ask why it was made this way and not some other way’ is an argument that has no reasonable legitimacy anymore in my view. Consequently, as we observe in today’s heightened acts of formulation and research by artists, through mediation with the Internet, they simply are not accepting ‘the world as they find it’.^{^[12]} And are subsequently creating anew by challenging what they find.

This text was written for the IASPIS Open House, Spring 2016 (Friday, 18th of March, 2016), Stockholm. These are initial comments on specific artistic research methodologies and aims to examine certain contemporary debates around the Artist, (Post-) Internet and Capitalism. The ideas derive from interpretations on working methods perceived in particular artist’s practices.

1 Bratton, Benjamin: The Black Stack (http://www.e-flux.com/journal/the-black-stack/, 2014)

2 Flusser, Vilém: Writings, ed. Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 73-4.
3 Essoglou, Tracy Ann: Lets Talk About The Debt Do For… Responses (http://artanddebt.org/lets-talk-about-the-debt-do-for-responses/, 2015)
⁴Noys, Benjamin: The Art of Capital: Artistic Identity and the Paradox of Valorisation, (https://www.youtube.com/watch?v=BGywpIgHeq0 , http://www.academia.edu/689156/The_Art_of_Capital_Artistic_Identity_and_the_Paradox_of_Valorisation, 2011)⁵Troemel, Brad: Art After Social Media, ‘You Are Here - Art After the Internet’ ed. Omar Kholeif (Manchester/London: Conrner House /Space, 2014) 42.
6 Noys
7 Harman, Graham: Art & Paradox (https://www.youtube.com/watch?v=kysr2CPu96Q, 2012)
8 Berger, John: Ways of Seeing (https://www.youtube.com/watch?v=LnfB-pUm3eI&list=PL7C3ECA9027898EB2, BBC, 1972)9 Flusser, Vilém: Into the Universe of Technical Images (Minneapolis: University of Minnesota Press, 2002) 8-9.
10 Chan, Jennifer: Notes on Post-Internet, ‘You Are Here - Art After the Internet’ ed. Omar Kholeif (Manchester/London: Conrner House /Space, 2014) 110.
11 McHugh, Gene: Post Internet: notes on the Internet & Art (Brescia: Link Editions, 2011) 16.
¹²Brassier, Ray: Prometheanism, ‘Accelerate: the Accelerationist Reader’ ed. Robin Mackay & Armen Avanessian (Falmouth: Urbanomic Media, 2014) 485.

Photos from recent Stockholm shows we have visited

noreply@blogger.com (Pipe) — Thu, 25 Jun 2015 08:21:00 +0000

Here is a collection of photographs from a number of exhibitions which we have enjoyed seeing in Stockholm over approximately the last month. If those who see this can, they should try and see these shows before they end. If not, one might still perhaps look out for some of these artists in the future.

Adrián Villar Rojas at the Moderna Museet – a man inspects the side room installation of the exhibition during the opening

The ‘transformed’ artefacts on the brightly lit staging of the main room

The Argentine artist Adrián Villar Rojas’s show Fantasma at the Moderna Museet appears like a new surreal, futuristic museum environment. The high-key lighting in the large square space has echoes of a set from Kubrick's 2001. Central to the space, raised to roughly eye-level on a large platform, are a collection of familiar and strange objects which appear to be in a state of flux. This work, and particularly the presentation of it, is both fascinating and appears to pose questions about ‘art’ itself, ownership, human progress and memory.

A view from one of the exhibition rooms of The Royal Institute of Art’s (Kungl. Konsthögskolan) MA Graduation Exhibition 2015

Hedda Viå comments on contemporary western ideology through adapting images and objects associated with advertising and consumerism

Anna Taina-Nielsen – this image shows the artist as ‘worker’ in her performative work

The Royal Institute of Art’s (Kungl. Konsthögskolan) MA Graduation Exhibition, at Konstakademien on Fredsgatan (12), contains the work of 23 of their graduating students. The array of materials and techniques used in the show is in keeping with this institutions tradition for encouraging experimental, explorative practices. Works here utilise installation, performance, sculpture, video, painting, and photography. Much of the artworks have been devised in response to the exhibition and the historical associations of the venue used in staging it. Works question, embrace, critique and poke fun in equal measure, at much of art’s traditions and our modern society as a whole. All the works had their merits and areas of intrigue, but Hedda Viå, Éva Mag and Anna Taina-Nielsen caught our attention particularly. These practitioners artworks, all very different, either have a strong sociocritical dimension, in the case of Viå & Taina-Nielsen, or were visually arresting and presented to convey some interesting connotations about our western history, as Mag has done. However, overall this is a strong show and for those involved, I am sure we will see much more of their work again in the near future.

The mechanical Oxymoronia by Heri Dono, from the show at Färgfabriken

Dono’s The Three Donosaurus at Färgfabriken

Heri Dono is probably Indonesia’s most renown contemporary artist and his exhibition Animachines, at Färgfabriken is a large scale showcase of his work. In the show, Dono gives a magnificently individual insight into the social and political history of his native country, through adapting some of their cultural traditions and imagery. Linking traditional Indonesian culture and animism with inspirations from cartoons and western art, Dono manages to create some unique imagery. Humour, colour, oddities, mechanics and interactive works (there are lots of buttons to press), make this show an entirely new and joyous experience. Absolutely not like anything you have seen before.

Jim Dine’s sculpture Lopper's Blue Dream, 2013, oil enamel on cast bronze; with the painting Pinocchio's Unhappiness About Those He Cares About, 2013, acrylic and sand on canvas; both at the Wetterling Gallery

An old favourite of ours is Jim Dine. This new work, Heart of Stone at the Wetterling Gallery focuses on the well known story of Pinocchio, with a collection of paintings and sculptures of the well-known ‘little wooden boy’, together with adjoining, found objects. In sticking with his ‘pop’ traditions, alongside this subject is a series of heart paintings, which give more than a slight nod to abstract expressionism and his 60’s contemporaries, Messrs Johns & Rauschenberg. This work is colourful, fun and continues to look at themes relating to reality, and of course it’s opposite(s), which have been a constant point of reference during Dine’s more than 5 decades as an exhibiting artist.

A link to Hasse Persson’s (Artistic Director) fine text for Heart of Stone can be found here

A Brief Introduction to Keith Harrison

noreply@blogger.com (Pipe) — Thu, 21 May 2015 12:54:00 +0000

Having been banned from the ceramics room on his first day of an Art Foundation course at Bournville, Keith Harrison understandably had no aspirations of becoming a ceramicist in his fledgling stages as a visual artist. However, it seems that this authoritarian experience probably challenged his innate perceptions of what this sort of practitioner could be and therefore led him to confront the conventional notions of fine art ceramics. As a result, this has become the key factor which underlies his work as an artist.

Keith Harrison standing on top of his work ‘Float’, 2011

Harrison was born in West Bromwich but grew up in Birmingham. He studied on a BA Industrial Design course in Cardiff; later switching to Ceramics, largely due to a course he completed during his initial BA. Following this, he undertook an MA in Ceramics and Glass at the RCA, where he graduated in 2002.

I am interested in the opportunities that clay offers in its different states; as a liquid, plastic and solid, and ultimately, the potential for the direct physical transformation of clay from a raw state utilising industrial and domestic electrical systems in a series of time-based public experiments.

The merging of ceramics with performance, ‘action’ and other forms of sculpture and installation, has allowed Harrison’s work to create and occupy a largely distinctive position within contemporary visual art. A vital attention of the work, which is referred to in the previous quote, is a temporal dimension that enables it to be structured and culminate around the delivery of an event, which is integral to the artist’s foremost sensibilities.

After his graduation in 2002, Keith developed various processes and ideas for a number of live public art events. These experimentations have utilised portable household appliances, audio equipment, materials, objects and systems associated with an industrial and domestic base, and the staging of live firings of his ceramic works. These have taken place in various venues such as a living room, science laboratory, café and not-for-profit artist run spaces in Brighton and London. ‘The physical transformation of clay from a raw state’ into something fixed and synthesised, is central to Harrison’s very intentionally somatic process of presentation.

Many large scale works have been produced for public galleries by using the given space to produce these site specific, time based works. Over recent years he has exhibited in venues such as the V&A, Jerwood Space, Camden Arts Centre and mima in Middlesbrough.

‘Grand’ 2008, at the V&A, for his V&A Ceramics Artist in Residence, October 2012 – March 2013

His scrutinising of different conceptions of the firing process, led him to use unconventional heat generators, which began in 2007. In his work ‘20 Whittington Street’ at the Camden Arts Centre, A living room carpet made from chapatti bread dough and spices heated underneath until the smell became unbearable for the audience in the gallery space, was devised for the show. Another exhibit ‘Float’, commissioned for Jerwood Open Makers in 2011; a large piece that was the result of a sequence of smaller scale works and experiments involving sound, combined clay and electricity and included his works ‘Blue Monday/White Label’ (Landmark, Bergen, 2010), ‘Brother’ (mima, Middlesbrough, 2009) and ‘Grand’ (Permanent Gallery, Brighton, 2008).

The post-war, Brutalist architectural designs of 1950’s & 60’s are a major influence on Keith’s work. He has been especially intrigued by the colourful tower blocks found at the Bustleholme Estate in West Bromwich, near where he was born. Their tiled exteriors of bright blue and yellow make these large angular structures disconcerting. Connected to this is his interest in the architecture of Berthold Lubetkin and the Tecton group. Their design’s for animal enclosures at London, Whipsnade and Dudley Zoo tap into Harrison’s curiosity at the notion of ‘social observation of captive animals as a recreational pursuit’ and how this can be aligned with the performative nature of his own work.

The buildings of the Bustleholme estate in West Bromwich, outside Birmingham, that Harrison's work has been informed by

On these sorts of post-war ‘social experiments’, as they are often labelled, and their architectural embodiments, Harrison comments: ‘I am interested in these buildings and more generally the radical social agenda for state architecture of the 1960's relating to comprehensive schools and housing.’ The political/social agenda within the work, which is unquestionably subtle, is still a central issue. An attention on the social arrangement of predominantly working class communities, the controlling, observing and monitoring of them, is a significant focus for the artist when placing some of the work’s subjects.

Harrison states that he wants his work to have a kind of ‘monumentality’ to it. The idea of destruction is always a part of this awareness too and how such seemingly permanent object and forms are actually temporal and can often be perceived archaic relatively quickly. His work ‘Float’ is a fitting example of these principles.

The speaker towers of the 'Bustleholme Project' and Napalm Death during their performance

Perhaps Keith's now most infamous work was the 'Bustleholme Project'. This was the final proclamation of his residency at the V&A and a continuation of his work with the band Napalm Death, who also originate from the Birmingham area. Using the band's ferocious performance, Harrison had their audio blaze out from a speaker system built and designed by him. This system, the design of which was based on the towers at the Bustleholme estate, were mass rectangular objects with a large speaker system installed inside them; their exteriors tiled in the appropriate colours and placed in the middle of the De La Warr Pavilion auditorium. Naturally the objective was to see these objects begin to fall apart during the performance, largely due to the sheer force of the music emanating from them. However, this process was also helped by an individual who managed to enter the central space where the system was situated and begin to physically attack these structures. Although made for his V&A residency, the eventual Bexhill on Sea venue used for this live performance seemed highly fitting for both Harrison and the band. The stark post-modern design of the building and the bleak seaside landscape made this a decent match for both sound and vision.

What makes Keith Harrison’s work so intriguing and refreshing is that he is using and experimenting with clay in an ostensibly different way. He wants to investigate the potential responsiveness that this material has in different situations and states, and then allow people the chance to experience first-hand the processes and results of these events. The opposing concepts of creation and destruction is crucial to these projects and his inclusion of other objects and material established factors such as sound, heat, movement, smell etc., makes Harrison’s work brave, unpredictable and overtly multifaceted.

Keith Harrison and Napalm Death: 'Bustleholme' by Jared Schiller.

Announcements & Changes for Spring 2015

noreply@blogger.com (Pipe) — Sat, 21 Mar 2015 13:43:00 +0000

As we are always trying to keep Pipe interesting - primarily to us, those who write and run this blog - we are, as a result of this approach, often considering new projects, texts and directions, which will best achieve this. We like to work on the assumption that, because we are ‘of this world’ and thus have preferences which are in all probability, shared by others, we therefore suspect that any new direction we do take may be of interest to other folks also. This outlines the case here.

It has been sometime since any new ideas have been declared by us. In this moment, we plan to return to one of the fundamental principles of this project. Being, we want Pipe to reflect and to show our own inclinations and preferences, which exist around our different chosen creative ‘arenas’. Another objective of ours - that we have not declared previously, but because it has grown over time we now feel we have to announce and act on it, is:

We aim to bring to your attention instances, individuals, works, organisations and/or any other creative or cultural example that by our judgment, presently are not being given the considerations we believe they/it deserves; or simply, those fascinating artistic examples, which might normally have passed one by.

This is clearly only a judgment of course. Therefore, if we end up discussing something you already know about or if you do not agree with our assessments, then this is constructive for us too, as we hope that you will share with us your thoughts, positions or criticisms. Discussion and bringing new ideas or examples to the fore, has always been one of our chief objectives for this blog and it remains so.

As a result of all this, we will be starting with a new series of articles on artists and creative individuals, whom we believe you should be made aware of. These are sometimes relatively new artists, but not always. Nonetheless, because we feel they are producing work that deserves a lot closer inspection and more widespread attention, we will be profiling and analysing some of the work they produce.

Lastly, as part of these ‘new horizons’, we are planning some aesthetic changes to the site as well. These will become clearer in the coming weeks but if you keep visiting us you will see those changes for yourselves, as and when they occur.

Four New Shows in Stockholm to Recommend

noreply@blogger.com (Pipe) — Thu, 26 Feb 2015 11:44:00 +0000

During our recent time back in Stockholm we have visited a number of shows. Here are four that Pipe would now like to recommend. All the exhibitions described within this selection, are very different and were enjoyed by us to varying degrees, but in our view they are all still worth going to see.

Astrid Kruse Jensen, Disappearing into the past # 22, 2010-2012

The Danish photographer Astrid Kruse Jensen, who is exhibiting at the Wetterling Gallery in Kungsträdgården, displays beautifully emotive, large scale photographs in her show Beauty Will Always Be Disturbed. Due to their processing & printing these images, viewed from a distance almost seem like paintings. Her method of working has given the work a wistful quality and provides them with this painterly effect. She has taken these photographs on old expired Polaroid film and then blown them up, and in some cases to over a meter squared, presenting them in simple, clean deep frames. This conventional, yet effective method of presentation seems appropriate to the work and fits with the space generally.

Astrid Kruse Jensen, Disappearing into the past # 55, 2010-2012

The melancholic, cinematic nature of the work is more than a little bit indebted to filmmakers like Von Tier, Bergman & Tarkovsky (perhaps the less said about this artist’s film - The House Inside Her, which also features in the show - and its strong association with the latter in my trio of comparisons, the better). Regardless of this however, the work is still highly aesthetically fulfilling and has a type of proposed narrative that intrigues and invites ones own interpretations.

The exhibition runs until March 21^st, 2015.

Annabelle by Markus Schinwald, 2015, Pigment Print, 140 x 100cm

Having represented Austria in 2011 at the Venice Biennale, and as recently as last year, having also had a major solo show at both the CCA Wattis Institute for Contemporary Arts in San Francisco, in association with SFMOMA, and at the M – Museum Leuven in Belgium, Markus Schinwald now brings his eclectic and often bizarre exhibits to Magasin III.

[The address for Magasin III is: Frihamnsgatan 28, 115 56 Stockholm - link to it on the map]

Actuator 2 by Markus Schinwald, 2015, mixed media sculpture

This exhibition inhabits two spaces, across adjoining floors - one on top of the other. We enter through an old wardrobe, which in itself is clearly a loaded metaphor, in the ‘social sphere’, and references some fairly well-known literary works. The first space is surrounded with multiple framed reproductions of various illustrations of 19^th century bourgeois individuals. These people all have some sort of intervention to their poses or demeanours however. This gives them a fetistic and ‘freak’ like appearance. Nonetheless, I still can’t help but think of certain commercial illustrations that have become popular in recent times and can be found on stalls in markets, particularly those around London’s East End. The sheer number of prints and this somewhat unfortunate connection, makes this part of the show my least favourable. Nevertheless, in the centre of this room is a far more engaging work. The work Actuator 1-6 are objects that have been made to look like or adapted from old furniture and then mechanically installed and placed in different uniformed formations inside little openings in the wall. These surreal works move, grind and scrape in unison, looking somewhat like Hans Bellmer sculptures that have been given movement. Undoubtedly, the human body is a constant reference here, and how the social and cultural positioning of such natural forms is inspected. An earlier work entitled Curtain has been placed adjacent to Actuator 1-6 in the thin corridor that separates them, and is seemingly out of place in this context. Yet, the subtle, enthralling and slightly sinister nature of this curtain and what might be behind it, balances extremely well with these apparently antique like forms. The curtain is a rich red and has the appearance of faces that look like they may have come from woodcarvings, which have then been imprinted upon the fabric. For me this is most appealing. It has clear theatrical connotations and further adds to the mystique of this formation of pieces.

Curtain, 2006, prints on fabric

The level below the first floor of the exhibition is an entirely different experience. This square room is an arena that has white false walls setup all the way round and consists of a number of projections, that utilise these surfaces. Also, on these walls, spread out across the gallery, are a collection of different objects such as paintings, sculptures and protruding and receding shapes that dissect the wall itself but are still uniformly a part of it. The video projections are of people, seemingly life-sized to us the viewers, who appear to be in this space previously, and are interfering and inspecting the walls, various objects, many draws, doors and other hiding places inside these walls. This uncanny sense of both viewing and existing in a place, which is the same as the one you find yourself in but is also fundamentally changed, is unnerving and triggers a strange kind of repressive responsiveness that is difficult to process fully. This work seems profoundly Freudian to me, as it fascinates and alarms in equal measure.

Stage Complex (Thomas), 2015, Video, again by Markus Schinwald

The exhibition runs until December 13^th, 2015.

Cykeltjuven (Bicycle Thieves), 2015, from Newton’s Bird by Linnéa Jörpeland, bronze, 72 x 207 x 45 cm

Lars Bohman Gallery is the site of our next recommendation. The artist whose work features in this exhibition Newton’s Bird, is Linnéa Jörpeland. A native Swede, her work is often playful and humorous, yet has a deeper questioning tone. Our relationship, or certainly the human environment’s, link with animals and their world, is a notable attention in her work here. As a sculptor, most of Jörpeland’s pieces have been cast in bronze and to an extent, seem to have been made in order to alter or question certain perceived notions of the ‘expected’ or different recognisable behaviour within the human-animal world. Like snakes who have swallowed unforeseen objects such as shoes or an entire child’s bike. A further curious work is the halved table supported by the wall, which has a rather gruesome metaphor attached to it. On the table is the sculpture of a cured sausage with a small section cut from one end, placed beside a knife and on chopping board, which have all been arranged there. Its position has been challenged by a dog’s nose though, that just sticks up from the edge. This piece of nose, and end of mouth clearly has been made to be almost exactly the same size as the missing end of the sausage. This sort of provocative, yet still subtly constructed work, is a feature of the show and manages to work on various levels giving her work a more wide reaching appeal.

Nötfärs, späck, vitlök och kryddor (Minced beef, bacon, garlic and spices), from Newton’s Bird by Linnéa Jörpeland(detail, 2015, bronze and wood), 77 x 69 x 57 cm

My favourite piece in this exhibition does not however have an animal present in it. This work does make use of the shadow though. Whether this is an actual shadow, like in this case, fashioned from a sculpted Swedish flag & flag pole or a painted/changed shadow, like in other instances, these do have a strong presence in this body of work. The shadow here, made by the spot light and flag construction has a woman in a kind of 40’s or 50’s style bathing suit appearing to walk along the line made by the shadow in the way a trapeze artist might precede along a tightrope. This quite delicately sculpted piece has a refined appearance. Nationalism and perceived notions of the female role and their associated stereotypes, are strongly contained within this piece but not overtly so in my view.

I sinom tid (In due course), 2015, from Newton’s Bird by Linnéa Jörpeland, bronze and wood, 100 x 100 x 22 cm

The exhibition runs until March 22^nd, 2015.

Images from Hans Bellmer’s 1934 book, The Doll (Die Puppe), feature in this show at Stockholm’s Kulturhuset

Our fourth and final tip is the exhibition Asylum at Kulturhuset in Stockholm. Curated by the author and director of fashion design at Kulturhuset Stadsteatern Karina Ericsson Wär, the show is a specific, but expansive exploration into certain correlations between fashion and art. Works from a wide array of artists & designers, both past and present are on show here and as one might expect, these are largely interested in studies and depictions of the body. The key captivations of the show are with constructing various identities - with different notions of the surreal featuring strongly in the exhibition. None more so than the work of notable advocates of this treatment, such as Hans Bellmer, whose renowned photographs of distorted and deformed human shapes are on display. Elsa Schiaparelli’s Skeleton dress, inspired by a sketch from Salvador Dalí and produced in 1938 for the Haute Couture Collection ‘Circus’, lays bars, or in this particular case, turns inside what is held within, in a bizarre, highly stylised, fashion object. The contemporary designer Ann-Sofie Back’s garments are also displayed. Seemingly incompatible parts are stitched together to produce pieces that appear like futurist designs or costumes from a sci-fi film.

This exhibition truly is a real treat and contains a whole plethora of different works. From the video installation art of Aernout Mik and their totally unsettling situations, to the violent minimalistic/industrialist, swishing cables of Sun Yuan and Peng Yu & then moreover, the sadomasochistic, eroticism of Rut Hillarp’s relationship with experimental filmmaker Mihail Livada - as depicted in an exquisite film collaboration.

Untitled, 2015, by Ann-Sofie Back in Kulturhuset’s Asylum exhibition

Asylum also features works by many other designers and artists, such as Martin Margiela, Anna-Sara Dåvik, Juun.J, Sandra Backlund, Minna Palmqvist, Patrik Söderstam and Maria Miesenberger. A perplexing, yet wholly captivating show, the curation is well considered and conjoins the works together in an often unexpected way, which keeps it interesting and distinctive.

The exhibition runs in Gallery 3 of the Kulturhuset until May 24^th, 2015.

This concludes our four current exhibition recommendations. We have appreciated seeing these works and hope you have an opportunity to visit these shows as well. If you do, please let us know what you thought of them here, thanks.

White Fence: a profile & some considerations on 'For the Recently Found Innocent' (released July 2014)

noreply@blogger.com (Pipe) — Tue, 30 Dec 2014 13:42:00 +0000

The album cover & self-portrait for, 'For the Recently Found Innocent'

White Fence is a band that I have followed quite closely since their incarnation as a recording entity some four years ago. Their album release of this year was entitled For the Recently Found Innocent and was duly anticipated - speaking for oneself evidently. Having listened to the record extensively, I would now like to discuss my thoughts on the album over the course of this article. Initially however, I want to write a brief section outlining who the band is.

Darker My Love Performing 'Backseat'

from 'Alive As You Are'

White Fence is essentially just one person. The name of this person is Tim Presley. An American chap, based in L.A but originally from San Francisco, Tim seems to be, or has been involved with a number of bands and musicians for roughly the last decade [for more on this]. This trend of musical ‘types’ being connected and working together on various projects, which Presley seems to be somewhat of an archetype for, is prevalent in the L.A/San Francisco ‘music scene’ - or the ‘scene’ catering for the sorts of sounds made by Presley et al. Of his past work, the most notable was his time spent in Darker My Love, a band which first made me aware of his music (even though he did also spend a short time in Mark E. Smith’s band The Fall - but who hasn’t eh? This feels very much like a separate matter however, so one will not get bogged down in this here.) Their last album to date was the much-underappreciated Alive as You Are (2010), a record that was definitely their strongest and one worth listening to if you haven’t already. Being one of the two principle songwriters whilst in DML and a part of what certainly became a somewhat bigger, more label sponsored act; he has since struck out alone as White Fence and with it, this appears to have brought a far greater creative freedom. Like most recording artists, Presley is more than a little bit indebted to the pop music of earlier decades and especially psychedelia. He does however put a distinct modern twist on older sounds. It is as though he has past 60’s garage rock sensibilities through a certain contemporary psychedelic canon, picking up a variety of influences along the way – everything from punk to the English music hall. Although beginning to emerge on Alive as You Are, his influences notably have many British leanings. One can hear resonances of Kevin Ayers and Syd Barrett particularly of recent tracks. Then, as in this moment, Presley isn’t a musician desperately trying to devise an entirely new musical experience or be a vastly innovative sounding musician. Nevertheless, since the end of DML and up until For the Recently Found Innocent, due to experimentations in writing, structure and musical production, there have been a number of varyingly interesting moments on his 5 other previous White Fence records. The artistic freedom evident on these albums come through a sort of ‘do it yourself’ audio aesthetic and it is tantamount to this individual’s willingness to take what he knows/likes, digest and then regurgitate it in a variety of different ways - some of which understandably work better than others, but the works as a whole only appear to have benefitted from these often captivating attempts. The creative potential of home or self-recording, when executed properly is clear and very few in recent years, have shown this better than Presley. If one has a purpose and can work towards their own creative vision then now, with available means/technology to do so, why would they employ a producer to confuse the whole process? Professional studios have their uses no question. But there are now other ways of going about the recording process and much of the most interesting music today, seems to be evolving from this and other similar methods.

Tim Presley or White Fence or both, playing live

Tim Presley with (from left to right) Jared, Rob & Will

from DML

In relative terms, Presley could be described, in the working sense at least, as being prolific. Having written, produced and released the best part of 6 long playing albums in less than 5 years, is by modern day standards very productive. Clearly this would have been seen as being ‘par for the course’ up until the late 80’s/90’s, but since then most bands and popular recording musician’s general output has slowed down significantly. The steady output of White Fence however, coupled with the ever changing line-up (excluding Presley clearly) - in terms of the band used for preforming live, as recording has mainly been Presley himself with some noted additions when required - has made it necessary for Presley to select songs which in many respects cater for the personnel he will be utilising during these processes. He states: “I will say I did choose songs that I thought would fit with that group of people. There's two types of songs for me: [there are] the ones that are a little bit self-indulgent, more experimental, kind of stuff at home; really only I can do that in a way. I didn't really want to bring that to the table. I catered to the tools I had, which were Ty, Nick, and then later, Eric Bauer at his studio. A song where I imagined a crazier drum pattern or something - choosing songs like that.” Also, due to the wealth of material he composes, this idea of selection stretches to deciding what does, doesn’t, and when certain materials are recorded. On the question of producing this wealth of material: “Yeah. It [seems to be] like a therapy session for me every day. I do it every day and night, all day and night, really. I just end up with a bunch of songs. Some are really good, some are bad, but I have a good pool to choose from.”

Presley with producer, collaborator & friend Ty Segall, whilst recording 'For the Recently Found Innocent'

Up until this most recent release, the previous records that Presley has recorded as White Fence have been primarily created, recorded and produced in his little studio at home. But for 2014’s release, he decided to do things differently. Perhaps after working in this way for some time a new and refreshed approach was needed. Discussing this most recent collection of songs and recording them: “they didn't move me in the same way that other home recordings did (…) I knew they were good but they weren't working in that capacity. I don't know what the deal was. It was like my room turned on me." As a result he decided to leave the confines of his home and studio and look to alternative means for getting a more satisfying result. Having previously recorded 2012’s album Hair with this individual, he decided to seek the help, new studio space and production input of his friend and collaborator Ty Segall. Consequently, Segall became the record’s producer and they would use his small studio (one time garage) to record the album in. It might also be fair to suggest, having read a number of accounts regarding the subject, that Segall became something of a ‘motivator’ on this project. He helped raise the mood and spur on the progression of the work when Presley was beginning to lose his inspiration for it.

'Time' from the album 'Hair', by

White Fence & Ty Segall

But Ty shook me out of my indifference and apathy about going into the studio. He basically got me off my ass and got me to just do it. He put a time clock on it and forced me to focus up and conceptualize it.

The inspirations behind this record were, as ever with Presley, rich and varied. In particular, his Father’s death and background in the military and how this affected his family. He felt as though the loss of his Dad and the grieving process in some way enabled a far greater outpouring of creativity and subsequent amassing of material. “It’s really strange how something like that impacts someone, in a positive way" he explained.

'And by Always' from the 'Is Growing Faith' Album

Another idea was to adapt a theme(s) on the album; this time something similar to that which was explored on Is Growing Faith album of 2011. In place of ‘faith’ and the cultivating of it, he tried to suggest that the notion of ‘innocence’ might work in a comparable manner. As a result of this, thinking one might rid themselves of greed, fear, hate, envy and other negative emotions, and therefore allow a certain innocence to blossom. This might supply, particularly a creative soul, with a greater sense of accord and the ability to produce their work in a far more honest way. I guess it’s about trying to understand the darker sides of human nature and finding a kind of contentment in your own situation whatever that may be. The idea that Presley uses his creative calling - music - as a kind of therapy, is a feature that crops up on various occasions. This absolute compulsion to write and compose - even an addiction, as he himself has described it - seems both a way of better understanding the interrelated circumstances that surround us and equally, as a method of escaping them.

“I guess that’s where the therapy comes in. I’m talking about things in metaphor that I would be talking about in therapy.”

- In addition, this contains Presley’s interesting references to addiction in relation to the creation of his music.

'Anger Who Keeps you Under'

My initial responses to the tracks on For the Recently Found Innocent were positive and largely as I expected them to be. This perhaps quite nicely leads me to one of the principle reasons for this article, which may also go some way towards answering the inevitable question, as to why one would write a retort of sorts, to an album released some five months ago. As I am sure we are all aware, in the modern music industry, reviews are written and published absolutely on release of said material, and in some cases, even before this event. These reviews are frequently principally flawed in my view. I say this because, the reviewer probably makes their mind up on the merits of the record after a single complete listen, as is the nature and time given to the job; and let’s be honest, there is almost certainly an agenda beforehand as to what their respective publications are going to endorse or throw scorn over. This is the ‘Hipster’ environment that for good or bad now affects all aspects of our popular culture today. I fully understand this and don’t believe it will change. It has, to varying degrees, always been this way since the dawning of youth/sub-cultures and associated ‘rebellions’ as we know them to be - I am not even certain how else it could manifest itself either. Nevertheless, I have always felt that it would be more applicable to the actual procedure of fully listening and getting to understand or otherwise, appreciate, hate or become enthralled in a record, to allow this to occur over a period of time; much in the same way that this generally happens with the listener. I think most of us have heard, or have adopted, the statement, “give it time, it’s a grower”, on certain necessary occasions. As I have become more aware of over time, the first response on listening to a record rarely remains the predominant sense after many subsequent listens. How many times of late have I listened to a record, which I enjoy at first but soon become increasingly bored with and in extreme cases, begin to loath (?). As a result of all this, I felt I would use this latest White Fence record as the subject of this piece - largely because I know and have appreciated much of his work previously - and therefore I aim to give a broad view on how I judge the album fits into his larger oeuvre. I recognise that this process of giving a fully considered response to an album, can only ever take place on rare occasions, but ones such as this.

'Sandra (when the earth dies)'

As I have commented on before, I enjoyed this most recent White Fence record on first hearing it. It seemed to have many of the sounds and musical references found on his other previous examples. The opening track, and title track on the album, is a short little number, just over a minute long in fact, containing a hook that leaves you wishing it were longer. The Recently Found has a droll that introduces the record fairly well. Track two, Anger! Who Keeps You Under, is as you might expect with it being one of the records opening numbers, one of its strongest songs. The production is surprising for a White Fence song. The well-polished nature of it, I feel gives it real commercial appeal, which makes it the perfect foil for track three. Like That is the album’s single. I am not sure if there were any others, but nevertheless it appears precisely in that mould. This song is an unbridled ‘hit’; of that there is no doubt - a quintessential single. It sounds a lot like The Who in their early, three-minute pop making era. On this Presley’s commented: "When I first wrote it I was like, ‘Dude, I just wrote a hit, (…) I was almost embarrassed to record it. I almost threw it away. But Ty was like, ‘What about that song?' So we cut it. It's a weird one." I would agree, as White Fence songs go, this does seem a little strange, but no less catchy for it. Sandra (when the earth dies) follows this and is one of my personal favourites. Again, like much of White Fence’s back catalogue, the British influence on this understated, yet intriguingly familiar song, is abundantly clear. It has a slight Syd Barrett/’Kinksy’ element to it, with a piano section, supplied by Mikal Cronin, another musician from this current L.A music scene. Taking more than a little inspiration from the English music hall sound, this track sounds more Canterbury psychedelia than any delta blues or Americana infused weirdness, as would have been ‘closer to home’, so to speak – and this influence for me is undeniably a good thing too.

'Hey! Roman Nose' from 'Family Perfume vol. 1'

'Balance Your Heart' from 'Family Perfume vol. 1'

'Be At Home' from 'Family Perfume vol. 2'

In my view (and this is all it is clearly), the album begins to show some signs of lethargy from this point. Although the structure and production remain very professional, one begins to suspect that this approach to making the record is in fact stifling it a little and in some instances, has positively smothered it. It therefore starts to become somewhat predictable I feel. The great White Fence double album Family Perfume vol. 1 & 2 (2012) works so well because of the apparent freedom of expression they both exude and how they make you feel as though you can never guess what is coming next – the songs are always surprising but unmistakably White Fence. I sense that that sort of unshackled creative approach is what Presley is so good at. Likewise, after listening to all of Presley’s albums many times, if I were to make the judgement that as pure musical material - i.e. songs alone go - 2013’s Cyclops Reaps is his finest example of this critical source. Therefore, if such an artistic spectrum does exist, at the opposite end of it regrettably has to be this year’s album. There are some really great songs on the record, as I have said. Raven on White Cadillac, Hard Water, Good Bye Law, are some other highlights; with their mixture of Americana, folk and country; as is the classic sounding Presley number, with it’s high energy directness, Arrow Man. This song particularly feels almost as though it could easily have been a Darker My Love track, which I suppose is understandable, but is also something that is hard to find on any of the earlier White Fence releases.

'Arrow Man'

'Raven on White Cadillac'

It is undoubtedly the fact that this record is a much more accessible body of work and one which has been recorded in a far more conventional manner. The mixing of the final album has obviously taken place on a grander scale and therefore has allowed it to emerge as a more lucid piece. However, for all that this production value brings, I sense that these are the very aspects that have removed some of the appeal for me of a White Fence collection of songs. Perhaps this is just a different approach and another way of going about things. My overriding sense is that, as much as I enjoyed Tim’s previous band Darker My Love, I consider that this record could almost have been one of theirs’. This isn’t necessarily a bad thing either. I would like to hear another DML album one day and who knows that day might come sooner rather than not. I would rather see that occur, if this is the type of albums Presley intends on making in the foreseeable future anyway. The whole band dynamic often enhances this sort of sound anyway. Conversely, with regards more tangible matters, many of the subtle nuances and vital little details of a White Fence record appear to have been lost on this last album, for one reason or another; even if the predominant sound created has largely stayed intact.

Darker My Love with 'Two Ways Out'

I have tried to be as honest as I can here and unlike most reviews, I have also attempted not to carry any overall agenda. The music made by this individual, I can safely say I know and haven’t just given it a very brief listen to. From all this prior deliberating though, I would like to surmise by saying that after creating five intriguingly powerful, musically individual albums, this current work comes across as being more straightforward in its presented form. In terms of songs, it has a few of Presley’s strongest that is clear as well. I just personally hope that the lo-fi nature and refreshingly different production, which was White Fence and those joyfully bizarre little moments, will emerge yet again on future releases.

- All the quotes in this article have been taken from recent interviews with Presley and concern the release of ‘For the Recently Found Innocent’. These quotes have all been marked and linked to the original source.

A Saturday morning spent in Stockholm

noreply@blogger.com (Pipe) — Wed, 29 Oct 2014 12:16:00 +0000

After a Friday night opening at Wetterling Gallery in Kungsträdgården, where we see sculptures and drawings by the artist Bernar Venet in his show, Maquettes; displaying their chaotic, yet engineered formations - we then have an early morning stroll around the grounds of Clara Kyrka (figure i) and marvel at its sombre beauty, and then less so at its now sadly inauspicious surroundings.

fig i

We enter the new, temporary Nationalmuseum building on Fredsgatan to, firstly escape the elements and secondly to refresh ourselves. On the way in we admire their selection of casts of classic antique sculptures placed in the foyer and on the stair ways (fig ii & iii). Following a short break, it’s off to see the Konstakademien’s show, Thinking Through Painting (Part 2), which is located in Galleri Öst & Galleri Väst, on the second floor of the same building. The exhibition features: Kristina Bength, Marc Handelman, David Reed, Jan Rydén, Sigrid Sandström, Wendy White, and curator/theorist Jonatan Habib Engqvist (fig iv & v). This show is as good an exhibition of contemporary visual art as one is likely to see in Stockholm. The works are diverse, evocative and utterly engaging. The curation is successful in many ways also, as we are encouraged to navigate the space and seemingly scrutinise the works on show. As good curation often does, the artists’ works give the impression they are not only in a dialogue with you the viewer, but are also in an exchange and negotiation with both the other works and environment they have been placed in. The subtle, melancholic forms and textures in the works of Sigrid Sandström (fig vi), particularly stand out for us here. As does David Reed’s intoxicating, projected video animation - adapted from John Ford’s classic western The Searchers (2007) (fig vii). This piece - as is indicative of the show generally - really is a feast for the senses.

fig ii

fig iii

fig iv

fig v

fig vi

fig vii

Then it’s off for a quick visit next door to Galleri Gunnar Olsson & Galleri Magnus Karlsson respectively. The works of Joakim Lager in his show Kompost are subtle and nicely constructed. These semi abstract, ‘plantlike’ images, which are his paintings, have a deep colourful resonance that manage to ‘penetrate’ somewhat (fig viii). Bruno Knutman’s show at Magnus Karlsson entitled Allvarstider / Serious Times is very different though. It is similar in the respect that this is too a painting exhibition and the works are fairly small to medium in size. Nonetheless, his imagery is figurative with a candid, direct quality. Many of these images have a sort of a simple, dreamlike sensation, which taps into ones’ innate innocence (fig ix & x).

fig viii

fig ix

fig x

And finally off over to Gallery Riis to see the photographic show Another Room by Eline Mugaas. These photographs are nicely put together and some do have a certain ‘Egglestonesque’ charm. We enjoy the subtle nature and ‘ordinariness’ of this sort of work. However, on slightly deeper inspection there are some technically issues with regards the photos, which I admit, may of course be intentional (fig xi). Nonetheless, Gallery Riis is a bright, pleasant space and this is another show worth seeing.

fig xi

If you haven’t already, please feel free to go to the links included in the text to find out more about these exhibitions and locations; and we hope you are able to visit some, if not all of the places we have mentioned within the text.

It looks like the 80’s never went away: ‘I Love it! What is it?’ at the Kulturhuset, Stockholm

noreply@blogger.com (Pipe) — Fri, 10 Oct 2014 08:55:00 +0000

I ♥ IT! WHAT IS IT? Sculpture exhibition at the Cultural City Theatre, Kulturhuset, Stockholm. Photo: Petra Hellberg. By: Marianne Lindberg De Geer.

I recently came away from the exhibition I Love it! What is it? at the Kulturhuset in Stockholm, asking myself: how has Sculpture evolved since the 1980’s and 1990’s? - the period which this captivating exhibition focuses on. The idea behind this show is fairly clear; it consists of a group of artists who ‘made their names’ in the 1980’s’. Whether this historical time and the artists in question, ‘transformed the horizons of sculpture’ quite as much as Lars O Ericsson suggests in his text for the show’s catalogue, this is undoubtedly up for scrutiny. One only has to look to methodologies and work, which began in the proceeding decades of the 20^th century, to find plenty of substantial evidence that these artists are far more directly a part of art’s overall lineage, than his text would have us imagine. Sculptural works labelled ‘Dadaist’ or surreal by artists such as Raoul Hausmann (1886-1971), Hans Bellmer (1902-1975), Marcel Duchamp (1887-1968) and Yves Klein (1928-1962), and through to the so called Pop Art purveyors, like Robert Rauschenberg (1952-2008) and Eduardo Paolozzi(1924-2005), on to minimalist artists, in the shape of Robert Morris (1931) or Carl Andre (1935) of the 1970’s – have all played a significant role in impacting on much of the works devised in the 1980’s and onwards, I suspect. And I certainly don’t see anything in this show which would contradict this assertion. Nonetheless, what is certain from looking at the work here is that much of what we now see within contemporary sculptural practice is heavily indebted to many of the artists who began working and experimenting during this important juncture.

Meta Isæus-Berlin’s Ett vattenhem & companion piece ‘the swinging bed’ above

On entering the space I am initially struck by just how lively this experience seems to be. People are engaging with the works all across the gallery. In many instances the themes and physical works themselves may be of a darker, more unsettling nature. Nevertheless, those viewing and experiencing the work during my stay certainly appear to be connecting with the pieces in a vocal and often jovial way. None more so than with Meta Isæus-Berlin’s Ett vattenhem (A Water Home) (2001), and its complimentary construction facing it, which can only be described as the ‘Swinging Bed’. As this bed - with relevant props such as bedside table, its associated contents and chairs all tied to its frame - swing from the ceiling, left to right in a clockwork motion, one is compelled to investigate further (as one young boy indeed did; by attempting to hang from the structure, much to the horror of his on looking parents). Although guarded with a piece of Perspex, the elongated ‘bathroom’ – an exact replica, therefore, a bathroom – spews out water from every possible object, collecting in a trough below, but in doing so, sprays the floor and unexpected passers-by. It’s as though a Robert Gober installation has malfunctioned and as a result, exploded. These two works undeniably become a sort of sculptural diptych - giving them the most uneasy and yet eye-catching presence of all the show’s exhibits. They have managed to convey that horrid sensation one gets when they are bed bound with illness or alcohol related overindulges; occasionally dragging your body to the bathroom and back. The saying, ‘the room was swimming’, has never felt so apt.

Two pieces from Klara Kristalovas’s collection of sculptures, intriguingly arranged

The oddly enchanting sculptures of Klara Kristalovas too made a specific impact on me. This collection of pieces, depicting multiple animal, human & animal-human hybrids, have been positioned in a black shelving unit, spot lit from above at the far end of the gallery space. These objects have a somewhat eerie quality. They appear to be characters from bizarre dreams, fairy tales and even strange forms taken from science fiction stories. These sculptures definitely connect with the darker side of the human psyche, as they appear both simultaneously familiar and otherworldly.

On adjacent sides of Kristalovas’ ‘characters’, we find to the right of the room, Carin Ellberg’s ever so gruesome looking, machine powered mobile, hanging from the ceiling, which is entitled Följeslagare (The Companions) (2012). And opposite this large construction, Olov Tällström’s ‘kinetic’ works have been arranged. The shared motion and mechanically engineered characteristics of both Ellberg & Tällström’s sculptures are clear and balanced. However, these similarities are short lived. The clean appearance and precision of planning which has evidently taken place in the production of Tällström’s work here, is counterbalanced against Ellberg’s more simple and tactile forms. Her mobile, which resembles a transmission aerial has rotating from its foundations, sort of Eva Hesse enthused, netting like brownish objects. In direct contrast are both Tällström’s computer programed works. One which, ZEN (2003 – ?), drops sand from a sharp funnelled machine onto a metallic sheet base, creating its own quite beautiful, clean liner abstracted forms – and alongside this his work Twister (2009-2011), of colourful rotating, circular Perspex that catch the light and create a certain spectrum of different hues and tones. This work gives the sense that it has a real direct and tangible purpose and feels as much science demonstration as it does traditional gallery based sculpture, which isn’t a draw back for me. Nevertheless, this claim is not something that can be attributed to Ellberg’s sculpture, and I get the feeling, nor would she wish it to be. Her work is far more directly corporeal and animalistic in its nature. It has an essential violence even - a facet not shared in the same manner by Tällströms’ works.

On opposing sides of the space: Carin Ellberg’s Följeslagare (1st photo) and Olov Tällström’s Zen (2nd photo)

I Love it! What is it? is curated by Marianne Lindberg De Geer and features work by her also. I particularly recall her revolving roundabout of enlarged children’s figurines in bright yellow shirts, caps and brown Plus-fours, called Lost (2010). I deem the show has been put together effectively from a curatorial perspective. However the wall text, supplied by De Greer, I consider should have been edited, reworked or perhaps avoided altogether. It is refreshingly honest and frank - if slightly detached - but it does feel both too long and somewhat out of place in this context. This message perhaps may have been more appropriately conveyed as a hand-out or catalogue entry for the show. Nonetheless, both her work and competence as an exhibition organiser is definitely not in question here.

The other artists, which appear in the show, are Truls Melin and his ghostly like forms and use of materials, and Ulf Rollof’s violent mechanical objects, such as Utan titel (untitled) (1997). His works interact with each other and confront you the viewer with their poses and actions. I appreciated much of this work as well and strongly recommend going to see them all, in this most stimulating of shows.

The exhibition runs at the Kulturhuset in Stockholm until the 11^th of January 2015.

A link to the exhibition’s website, where opening times etc., can be found here (sorry no English translation, which I feel probably needs to be addressed by the show’s organisers at some point?).

Maria Nordin at Galleri Magnus Karlsson (& Pipe arrives in Stockholm)

noreply@blogger.com (Pipe) — Fri, 12 Sep 2014 12:54:00 +0000

Exterior Shot of Galleri Magnus Karlsson, Stockholm

On arriving in Stockholm one pleasant day in late August, I stumbled upon an appealing gallery called Galleri Magnus Karlsson. New to me, if not my Swedish colleagues at Pipe, this space certainly has all the signs of an art space which appeals to our sensibilities – particularly with regards the use of space & light, curation, selection of artists/works, location, amiable staff etc. The second worthwhile discovery here was getting to see their most recent exhibition and the work of Swedish painter Maria Nordin (b. 1980). This artist, whom in her show Landformer / Landform, displays both a delicate visual physicality within her painting, beside subtle empathetic emotional resonances. Fasad / Facade (a collaboration with Kristina Bength) (2014), is deceptively beautiful. On first glance, like a lot of the paintings in this show, the piece seems almost fading under its own subtle tonal formulations. However, when one studies the picture at greater length, the scene and artist’s approach to painting it, holds your attention and becomes particularly strong on the retina; almost staying ingrained there after the looking procedure is over. The cerebral effect of this gives the paintings the feeling of stills or small vignettes, which could belong to dreams or emotionally charged visions. Their sombre, reflective nature is encapsulated in a way that encourages you to look at them diligently, but never overly scrutinise their forms – it’s as though the viewer allows the nature of the paintings to dictate and reproduce the process of looking itself. One looks and in turn simultaneously internalises the scene presented. Landskap / Landscape (triptych ii) (2014), is a part-landscape, semi abstract composition that is ‘familiar’ in many respects, but similarly otherworldly. Almost sci-fi-esque in appearance, it again like the previous example, gives the sensation that it is the construction of a cognitive vision and one that appears to invite and even embrace your observations.

Fasad / Facade (a collaboration with Kristina Bength), 2014

Landskap / Landscape (triptych ii), 2014

Moreover, I see echoes of other artists in this series by Nordin. This in no way detracts from the work or is at all unsettling in its similarities, but is indeed worth commenting on I feel. Perhaps the names which sprung to mind the most vehemently were Peter Doig (b. 1959) and Karin Mama Andersson (b. 1962) (whom is incidentally also represented by Galleri Magnus Karlsson). Their melancholic static situations, particularly those of Doig, which intrigue and frustrate in equal measure, I consider are both formally and thematically comparable to some of the work displayed in Landformer / Landform. Rightly or otherwise - or perhaps this is merely lazy journalism -nonetheless I think that these artists, in their own different ways, are attempting to communicate something inherent about the human form and it’s psychology - and crucial, how this is intrinsically attached to the landscape or interior environments one finds themselves in. As is conveyed in the show’s press release, “we encounter landscapes that have been dislocated into new environments and colour schemes, bodily settings that have become depopulated and a process that depicts itself”. The contemplation of ideas around absence, fantasy and reality, we are told have too played a central role in Nordin’s study of displacement and transposition - subjects and treatments, which could equally be attributed to both the work of Andersson and Doig. However, unique to Nordin within this company, there is a mixed media dimension to this show also, as she utilises audio to add a further dimension to this overall “synergised” experience.

1st sited comparison: Artist Peter Doig speaks about his work, as seen in the exhibition Peter Doig ‘No Foreign Lands’ at the Scottish National Gallery, November 2013

2nd sited comparison: Artist Karin Mamma Andersson describes working at Crown Point Press in San Francisco, 2009

Clearly though, partly because of the times we now live in, there are virtually always going to be comparisons made between artists. When attempting to initially decipher the work of an artist, this can often be helpful and misleading in equal measure – but always informative I find. Nevertheless, whether you agree with these perceived associations or not, all of these artists are unquestionably more than a little indebted to Matisse (1869 – 1954) (as most artist are I’m afraid), even if unconsciously so. Which I suspect is worth recognising in this regard.

A gallery and an artist that have been a pleasing discovery for us - both of which we plan to look out for again in the future. I am sure now that Pipe in based in Stockholm for the foreseeable future, we will be making many more visits to this Gallery. Something we look forward to doing.

Do look out for more posts and articles in the coming weeks. We intend for the next period in the ‘life of Pipe’ to be a busy one with many more events and exhibitions coming up soon…

- Maria Nordin Landformer / Landform runs until the 5^th of October 2014 at the Galleri Magnus Karlsson - Fredsgatan 12, 111 52 Stockholm, Sweden

Tania Kovats – Oceans, At The Fruitmarket Gallery

noreply@blogger.com (Pipe) — Tue, 13 May 2014 09:00:00 +0000

Only Blue, 2013 (Antarctica); Courtesy of the artist

“I have a sense that people ignore elemental forces at their own risk. Nature is not benign. My sense is that we need to pay more attention to what our relationship is with the land. As an artist I have a very small voice on the planet, but I do feel if I could get someone to notice something, that feels like a small start.” [1]

The artist Tania Kovats has for a long time been creating work, which explores our relationship with, and understanding of, the landscapes that surround us. Many of Kovats’ sculptural forms and drawings are pre-occupied with the earth's changing geology. The work presented in Oceans – her current exhibition at the Fruitmarket Gallery in Edinburgh – is no exception to this. Here, Kovats’ work is primarily concerned with our relationship to seascapes and coastlines.

To some extent it feels like Kovats is using the sea as a tool, in order to map a certain perception of the world. In many of the pieces displayed in Oceans, the coastlines, together with their maritime borders, play a central part in the exhibition’s formation. Kovats invites the viewer to observe the world by contemplating ‘what the sea is’. She does this by letting different kinds of media and approaches to her practice, such as installations made from atlases, drawings and sculptural formations – play with our perceptions of what a sea consists of, feels and looks like.

The exhibition’s centerpiece: All the Sea, displays water taken from oceans all over the world. The water has been collected with the help of a global network of people and organisations, who have shipped seawater from across the globe to the artist. This process has involved Kovats documenting, labelling, measuring and transferring the seawater into glass bottles - creating a comprehensively ordered library of glass containers. There are 365 bottles in the work and these bottles contain water from 97 different seas. Kovats was given a total of 250 donations. Amongst the water filled bottles, stand 37 empty ones, representing the seas that she didn’t manage to collect. These absent seas play an important role in the work; as Kovats explains, these seas ended up “mapping where your connections are – the seas off the northern coast of Russia have been difficult. It also shows up places where there are difficult circumstances. There are a lot of seas around the Philippines, but their infrastructure is still being affected by the typhoon.” [2]

On her website, Tania describes how “All the Sea […] represents an archive of moments in time, recordings of 250 human experiences with – and most probably in – the sea, capturing in bottles a substance that otherwise slips through our fingers.”

Reef 1, Glazed ceramic tiles on board; Courtesy of the artist. Photo: Pipe

Both the development and the outcome of All the Sea, embodies certain human relationships with nature and its contained elements. The missing seas remind us, not only of the difficult terrains, but also of the power of the oceans. The Philippines for example, has many seas but the area suffers from poor infrastructure due to the typhoon that hit the region in November 2013. This has made it difficult to access these areas, and subsequently collect the water.

All the Sea; Kovats aim here is to assemble the world’s sea water in one place, resulting in a seawater library; Courtesy of the Artist. Photo: Pipe

The power of the earth is also evident in Kovats’ piece, Mountain. This artwork is made up of machinery imitating the formation of mountains. Kovats used the same kind of machinery to make her 2001 series of sculptures: Schist, which also represented the forces and the activity of the sea.

Mountain, a piece which utilises parts of machinery in its formation; Courtesy of the Artist. Photo: Art Fund

Together the pieces exhibited in Oceans form a reminiscent exhibition that showcases the impact of the sea upon humans and the landmass on which we live.

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Oceans runs until the 25^th of May 2014 at the Frutimarket Gallery in Edinburgh.

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[1] http://www.scotsman.com/lifestyle/arts/visual-arts/preview-tania-kovats-oceans-exhibition-edinburgh-1-3325854

[2] ibid

Considering the artist Alan Davie

noreply@blogger.com (Pipe) — Fri, 02 May 2014 10:54:00 +0000

Fig 1: A young Alan Davie, photographed with dog (Belinda, apparently) – a man clearly in tune with the natural world

I first recall encountering Alan Davie’s (1920 – 2014) work at first hand, in the early 1990’s when visiting the Kelvingrove Art Gallery in Glasgow. A child at the time, I remember the effect these awesome paintings had on my young mind. The sheer scale, depth of feeling, use of rich colours and ethereal forms were like nothing I had experienced, prior to this important moment. Important because, I am quite certain now, that this event was when I first became fascinated with painting and more specifically abstraction within the medium. Davie’s death, just over a fortnight ago on the 5th ofApril, is the sad event which has prompted this unexpected deliberation, and my subsequent conclusions of his work, to be drawn. I find when thinking of Alan’s work, the fact I was a child when I first saw his paintings and that these objects were able to affect my observations in such a meaningful way, an interesting and correlated point. After reflecting on these events alongside the content of Davie’s work – both visually and thematically – I am inclined to think, the reason I was so drawn to this imagery as a child, was because my senses and judgements were far more innate and instinctive then, and as a result the appeal of this artist’s creations and his visual approach held my attention in a way that I could neither explain nor feel the need or obligation to do so. This is not to say that all children are necessarily more inclined to find an appeal in abstraction; however I do suspect that in this instance that I was able to, unknowingly, accept what I was viewing as being both new and simultaneously totally familiar, in a manner that I could find an unexplained comfort in. My awareness of this new intrigue, then as it is now, has an extensive appeal, which much like Davie’s work is precisely indefinable, yet considerations of, joyously attempted and therefore one feels inclined to do so again in the ensuing text.

Fig 2: Davie the artist and ‘shaman’ working in his studio, utilising his own ‘dip technique’, which is evident in much of his early work

Fig 3: The Saint (1948) is an early painting of Davie’s, which has shades of Picasso coupled with the expressionistic, symbolic style of a Edvard Munch

Born in 1920 in Grangemouth, Scotland, Alan attended Edinburgh College of Art from 1938 to 40. After which he conscripted in the army and served in the Artillery during the Second War. However, during this period he never experienced front line battle. Instead his time was spent in training at an aircraft base in rural Warwickshire, surrounded by fields, trees and rural nature; which is now said to have played a crucial part in his eventual creative focus and direction. His interest in poetry, both as a writer and student of were pursued at this time and much of the artistic principles gained from this creative pursuit subsequently led into his painting. An awareness of the poetry of Walt Whitman (1819 – 1892) & T.S. Eliot (1888 – 1965) subsequently blossomed. In connection with these concerns, a consciousness of nature and a human being’s fundamental connections with this ensued and became an ever-present aspect of Davie’s practice. The realisation of these factors was settled upon during these experiences and studies.

Fig 4: Jingling Space (1950) is a particular favourite of mine. A young artist, just getting by at the time, the painting is comparable to a fine improvisational jazz performance - an activity and discipline Davie was honing and adapting both as a musician and a painter, during this decade.

Davie’s approach to his work is primarily, deeply rooted in the improvisational nature of jazz music. A jazz musician of some standing himself, his concentration on the subconscious, embryonic state of the human mind and its capacity for extemporaneous creative development, is at the centre of his practice. During the 50’s Davie, like many other noted writers and artists utilising various disciplines, discovered and began adapting Eastern philosophies as part of their approach to their practices – the Beat writers being a noted example of this. The idea that art is a spiritual force that is in a sense, channelled through the physicality’s of the human body, was an ethos present in most of Davie’s paintings – particularly his earlier work of the 40’s, 50’s & 60’s – of which much of these ideas and principles had come from Eastern cultural and religious beliefs. The surrendering of oneself to a type of ‘native state’, where controlled impulses are allocated time and space in order to create different, unimagined forms of visual expression, was the central concern of Davie’s practice during this time. Davie appropriately described his approach to painting in this way:

a manifestation of spirit felt by a creative genius and passed to us through its conducting medium of form, as a wire can conduct electrical energy from one matter to another.[1]

Fig 5: Farmer's Wife No. 2 (Jazz Musician and Lady) (1957) is a highly erotic, spontaneous, pulsating and texture work; both physically – by adding grit to the paint – and visually through the sheer expressive freedom of its formation. This is a work that displays various hallmarks of the artist’s interest in eroticism and improvisational techniques.

Fig 6: Image of the Fish God (1956) is one of a series of 7 works of the same title. These images are informed by his interest in the primordial, shamanistic forms of ancient civilisations and beliefs.

At this time, this inevitably led to associations being made between his paintings and those of the new American Abstract Expressionists – and particularly the drip paintings of Jackson Pollock (1912 - 1956). This wholly simplistic comparison was one that Davie unsurprisingly rejected. Declaring himself, very much a “Scottish artist”; seeing himself in the Celtic and Pictish traditions and not in the Modernist cannon (although, this revisiting of ancient art and cultures of course, put his work very much within that particularly ‘Modern’ category). Whether consciously so or not, Davie’s art and the personality of the artist himself, became depicted as sort of shamanistic and a ‘man of nature’. A Super-8 film made by him and his wife Bili in 1960, of him working on various paintings in his London flat, stripped to the waist, with his legendary chest length beard, throwing dust and other debris onto the canvases, helped enforce this view of Davie ‘the artist’. The amalgamation of improvisational jazz, Zen Buddhist, Byzantine, Romanesque, pagan and early/pre-Christian cultures, became significant subjects and considerations within his work. His intrigue in exoticism and eroticism, which was evident in much of the visual imagery and other stimulated sensory accounts, found in the works Davie became immersive in, fused in his work with the spiritual intensity of his own deeply held Celtic roots.

The manner in which this artist is able to depict the inner instinctive spontaneity of the human perceptual state through the use of abstracted, archaic forms and seemingly primordially subject matter, I find singularly individual and visually arresting. In fact, Davie is now often regarded as one of the first British artists’, post Second War to have developed a form of abstraction within his painting. Not until latterly, and his work of the 70’s, 80’s, 90’s & 00’s, where figuration, symbolism, formalism and text within his paintings become more the predominate theme, does his work begin to alter some of its immediate attentions. These images contain far less of the overt dynamism and fervour, which Davie exudes in this earlier artistic phase(s). These paintings in my view, feel much more illustrative of the human sensory/spiritual development – even of the histories relating to some of these crucial historical episodes, in various respects – than they are of an actual occurrence of an emotive response to ‘being’. This work is still often captivating aesthetically and the colours exquisitely vibrant, however it’s far more visually descriptive qualities and controlled arrangements have a less evocative and lasting resonance for me, than previously was the case.

Fig 7: An example of the controlled pictorial symbolism that featured heavily in his later career. The Studio No. 28 (1975) is far more representational as an image than the paintings of previous decades.

As Davie’s work is often allied to the Jungian position relating to psychoanalysis, as opposed to the Freudian notions of the unconscious and its emphasis on repressed drives (mainly sexual) originating from childhood and adolescent experiences - therefore his use of symbols, reducible objects and forms, have been considered in conjunction with a mutual, ‘collective’ thought process and a shared or comparable human psychological awareness. These signs do unquestionably become transferable or substituted for various meanings and explanations; however the artist himself is always wary not to allow any fixed definitions to take precedent understandably, due to his own overriding concerns with the singular, intrinsic creative act and the unearthing of a certain truth behind a human experience. These observations connect with the commonly received association, of the artist’s work with 20^th century European Surrealism and his focus on “juxtaposing the sacred and the sacrilegious”[2]. Quite fittingly in this regard, is the inclusion of his paintings in Michelangelo Antonioni’s (1912 - 2007) 1966 film Blow-Up – where a fashion photographer attempts to solve a possible murder by physically analysing one of his photographs, which he believes has captured a moment from this mysterious incident. The film’s subject matter, of scrutinising an object and a creative act in order to reveal a certain truth or mystery, coupled with Antonioni’s own improvisational treatment to his artistic discipline, seems analogous with Davie’s work and his treatment to the creative process.

Fig 8: Patrick's Delight (1960) is similar to the paintings displayed in Antonioni’s Blow Up. The name of one of the precise paintings used in the film is, Joy Stick Stick Joy; other than that, I have had trouble finding out more information about these works – any information would be greatly received, thanks – Pipe contact:admin@thisispipe.com.

When one now considers a comparable artist like Jackson Pollock for instance (a contemporary, a personal associate and a name which regularly crops up when reading texts about Davie), and the esteem in which he is held in by, firstly, in his native America alone and then by the wider art world as a whole, this contrast is startlingly dissimilar to the treatment of Davie. As the critic and writer Robin Greenwood, when discussing Alan’s work of the 1950’s, recently described: “It is the culmination of a decade when Davie was without equal as a painter in the UK, possibly in the world.”[3] This is a judgement that I would concur with fully and would also add that his exceptional standard of paintings and productivity continued well into the next decade. Although in the ensuing decades the works became more ‘work like’ and somewhat formulaic (partly due to his own consummate standards), there was still continually the odd great picture, even in the last two decades of his life. Therefore, I find it incredibly frustrating that even within his native Scotland, an artist whom is regarded by many people inside the art community as being one of the most important painters the country has produced (and I would say the finest of the last century), he has still not received the type of recognition and celebration that many of his contemporaries and also his predecessors have been granted – many of which I also believe to be far inferior to Davie. It is a sad reality if Scotland, and similarly the wider art world, do not begin to recognise the unbridled commitment and talents of this great painter. As a child, on seeing them for the first time on that day in Glasgow, I was completely transfixed by his paintings, a fascination that still shows no sign of abating. Therefore, that chance encounter of mine, on that day, I hope could be reciprocated for others. However, due to the still relativity stark widespread acknowledgment of his work, even within his own native country, such a meeting is sadly expected to pass many people by. As a result, I judge if there was ever a big summer retrospective to be had at the Scottish National Gallery, it would be Alan Davie, and at this time, particularly appropriate and poignant I feel, in the year following his death.

Fig 9: Painted in 1997, The Alchemist's Mirror No. 1 [Opus 1357], is a fine painting from Alan’s later career. The richness and texture of the paint is coupled with an intriguing composition; his interest in African art is also clear to see here.

Fig 10: Alan in later life, an artist to the core and in every sense – the trademark beard was a constant throughout.

[1] Alan Davie, In the Quest of a Philosophy of Beauty: A Journal (1948), p. unpaginated.

[2] Robert Melville, Contemporary British Painters: Alan Davie(Gimpel Fils: London, 1961), p. 1.

[3] Robin Greenwood, Alan Davie and Albert Irvin at Gimpel Fils, (for abstract critical, 14^th May 2013)

Our friends Human Blues – “A Creator & Distributor of Images”

noreply@blogger.com (Pipe) — Sun, 02 Feb 2014 17:26:00 +0000

A new and dynamic artistic duo, that have been creating their own brand of dark, visually intriguing work for some time, have just started making a selection of their artworks available to buy. Human Blues have produced an overall appearance within their initial catalogue of images that encapsulates a distinctive foreboding nature and demonstrates a monochromatic flair. They create work in a variety of ways and use a range of media such as inks, painting, drawing, illustration, photography and print making. Their subjects appear to be inspired and are unpredictably different – putting an emphasis on the aesthetic and coupling it with layers of possible meanings and various connotations, which entice one to look further at, and deeper into the origins of their imagery. The eccentricity evident in these images and the overall look of their brand, I feel sets them apart from other image makers working within this vast industry of commercial print making and art reprographics.

A recognisable product shot from Human Blues

I do concede that a certain level of bias exists, in respect of this venture. As the title here explains, Human Blues are our friends and associates. However, these judgments – which are sincerely made – will simply have to be taken on their merits. Of course all those reading this will individually decide for themselves as to the quality and appeal of this duo’s work. In order to assist with these deliberations however (and because the work ‘visually enriches’ Pipe), we have included some of Human Blues’ images and products here for you to look through and come to your own conclusions about.

The image for Fine Art Print‘Dark Days’

Their 3 Postcards from the pack, together

The Gift Card ‘The Outsider’, in ‘situ’

Their work can currently be bought in three new, different creations. These groups of artworks are available as gifts cards, packs of postcards and as fine art prints. All products, pricing and shipping details are available on their website & in their Etsy shop.

One of their photographic works, available as a Fine Art Print

In addition, there is also information about how you can contact them on the site. I have been reliably informed that they intend to add more artworks and possibly further products too, in the coming months. If you do have any requests or questions about their work, I am certain them would welcome these inquiries.

Technorati-taggar: human blues,design,print makers,captain beefheart,illustration,drawing,photography,monochrome,painting,pipe,collage,montage,etching,gift cards,post cards,greeting cards,fine art,prints,giclee,inkjet prints

Pipe’s album recommendations for 2013 (of the popular music variety – whatever that means nowadays?)

noreply@blogger.com (Pipe) — Tue, 21 Jan 2014 21:57:00 +0000

As the title suggests these are our popular music album recommendations from those released last year. Having been a while since we last wrote, and during December having read a lot of ‘the best albums of 2013’ lists too, we felt we should use this opportunity to let readers know what music we have had on and liked during last year. Our list is not really ‘a best of’ list in that way though (as it is very difficult to judge art I feel). It is simply what we have appreciated hearing, but has no rating attached. We just hope you enjoy reading Pipe’s thoughts on this subject and listening to some of our ‘plugs’. We have included a song from each entry on our list too for you to enjoy – and as ever, all other thoughts, views and comments are thoroughly encouraged.

· White Fence – Cyclops Reaps

After what was a remarkably busy 2012 – bringing out 3 albums in that calendar year; one of which: Hair, a collaboration with his long time touring mate Ty Segall – 2013 was a more sedate affair, with only the single record released this time around. Nonetheless, in the immortal words of one Rab C. Nesbit: It’s quality that counts though, eh? And this album is positively brimming with these positive attributes. Former Darker My Love co-front man and main writer Tim Presley (Mr White Fence himself) has now unquestionably surpassed all the artistic achievements of his former band – if not the commercial ones. Having seemingly been building up to this record, in the creative sense at least, since his debut self-titled White Fence record was released back in 2010; he has clearly been honing his craft and unbridled talent for writing and producing ‘lo-fi’, psyche, nuggets of pop, which always seem to result in one wanting more. And as a consequence, one invariably returns seeking further, similar punk rock fulfilments. If there is someone making better records, of this ‘variety’, I haven’t heard them and would also love to know who they are. Just for the record too (no pun intended), if there was an order to this, Cyclops Reaps would be my first pick of last year – so there may be a little rating going on here after all. There really is not a bad track on either side. Nonetheless, do check out Chairs in the Dark & New Edinburgh – my particular favourites here.

· Steve Mason – Monkey Minds in Devils Time’s

So, apparently no one is writing protest songs anymore. Well they are. Steve Mason has just written a whole ‘concept’ album, which has protest and anti-war/pro-humanity at its very core. Not only at the centre either, this is an album positively packed with anxieties over our political system and those who govern us. However his angst here is not in the slightest bit morose. No, Monkey Minds in Devil’s Times is plainly a joyous, uplifting record – even if it does contain plenty of anger and reflective moments as well. In my experience most great ‘politically’ originated records invariably do this. In the vein of other classic records with a social message, such as PJ Harvey’s Let England Shake (2011), Lou Reed’s Berlin (1973) or even Marvin Gaye’s What’s Going On (1971) (and make no mistake, I absolutely think he has created a work wholly comparable to these other great albums); Mason also takes you on a ‘wee’ emotional journey here. This is a trip that allows you to confront some societal truths, through real human emotions. After 2010’s Boys Outside album, another truly superb work, Mason has now, with these last two works proved himself to be without doubt one of the UK’s best songwriters working today – I’m sure not many folk could have written songs such as Oh My Lord or Fire. They already appear to have all the hallmarks of classics from the modern pop song category for me. Subsequently, when the Mercury Music Prize was announced for 2013, I was bemused to see that not only had Monkey Minds in Devil’s Times not won, it hadn’t even been nominated, a very odd decision. In my view no one wrote a better British based album last year, and in turn, this would have been our choice for the prize.

· Mark Kozelek & Desertshore – (self titled)

An incredibly emotional record, if any one album in our list is going to make you a bit misty eyed then surely it’s this one. The delivery of the lyrics, as is often Kozelek’s style, are made in a sort of stream of consciousness; as if they have come straight off the pages of a journal and expertly crafted together with melodies and musical enunciations, which are in themselves both simultaneously familiar and deceptively ‘other worldly’. These are ‘soundscapes’ that explore the ‘inner’ as well as the exteriority of our human environments. The best allegory I can think of for Mark Kozelek & Desertshore would be that this is kind of, music as cinema. It contains such specifically vivid descriptions, which for me create a strong sense of understanding for these highly personal accounts – he manages to tell us how he “hates Nels Cline” after all, that’s pretty personal. I feel that this is a sort of musical experience equivalent of a John Cassavetes’ film; in its emotional authenticity and expression of raw human feelings. Hey You Bastard I’m Still Here is a track which is incredibly moving and if you hear nothing else from the record (but I definitely recommend listening to the whole thing), hear this. In it Kozelek enables you to imagine every sentiment he articulates – a timeless American musical document.

· Cate Le Bon – Mug Museum

Having recently heard Le Bon singing a quite beautiful cover version of White Fence’s Chairs in The Dark (from the previously sited Cyclops Reaps), I was encouraged to seek out some of her own music. This clearly led me to Mug Museum. Her vocal it seems has certain similar nuanced traits to previous folk and rock ‘alternative’ artists like Nico (the most obvious one) and at times I also hear echoes of Sandy Denny – her of Fairport Convention fame, of which Duke, one of the standout tracks on the album for me, has certain, updated suggestions of Denny’s vocal style. It is very pleasant to hear a songwriter and singer seemingly as influenced by those origins of the British and European folk traditions, as they are from those westward orientated sounds, which as we know are always far more readily heard. A Welsh girl (who writes & performs in Welsh too), Le Bon lets her accent shine through, a feature of her songs that make them even more endearing for me and consequently this allows the listener to invest more faith in the personal descriptions she recites in her songs. Mug Museum is an album written in the aftermath of the artist losing a close family relative and depicts her process of dealing with this lose. The notion of objects as memories – as the title too suggests – and the individual connotations they retain for the owner of them, is a noteworthy aspect of the record. The re-telling of stories and events creates an intrigue I feel, which is supported and enhanced by the beautiful, almost archaic sensations that the songs instil in the listener – Mirror Me is the most profound example of this. This tune is as reminiscent of medieval or classical music sounds as anything post 20^th century. An impeccable fusion of psychedelia, the ‘ancient’, European folk and dotted with a little west coast jangling garage rock, all for good measure; Mug Museum is a record subtly delivered but is clearly layered in its conception and creation.

· Phosphorescent – Muchacho De Lujo

If the union of the musical genres country/gospel and electronic seems unlikely or even absurd as I’m sure it does to some, then Muchacho is a masterful record that goes a long way (and I would remark, all the way) in refuting this claim. Matthew Houck (the man responsible for Phosphorescent) has generally in the past made what have now come to be known as alt country albums, a popular music genre that one can certainly get blissfully lost in, as I did for many years. On this album however he has expanded his musical range and created a work that includes processed beats, samples, loops, orchestral arrangements, Mexican brass and as much reverb as you can shake a cow bell at; to add to his already accomplished audio artistic range. And this has also all occurred, without any massive break from what he was already doing very successfully on his previous records. This understated, yet often widely undervalued sense of adventure has not affected his core principles for writing and performing great songs; the bedrock of Phosphorescent’s creative past. This chorus filled, uplifting, harmony drenched album – A Charm/A Blade is a fitting example of this – also has many melancholy moments on it – Song for Zulu being one – yet it still has a swagger too – Ride On/Right On – that is in keep with his country roots. Simply, Muchacho De Lujo is a superb amalgamation of ‘the traditional’, merged with various new future sounds of ‘Americana’ – synths and cowboy boots.

· Bill Callahan – Dream River

Callahan, the former protagonist in the musical vehicle Smog, has been quietly going about this business under his own name for many years now. Having already made around 13 records under the Smog title – since reverting to ‘self’, he has since 2006/7, amassed a back catalogue of the most stunning and distinctively delivered music which, if it isn’t already, I believe it will be regarded as one of the key contributions to American popular music over the last 20 to 30 years. I do personally feel though, that even by his own lofty standards, Callahan has reached a sort of zenith in his career, thus far, with last year’s Dream River. Of course just an opinion, as Callahan has created many soul shattering pieces in his now 20 or so years as a recording artist, I just generally get the sense that on this latest release, his slightly more optimistic tone (at times) has led to a further expansion of his well trodden artistic, thematic sources and treatment of subjects. The delicate 70’s flute and percussive influences (reminiscent of Van the man’s Astral Weeks) is again heavily featured. Making the album feel a little like a partner piece to 2011’s Apocalypse – another great work. However the lesser moments on that particular release have been eradicated on Dream River, as Callahan clearly appears to have grown both as a lyrists and even more crucially, a writer and arranger of the most vivid and atmospheric songs. A song like Small Plane, as good a song as I have heard from him, is tantamount to the majesty of his art and the purpose of his creative vision. Is it now safe to say that although very different, and evidently not as commercial/well known, that Callahan is perhaps a kind of modern day equivalent to say, Leonard Cohen for instance? I am not sure if I would be thanked for this comparison or if it is indeed fairly simplistic, but I guess the point I attempt to make is that like a Cohen or Morrison figure in music, why does Callahan not have an audience similar in scale to the likes of the aforementioned? I am sure the reasons are many and complex. However, I hope that this recommendation might go a very small way towards redressing that balance – you can but hope.

· Nick Cave & The Bad Seeds – Push The Sky Away

With two recent Grinderman albums behind them, the first one good and the second one not so; the exit of Mick Harvey has now resulted in the current Bad Seeds formation of members mirroring that of their ‘side project’. However this incident hasn’t produced a radical change in the Bad Seeds sound, if their current album is an indication of their musical direction. This is still very much an album which is in keeping with their musical oeuvre and doesn’t now resonant more with the punky, scuzzy, avant-garde(ish) rock made under the ‘banner’ of Grinderman. However there are moments which do have some of the traits of a Cave & Ellis composition (being Warren Ellis of Seeds, Grinder & The Dirty Three); but this album is far more reminiscent of the music they put together for the film scores on The Proposition and The Assassination of Jesse James – for me still two of Cave’s most impressive works to date – than it is of any of their other ventures. The song Water’s Edge is an adequate case in point here I feel. Although a little limited in terms of the overall sound and vocal delivery (a frequent issue for me with much of the Bad Seeds music), Push the Sky Away has an apparent individual, contemporary relevance (heard especially on Finishing Jubilee Street), and a social agenda – this may be unintentional of course – but it still draws one in and produces a greater level of attention. Like most of Cave’s records, I always feel I want to hear how they age. Of course his songs are not in the slightest bit unique here. However, as was the case with their last record Dig!!! Lazarus Dig!!!, an album which I was totally under whelmed by when it was initially released, it has in someway aged well with me over time and become a record I now appreciate listening to a lot. As to how this current album rates in Cave’s overall career, it is too soon to say for me. Nevertheless, Push the Sky Away is certainly a strong record and one we have enjoyed hearing since its release.

· Kurt Vile – Wakin on a Pretty Daze

Of all the records in Pipe’s list I can safely say that this one has by quite a long way been played the most. This of course doesn’t mean that it is the favoured one (I think I have already revealed this anyway), however it does probably indicate that it is the most ‘versatile’ lets say, in terms of how a record can best assimilate with one’s mood. I can’t help thinking that if musicians could still sell ‘x’ millions of an album without the advertising industry telling consumers to ‘buy it’, as was the case pre- the era of digital distribution, then Wakin on a Pretty Daze would almost certainly have been such a musical commodity. This album is quite plainly a bona fide classic and comfortably fits within the cannon of the classic American rock and roll album. Literally everything is faultlessly in place; from the first few bars of the sprawling opening track Wakin on a Pretty Day (not ‘Daze’) that unapologetically oozes Americanicity, through the dreamy swaggering Girl Called Alex and culminating in Goldtone, a track which if you don’t get a few Goosebumps out of perhaps your heart has stopped, and with many more glorious moments in-between. Vile has definitely surpassed himself again here – 2010’s Smoke Ring for my Halo his last full album and is another true gem. A great aspect of Vile – exemplified here and matched by many of his contemporaries too I should add – is that he makes a big nod to the past but doesn’t just copy his rock forefathers. No, he manages to put his own ‘modern’ stamp on what is a well travelled musical terrain. This is fittingly demonstrated on songs like Was All Talk, with its electronic foundations, creative vernacular and novel delivery. An album which I believe is for a huge audience to hear and enjoy, Wakin on a Pretty Daze certainly proves when “they” thought Vile was “all talk”, clearly he wasn’t.

· My Bloody Valentine – mbv

Whether any album could ever live up to the anticipation of a 22 year wait is likely, particularly when the predecessor was as epic, and subsequently as influential, as Loveless has proved to be for many. Nonetheless mbv is clearly a valiant attempt at satisfying the soaring expectations, which greeted its rather staged release. Its as though the wait was so lengthy that their sound has come back round again in the intervening years and mbv, without this necessarily being a criticism of it, sounds precisely as you’d have expected it to when comparing it to The Valentines’ other historical releases. The 22 years haven’t really changed the output much. For me it is unquestionably the sister (or brother piece) to 1991’s Loveless. Kevin Shield’s still has the distortion, reverb and other hissing guitar effects ‘front of stage’ and as can be heard particularly on the songs Only Tomorrow and Who Sees You he hasn’t bored of creating that distinct cacophony of walled, pedal boarded sound. They do however give your ears a rest on tracks like New You; a pop infused, indie ditty, which is very pleasant indeed and does help break through some of the record’s ‘noise’. I do think that if anything though, they are more ambitious on mbv than before. In Another Way is still quintessentially them, but with a more varied approach. On this track what we have is the formations of something that is much more clinical and which feels as though it is far more ‘progressive’ in nature – there are also perhaps echoes of the ‘Math Rock’ sound, particularly heard on the latter part of the album. Largely what we hoped for and expected. Shields et al. may not be prolific, but what they lack in urgency, they certainly make up for in efficiency.

· Richard Thompson – Electric

When talk of the great guitarists is heard, a core group of names generally including Beck, Clapton, Page, Hendrix, Townsend etc. etc., are often heralded as being the frontrunners. However in this category the name of Richard Thompson is generally omitted. For me this chap is as good as all the names that mainly make up such a list, and better than most. The difference with Thompson and a lot of these more virtuoso type players is that his primary concern is always with the song and any notion of musical posturing then comes thereafter. As a result of this approach he has over many years been responsible for some great songs and pretty timeless albums. Last years Electric is, I feel as good as any release of his and is one that best showcases Thompson’s characteristic blend of British traditional folk, blues, rock and roll and country-esque style of musical arrangements. The music, much like the man himself, always seems to have a subtly and even a slight melancholic atmosphere to it. Salford Sunday is a track which best highlights this sort of ambiance and which features harmonises from Alison Krauss, a choice which certainly aids the song’s sober feelings. Although restraint is a facet of the music, within this, anger is still often simmering under the surface and always has been in Thompson’s art. The track My Enemy unquestionably has this angst in abundance. Thompson the travelling mistral continues his journey and Electric is clearly a landmark for him. If this is a sign of things to come, long may he continue.

This is a very general list of those new records from 2013 that we liked and listened to a fair bit. There were plenty of others too though. Here are another ten that, although we couldn’t write about at length, we still advocate a listen to all the same:

· Thee Oh Sees – Floating Coffin

· Primal Scream – More Light

· Mark Kozelek & Jimmy Lavelle – Perils From the Sea

· Parquet Courts – Light Up Gold

· Laura Marlin – Once I was an Eagle

· Deer Tick – Negativity

· Psychic Ills – One Track Mind

· Crystal Stilts – Nature Noir

· Crocodiles – Crimes of Passion

· Wooden Shjips – Back to Land

Finally, please do let us know which of these, or others we haven’t included here, were your particular favourites of 2013. As ever, we always aim to begin a conversation and gain some insight from other views and opinions. Maybe we can do a reader’s list at some point as well? This would be a real privilege, so please do let us know your thoughts on this interesting subject and we can start this conversation.

Regards,

Something akin to Punk: And the Apathetic Generation: An Afterthought – pt. 2

noreply@blogger.com (Pipe) — Wed, 20 Nov 2013 22:15:00 +0000

I have sited Hegel’s master–slave dialectic as a critical source in this research, as I feel some of the theoretical implications which are contained within this text suitably act as a basis for an awareness concerning – setting out an approach for action which is aimed at bringing about substantial change in the arts and arts focused higher educational practices. The Hegelian notion of, being-for-self contained within the referenced essay and the realisation of this psychosomatic process by the Slave (or as described by Hegel, “the bondsman”); by considering this account I sense a basic, relevant understanding can be established for this case. He describes this revelation of a new empowerment for the Slave through self-determination, in this way:

In the lord, the being-for-self is an ‘other’ for the bondsman, or is only for him [i.e. is not his own]; in fear, the being-for-self is present in the bondsman himself; in fashioning the thing, he becomes aware that being-for-self belongs to him, that he himself exists essentially and actually in his own right. The shape does not become something other than himself through being made external to him; for it is precisely this shape that is his pure being-for-self, which in this externality is seen by him to be the truth. Through this rediscovery of himself by himself, the bondsman realises that it is precisely in his work wherein he seemed to have only an alienated existence that he acquires a mind of his own. [1]

If one is to consider today’s young artists as a group which very much require such a moment of realisation, in order to allow themselves an opportunity to operate and be educated in a way that suits them, then the idea of a collective being-for-self seems a fitting allegory to me. A specific thought process that encourages a deeper scrutiny of the system itself and how a shared body might challenge these structures, is at present completely absent. An established and endorsed underlining individualism or self-seeking state of mind, as has been encouraged in our society generally and its presence reinforced further within the contemporary structures of our cultural practices, have consequently enabled the idea that one should only consider ‘bettering’ their own position in the hierarchical structures, as an ever prevalent deliberation. Such structures have become the absolute formation and configuration of our recently globalised, capitalist system. In a purely ideological sense, this all encompassing approach is proving to be a detrimental one in my view, and the arts are no different in this regard. Indeed, as the large scale disintegration of our communities take place, much in the way Edgar Davies describes, what we find is that in a time when real resistance is required and the moment(s) for action present themselves, the divided nature of our social and cultural groupings are preventing this from occurring. This is why – particularly when recommending a restructuring for the arts and higher education, and how best this can begin to serve those predominately young folks who are so crucial to its evolution but whom are currently not benefitting from it as an economic agency of ‘opportunity’ or in many instances, even from the work they put in themselves – as a result of this, it is even more imperative that a solidarity is formed and some much needed ideas for action are recommended.

The subject I have intended to engage with, as I and Edgar Davies previously, have been at lengths to focus on, is concerned with the arts generally. However, I can see no substantial reason why these ideas would not be transferable to other sections of society, where young people and those currently being marginalised by similar economic and social problems, are also acutely being felt – much in the same way as those being inflicted on young people within the ‘creative industries’. Nevertheless, I do feel that in this moment we (Pipe & Mr E. Davies) must focus on what is close to one’s own real lived experiences and suitably expand from this point of departure, when and if such opportunities were to arise.

Allied to my initial idea, adapted from Hegel, that we must form a strong bond with one another and reject this much heralded social concept of ‘the individual’ and the divisions this creates, in order to realise the true potential of ‘the majority’ and what transformative power this collective sense of unification could achieve. In this moment, we should then create a bond of realisation, which recognises that there are no definite ‘rules’ or social restrictions preventing a wide scale rejection of the current state controlled operational models which exist in the arts. If any such section of the state could and should hold the established forces to account, then surely the arts and tertiary educational systems, with their traditions and histories, should be it? I evidently believe this to be so. Therefore, from this ideological stance and in direct reference to Davies’s essays – and as there is no reason which I can discern to prevent this from occurring – a simple message should be communicated by today’s new entrances to the arts and those who want to commence some real changes within the industry, that pronounces:

We will now be working our own way and in our own interests.

In order for us to be able to do this and realise it as a fully formed ideological approach, some initial actions must be taken. The subsequent list of steps that I now present, I deem would begin to build a new cohesion around a set of reformative ideas for the arts and how young people are positioned and regarded by the established structures which configure it as an industry.

1.) The first and most important step, because of its wider social implications and contemporary relevance, is the matter of ‘the intern’. Davies devises that “from this point onwards no one works for free”. This is a collective response that could and I deem it should form the basis for our opposition to the current operational model in the arts and arts education. There are absolutely much greater issues for us to attempt to address, however I think this is something that, because of its social and symbolic relevance can and would create a bond between those confronting this system and those whom would likely support and feel a sense of solidarity for the cause and be disgusted by the awful matter of ‘the intern’ generally. In doing this though, as Davies has also explained, it is imperative that it is understood in the industrial sense. This has to be a persuasive argument and that everyone affected by it understands the full implications of this action. As a result, the notion of ‘the Scab’ must be left available to us as part of this cause, in order that everyone truly realises how serious this matter is. In a time when fellow citizens are being forced to work for nothing by our government; while directors, CEO’s and other senior members of financial companies are seeing their salaries rise to obscene levels, it is totally irresponsible and even ignorant to work for a company for free - satisfying a much needed role within that organisation, when you should be getting paid (at the very least, the minimum level) for your work - and doing this just because, economically you can. For these reasons, and many others beside, which I don’t have the time to address here, the first step is to end the culture of unpaid labour within the arts.

Sometimes, doing nothing is the most violent thing to do. [2]

2.) Another key factor in this struggle, which I suspect will begin to draw the intended furthest reaching attention to these significant social issues, is a type of, I would describe as – an organised non-participation. A lot has been made recently of the self-defeating nature or irresponsibility of simply not taking part in the present democratic system and its customary rituals. Nonetheless, this much overdue act, if structured and organised in the right manner, I pronounce is precisely what must be done by us in the arts. The lack of proper representation by our elective constitution, particularly for young people today (as Davies has already explained) is imposing this system on us with no crucial action being taken to address our ever intensifying plight. As a consequence, it appears to me that continued participation in this habitual democratic charade is actually the most detrimental of all present options available to us – The Un-represented. This participatory act results in ‘propping up’ an all powerful, yet totally damaging and hugely inadequate ideological system; which is in actuality, continually increasing the type of economic and social disparity young people are now faced with. The arts and present higher educational models are too, essentially part of this worrying trend. And at the same time, much of the issues new entrances to the world of employment, the arts ‘industries’ and higher education have to deal with, were imposed on them by their governments and their generational forces - yet these are not concerns which they themselves had to contend with during their first steps into real ‘adulthood’ decades earlier, but are now simply accepted as a necessary socio-economic requirement. No, these are almost all new social factors that have either been introduced because of the bad decisions made by their administrations/governmental figures or are in support of a system which benefits them, primarily at the expense of the vast majority of its other, far less advantaged citizens. Thus, I judge that an organised and adequately prepared non-participation in the established, state supported arts institutional structures is vital at this time. These governing bodies and legislative hierarchical arrangements are those very same organisations which must be held accountable for the social injustices being felt in our society and this move within the arts will also play a small part in highlighting this. Another key aspect to such a planned action is that of exclusion. In order for this to be truly effective, those established cultural, social and political organisations, that we deem to be working against us as a group or whose actions and rhetoric is seen to be ignorant to our cause or suitably damaging, then the resulting measures are, that they must be excluded and held in contempt. Arts organisations whose reputations are damaged in the eyes of organised young people will, I believe, find it very difficult to succeed in their own economic and business affairs generally.

3.) The utilisation of new forms of digital apparatuses, computerised ‘tools’ and modes of production, and the phenomena which is our current communicative networks and platforms that enable such ideas to be articulated, will understandably, all be integral to building new forms of engagement with these ideas of reform. This new technological phenomena, that we have at our disposal makes what is being planned more realistically achievable than would ever have been the case ‘pre’ digital age and ‘pre’ the internet. This equipment and modes of communication must be exploited and the vast nature of its possibilities adapted, when possible. As has been touched upon by Will Self and Edgar Davies, today’s young generation are the first to have grown up totally immersed, and having generally taken for granted, the type of digital technology we now have such wide scaled access to. When considering the implementation of this digital ‘age’, one could almost suggest that the youth of today, given their nurturing took place during its emergence; it is them who should really hold the majority of control over its operational mechanisms and networks. Now that these unheralded forms of communication have become fundamental to all areas of our society and its development, why is it then that those who largely control the way it is run and whom benefits the most from it, are still from our previous generations; those principally born, at a push, roughly before 1970? I will let those, like Self, attempt to answer this question; I do have my inclinations though. However, as this is unquestionably the case, I deem that what must be done in the coming years, in aid of this task is to put an emphasis on adapting new ways of using this technology for the arts, in a way that is designed to serve us properly. We must not continue to participate in those structures and systems which are already there and are simply further evidence of the sham which is the arts establishment - sponsored by their state controlled educational institutions. These arrangements, as we know, operate in the name of: arts opportunities for young and emerging practitioners, but are just a way of dividing individuals while making good business sense for these schemes and in support of their harmful doctrines, which benefit only a minute number of people - but always those whom hold power.

4.) As I have suggested here, a new approach for young people within the arts must be devised, and one which sits outside the arts establishment, its groupings and their conventions. Therefore in order to do this, the matter of finances (more specifically a lack of, and all the implications that this brings) does become an evident issue. For that reason, what must be done, and as history has often taught us, a process of ‘negotiation’ ought to be formulated in someway. My plan here, is to use all the spaces available to us for exhibiting, shows, ‘happenings’, performances and all available methods of showing work and creations. This also connects with the notion of exclusion and could suitably create a defining position – this will reveal those who do and those do not support this action. As we all know space is expensive and the established institutes within the arts are closed to those who don’t subscribe to their state funded, money driven agenda and operate through their ‘proper’ channels. As a consequence, such agents subscribing to these principles must be rejected by us first and then excluded altogether from having any influence or dialogue with this new generation of artists. In turn, we will use all available spaces, of which there are far more available to us than we would likely consider given our circumstances. New ways of showing work both within living space, rented space, free space, online ‘space’ (an emphasis on the adaptability of this new virtual space must be exploited as much as possible), ‘borrowed’ space, unused space, portable space, adaptable space… – the list is far longer than one would expect and the list should and will I suspect, continue to grow. This will empower the cause as one which is doing things alone and unsupported. As previous generations have shown us, the type of identification, brought about by such actions, and the importance this brings, can be immeasurable to a counter cultural movement. Through this process of identification, I envision we will gain both creative and organisational authority over our work and begin to establish new productive systems of exchange for it.

5.) Contrary to how work is chosen by the establishment currently within the arts, operating around scenes and certain thematic trends which then shape and plot a very specific direction for the industry, such considerations will now not knowingly be made by those involved in this cause. The only absolute necessity of work being shown through these channels is that they depict a certain reality. That they are authentic to those who created them and do not simply exist in some vein attempt at ‘relevance’. It is important in fact not to say too much here as an articulation may lead to a design or a suggestion and persuasion of the types of works which might fit into this new vision for the arts. This would be at odds with what should be encouraged, which is that of an absolute openness to themes, approaches, techniques, aesthetic and stylistic characteristics etc. In this new realm of creative expression and arts focused resistance, diversity will be absolutely embraced in all areas of practice; with works being judged only around themes of genuine authentic legitimacy, notions of an inherent truth and social relevance. The notion of being ‘out of step’ is currently regarded within the arts and cultural practices generally, as something that is a grave position to be in as an artist. I think not just being part of a ‘scene’, is actually not only a positive feature of an artist’s work, but should be seen as an obligation to the vital development of their practice. I firmly believe that this needs to be addressed and would be if this new direction for young people in the arts is to be effective. ‘Fads and trends’ rarely play a part in true artistic expression and the creation of genuinely important works. In my view, there must be more meaningful origins or source materials to one’s practice than simply trying to equate your work with someone else’s.

[The four terms which I believe will tackle this problem and give us the best chance of making these five steps a success, are: Solidarity; Organisation; Implementation and Restructuring.]

These steps, I hope if structured in a coherent way and then put into some sort of action will assist in creating a network of solidarity around a common cause. Although there will undoubtedly be a diverse range of voices and opinions; approaches, techniques and ways of working, in all areas of both practice and within the structural ideological nature of the cause – this however, should be embraced and allowed to flourish. What will bind the group together is this idea of questioning the way things operate, being ‘difficult’ if you like – especially given our current predicament – this is our right, and in order to make some adequate changes, is also our responsibility. Therefore, as I have tried to propose here, a type of exclusion, although on the face of it seems an extreme act and some may even deem it self-defeating; I feel strongly that a wide reaching rejection of the current model must begin to take hold. If a large enough network can be constructed (and I think this idea of a system of arrangements is at the core of what this resistance needs to be and should be built on), then this group will grow and become its own section of, a relevant facilitating system for the arts.

“No one is in a hurry to say goodbye”, to use the Self comment from Pity the Young. So we as a group must say “goodbye” to them, or risk never being given the opportunity for an introduction. We have to realise that ‘help’ from this system is not forth coming; it will never arrive and as a result, exclusion in all its semblances is the most valuable course of action we have available to us. I feel we are led to believe we need their assistance. The reality is we require this far less than we imagine, and there is an even stronger argument to suggest that we as a group are in fact crucial to their system and an exclusion from it could be hugely harmful to their well ‘trotted out’ concept of, ‘a vibrant arts scene’. Therefore, my final retort to this ‘arts establishment’ is: “thank you but we will now do things without you”.

Ex nihilo

[1] Georg Wilhelm Friedrich Hegel, in ‘From Phenomenology of Spirit [The Master-Slave Dialectic]’, in The Norton Anthology of Theory and Criticism, General Editor Vincent B. Leitch and others , (USA: W.W. Norton and Company, 2001), p. 635.

[2] Slavoj Zizek, ‘Adagio’, in Violence: Six Sideways Reflections, (London: Profile Books ltd., 2009), p. 183.

Something akin to Punk: And the Apathetic Generation: An Afterthought – pt. 1

noreply@blogger.com (Pipe) — Sat, 09 Nov 2013 19:07:00 +0000

“No one is in a hurry to say goodbye”, Will Self commented when discussing the baby boomers and their immediate descendants, in his recent, Point of View on bbc radio 4. Entitled Pity the Young, the content of Self’s short monologue seemed fittingly apt to me when considering this long overdue Afterthought to Edgar Davies’s series of articles: Something akin to Punk: And the Apathetic Generation, and how best one might culminate his rather broad thesis. I certainly connected with both his (as I had done previously with Davies’s) sentiments; describing how today’s young people have become a sort of ‘fodder’ – culturally and economically – created by a system that, as Davies suggests in his series of texts, is largely working contrary to their interests, wishes and expectations. One of the examples Self gives is how today’s youth are continually being moralised towards; regarding how an unquestioning respect must be held for one’s elders; or specifically, all those more ‘experienced’ individuals who are in positions which one should naturally aspire to attain. These success stories are of course almost always measured by and compared against their paradigmatic system of exchange; an ideological structure devised and promoted by these older generational forces. Their preconceived notions of ‘acceptability’ – by which I mean those certified by the mainstream media, party political systems and the schemes which structure all aspects and forms of our ‘commerce’ – we are expected to believe, are the primary ‘forces for good’ within our society. However as Self alludes to, and which is a matter of particular relevance here, the ‘respect’ that our more ‘fledgling’ generations are expected to have for their far more economically vital ancestors, is not one which is meaningfully reciprocated in anyway. Such a suggestion in itself is also currently viewed at best presumptuous and if pushed to widespread acknowledgment, positively subversive and certainly to the detriment of those making it.

However, as his title too suggests, Self describes in this program how the current youth of our society, should be ‘pitied’. They are being “squatted on”, he suggests by the “giant warty toad” that is the baby boomer generation. In this metaphoric action: “squatting”, what is crucially happening is that they are very successfully controlling and shaping our society and, culturally speaking, devising their preferred nostalgic direction for all aspects of the arts and culture – which Davies is at lengths to describe in his text. Subsequently, I consider if this pity does occur (and incidentally, I can assure those reading this that it won’t), whatever form this sympathy might take, to simply accept and attempt to subserviently work within a system as a sort of misfortunate citizen, truly would be the worst of all possible outcomes for young people situated in these socially unprecedented times. Therefore, by assessing what Davies describes in his 4 previous chapters and from my own experiences, I will seek to present some possible courses of action and proposed political steps that we as a group might take within the arts (as has been the focus here), in order to not allow ourselves to become fully surrendered to this system and its set of ideals which we now acknowledge are not serving us particularly well, and in many instances are in fact working against us as our society’s young people. Consequently, if such ideas are not examined properly and meaningful social shifts devised, I suspect as a group all we can realistically expect is for the type of ‘pity’ Mr Self so eloquently describes.

So the Thatcherite legacy has now unquestionably left us with a truly free market economy (of which we can argue the merits of on another occasion I suspect), more inflated and carrying more influence than ever before. However its strength is fundamentally driven by only a select group of the very largest multi-national companies and organisations. These groups, whose financial scale has enabled them to both hold huge amounts of political power; and as a result, the freedom of their operations and financial/social obligations have become largely voluntary, functioning out with the ‘normal’ state centred tax contributory systems. As this system has grown and developed to where we are at present, it has continually marginalised smaller, perhaps even weaker businesses and business models, until their existences become impossible. I do accept the point that such financial culls have always been common during periods of economic instability, however never have we had such a fiscal model as this (which is gaining more and more economic and political powers all the time) that allows only the biggest global, multi-national sized companies to exist and truly prosper within the system. This vast wealth, we have seen is continually concentrated in and around the same core groups. What this has created within the arts and higher education generally, is a sort of reflection of these economic trends. Of which I mean: as the arts and the university systems have become more and more self supporting, essentially becoming businesses, similar to any other, with the same constraints and pressures related to profit making faced by all global ‘brands’; then in turn, only the most financially stable individuals, which generally also equates to those with the greatest access to the arts, and come from the type of backgrounds where this sort of education is available and can render this accessibility possible – these people are therefore far more able to endure the difficulties that come with this sort of ‘career choice’ and as a result have an overriding presence in this cultural arena. Additionally – and as Davies was at lengths to describe in his earlier examination of this issue – the type of works being produced by much of this new group of young(er) artists seems to understandably contain all the hallmarks of today’s society; orientated around and concentrated on big business and the current capitalistic model. Except in this moment, these elevated artworks are so blatantly lacking in much of the questioning tones, associated in the past with works traditional connected with the tertiary educational system. However, having said all this I do not think this situation is by any means an exclusive one. I frequently observe works by practitioners who do not fit this mould and therefore, in various ways sit apart from this rather self-seeking, confirmative scene. In fact this is a vital detail that I am glad can always be accepted without too much debate about its presence. Whatever Thatcher’s legacy is, or what the current position of the art establishment and higher educational structures are, we can be grateful that there will always be artists and thinkers who do question the systems they operate within (or negotiate) and manage to make works which are not simply a process of ‘being relevant’, but are some kind of singular vision – one which has the power of conviction and the purpose to interrogate and often unsettle the establishment, in all its various forms and semblances. These groups and individuals may well be operating within the margins of the current system, but as the most significant, time honoured/tested cultural episodes have proven, the most important of all events tend to come from the peripheries of society – by their very nature, this is where notions of the ‘real’, or at least authentically relevant accounts of this, are found – and subsequent inspiration is then taken from these prominent cultural episodes. I suspect if any essential changes are to occur, then yet again their origins will originate there, within the shadows of mainstream culture – and in this instance I propose this will occur away from, and contrary to, the multi-national financial elite and our current system so driven by markets, profits and financial power and all their ever increasing influences.

After this process of ‘scene setting’ and in order to briefly comment on Davies’s preceding texts, which I consider have led us up to my basic plan for action and its steps for allowing a new and constructive dialogue to take place, I will now initiate this discussion and following this, will present my considered thoughts on the matter.

Central to any proposed actions relating to this issue; at the outset I deem there should be a fundamental principle at its core. In this case, I have sited and will utilise the Hegelian master–slave dialectic[1] as the foundation to my initial proposal. From my understanding of these ideas I surmise, that in order to enact real substantial transformations within the hierarchical structures that control, position and which form much of mainstream culture and education – as a group, and the key point in this theory: being the overwhelming majority of young individuals and other marginalised groups within our society – the current resigned embracing of this detrimental system by us the majority, must firstly cease to occur. The blind hope that one will become a member of the ‘chosen few’ or that the system will in someway evolve itself into something which begins to work for the majority of it’s citizens (in this context, it’s young citizens), in my view this type of optimism, that which sustains these social structures, history has proven this compliance is plainly futile. All prior ideological shifts and changes, or real counter cultural movements – of which Punk would be one such development – when placed under any form of basic analysis, would never have ‘just happened’ without proper inaction. By allowing current assenting and conservative behaviour to go on festering, will continue to be detrimental to this cause; a cause which can only be tackled through proper substantial actions. Through creating, or simply infusing a certain mindset(s) and a particular non-confirmative outlook within art, culture and higher educational institutions, this could, and I suspect would, spread to other social channels also – as has often proven to be the case in the past when considering important counter cultural progress.

A subsequent ‘plan for action’ will be published next Saturday, the 16^th of November. This will contain a proposed list of the first basic steps needed in order to stimulate a course for change and will conclude the ‘Afterthought’ to Edgar Davies’s, Something akin to Punk: And the Apathetic Generation.

[1] Georg Wilhelm Friedrich Hegel’s (1770 – 1831) master-and-slave dialectic (also called lordship and bondage) is a theory taken from his book Phenomenology of Spirit (1807) in which Hegel questions the relationship and struggle (explicitly metaphoric in nature) between the ‘Master’ and the ‘Slave’. This study specifically examines aspects within this social process relating to consciousness, mediation and subordination.

Mapping the Exploding Whale:

noreply@blogger.com (Pipe) — Thu, 03 Oct 2013 17:11:00 +0000

A Preview of Jessica Sarah Rinland’s Exhibition

‘Dissecting the Exploding Whale’

[1]In our present cultural domain (‘artistically’ speaking), one is continually reminded of what Deleuze & Guattari refer to as “tracing”. Within the arts, an apparent forlorn struggle, to create ‘anew’ or fashion artworks from the elevated remnants of post-modernity, is all too familiar. Subsequently, such meaningful forms (limited as they are), leftover or deemed significant enough to have been accepted and in turn promoted by the current institutions of power, are perpetually adapted, borrowed and renewed by artists; and in doing so, this familiar process primarily makes up our skilfully ‘traced’, largely recognisable, cultural surroundings. Nonetheless, my attention is still occasionally triggered by valiant attempts to destabilise commonly held perceptions within the customary art practices. Therefore, switching focus onto a potential, more tangible chosen example and its related framework – an instance of this, could be the construction of a work by an artist(s), which in some way aims at seeking a type of concord between what are generally assumed (correct or otherwise) to be disparate themes, treatments or subjects. By my judgement, an act of this sort would generally merit, at the very least, a preliminary consideration.

―

One such artist, seeking to develop or simply examine through her creative practice, a ‘stem’ linked with accordance, is Jessica Sarah Rinland. By deploying, the comparatively unhelpful, prevailing arborescent, binary formulated classification of: object/subject; “tree/root” allegories, which are the contemporary arts (gallery intended in this case). Structured by this arrangement, Rinland could, to a large extent be described as a film maker. Nonetheless, her stylistic approach, inquisitiveness and flexibility as a practitioner operating within this realm of creative expression, has allowed her a greater range of inventive scope. Additionally, through her practice, this expressive intrigue has provided an ability to negotiate a sense of individuality, despite the restrictive nature of the intuitionally controlled and formulated structures, which are our established, globalised contemporary arts.

Coming from both a fine art and film producing background, these disciplines, often viewed separately, have been embraced through her creative development and provide a distinctive outlook in the creation of her work. This has allowed her films, writings and other visual ‘pieces’, to adequately subsist equally in the gallery and within more customary cinematic environments.

Her recent practice has culminated in a soon to open exhibition of her work, entitled Dissecting the Exploding Whale; to be held at Limbo in Margate. This work is due to be displayed in two darkened, subdivided spaces. In these areas the work will however, be encouraged to coexist – and to a degree – merge, thematically, visually and poetically inside the space. The artist’s presented creations will be made up of projected film footage (both found archival and original recordings); slide projections, texts and audio. Taking the form of an installation(s), the physical duality of the space is intended to balance with other structural multiplicities: media, treatment, forms, themes etc. As in much of Rinland’s previous work, an intention to examine oppositionals and present plausible unities, or certainly a resolution between them, is planned to feature strongly in this show.

Our shared natural environment will consequently be both adapted, utilised and through this work, our cohabitants (the whale) are properly considered. This process of contemplation will allow the work to be brought into a fine art situation; found inside a contemporary, post-industrial art space.

In this instance, I deem a concept of deconstruction, to be the most satisfactory terminology used in describing what this process of unification might be. Through this perceived approach of a physical/thematic deconstruction of an idea – i.e. a film and its research/source materials – and presenting the resulting work(s) in a manner that suggests the artist is attempting to bring together contrasting subjects and topics – such as fact fiction, human animal, science art – the objective here therefore, is to exhibit this amalgamation in a coherent and engaging way. In doing so, perhaps there might also be parallels drawn between the artist’s own willingness to explore, deconstruct and experiment – and the decision to position her practice in a relatively uncharted situation; presenting the work in a somewhat unfamiliar surrounding? Plus, the need to examine these mysterious, captivating mammals may too be allied to the artist’s own compulsion to dissect her own practice against some of today’s established, categorised forms of artistic expression. In this sense, a type of enigmatic exploration appears to me, to be an ever present aspect of Rinland’s work.

―

A map has multiple entryways, as opposed to the tracing, which always comes back "to the same."[2]

Returning to Deleuze & Guattari’s rhizomatic formulation which began this text, it is encouraging to witness an attempt through artistic expression to map, and not simply trace a suitable ‘course’. The freedom Rinland may well find on a chosen theoretically generated plateau, operating and positioned along interconnected lines of traverse, is a commendable prospect.

Whether any innovative, creative map is devised will naturally remain to be seen. However I consider the prospect of witnessing these endeavours, in such a potentially intriguing work, worth discovering.

Jessica Sarah Rinland

Dissecting the Exploding Whale

Limbo, 2 Bilton Square, High Street, Margate CT9 1EE

5-27 October 2013

Open Friday – Sunday 12-5pm

Private View 4 Oct 6-9pm

www.limboarts.co.uk

www.jessicarinland.com

[1] This article makes direct reference to, and its source material is largely formulated by, Gilles Deleuze and Felix Guattari’s text A Thousand Plateaus: Capitalism and Schizophrenia. The ‘Introduction: Rhizome’, and their concept the “Rhizome” is of particular interest here.

[2] Gilles Deleuze and Felix Guattari, ‘Introduction: Rhizome’, A Thousand Plateaus: Capitalism and Schizophrenia (University of Minnesota Press, Minneapolis: London, 1987), p. 12.

Something akin to Punk: And the Apathetic Generation - IV

noreply@blogger.com (Pipe) — Thu, 05 Sep 2013 09:46:00 +0000

[Part Four]

IV. Music & Opportunity

How the Independent popular music scene connects with this enquiry, of whether there has been a recent significant social shift in its formation and development, I find interesting too. These two creative areas of education and commerce, as has been their twentieth century traditions, are indelibly linked, largely through the art school/higher educational systems. A crucial aspect of this is the way in which bands and musicians gather, and form relationships whilst studying. This is either directly so, or through the university social scenes, which is central to most (generally young) people who end up becoming popular music performers. Therefore, these behavioural aspects are fairly obviously connected with the integral matter of opportunities – and again, the increasing lack of them, to whole sways of the country. In recent times, this has resulted in creating a music business that is absolutely saturated with ostensibly similar types of people – socially speaking. Although this issue cannot simply be purely related to class; the problem of social structuring is still a reality one shouldn’t ignore. And although definitely less evident in the arts from the 60’s up until the millennia – primarily due to ideological changes in education and far more effective social equality – yet again however, the gap between ‘the haves’ and ‘the have nots’ has become a significant problem. I consider this is in fact, noticeably more of an issue now, than at any other time in the last three decades. In fundamental terms therefore, the arts and Independent music (which is allied to arts education), has increasingly become the ‘play thing’ of the wealthy and their offspring. Whilst writing this, I am constantly being reminded on a tale I once heard Alex James (him of Blur fame and now celebrity ‘cheese-man’) tell about Florence Welch (her of The Machine Fame). The basic gist of which, consisted of him remembering her from her early teens, being playful and charming, he recalled – as he would often ‘hang-out’ at her parent’s house – in Holland Park, I believe. They were, in some capacity, a part of that 90’s, West London ‘Media-Set’. This may well appear to be a somewhat tenuous link here. However, rest assured, if you want to delve into this subject – of the ‘Influential’ and their privileged, well positioned children – then you will find that such an anecdote could be considered, emblematic of this matter. I feel that what this has created in the music scene (and equally in higher education), is a litany of very comparable bands and performers who are financially able to live in London – the centre of the media and creative industries. Largely, and to put it bluntly, this is due in no small part, to the fact that they have wealthy parents, who have an unwavering support for them. Subsequently, their backgrounds also help them fit in with the media world they wish to inhabit (as our previous story would suggest), and this tale, I believe is an all too common one at present. Therefore, within this environment a sort of (for the most part), factual stereotype has been created, of individuals who predominately come from a privately educated background and fit a certain ‘metropolitanised mould’. Going back to what I mentioned in the previous chapter in relation to the work of the young contemporary artist today, I also find a definite thematic treatment in the music and constructed identity, manufactured by the current popular musician. Firstly, I have observed that there is a sort of new obsession with, what can only be described as mysticism. There are a lot of animal names being adopted or utilised, and the continual reference to a ‘higher’ (totally unrelated to religion), unattainable force. Just like their counterparts from the visual realm, again this brigade of pale, Barbour wearing (second hand of course), creative types, really aren’t at all interested in being tangibles – and I suppose why should they be? I guess one is primarily intrigued by what one knows and has had access to. As a consequence – and in a similar way as the Progressive Rockers did (the approach is of course different) in the late 60’s and 70’s – one finds a new creative scene, primarily based on a subject matter; which mostly focuses on symbolism, phenomena and fantasy. The way in which many of these individuals seem to take themselves so, incredibly seriously, also helps strengthen their connection with the art world. A projected sense of inner turmoil, which they exude, can be startling at times, especially in those whose lives’ have been seemingly so opportune. Nevertheless, this emotive ‘stance’ is exclusively inverted and therefore any real sense of anger is undoubtedly kept under raps. As a result, the shout of “no future” and such like, is currently non-existence here. Before I go on, may I briefly add that I very much like a lot of contemporary music and listen to it regularly (I am not promoting anyone here mind you). However, as is always the case with every good artist, there are constantly many more not so fine, attempting to do the same thing, except not as well. My main argument here is not with the quality of the music being produced today; it is with the current condition of the music scene, which I feel is the result of an ever growing social inequality. This situation is generating an increasing homogeneity in the individuals one sees, and in my view this has been generally detrimental to the works being created.

V. ‘Networks’, Illusions & Nostalgia

The kind of cold, uncompromising individualism promoted by Thatcher – which has become absolutely part of the Thatcherite corpus – not only fully lends itself to the type of self-promotion that was at the centre of her politics; but crucially, it also embodies such key components dominant in an arts industry shaped by interactivity and digital expansion. As has proven to be the case within commerce and industry – for me the arts are too following the core philosophies of Thatcherism. These new technologies have been designed and adapted in a way that serves the expectations of powerful individuals and a system committed to and built on capital driven ideals; demonstrating how all these changes are inextricably linked. In this respect, it seems the internet functions in primarily two ways. The duality of this functioning apparatus/network crucially enables, or largely gives the illusion of communication/exchange and in doing so, creates the impression of seemingly, accessible opportunities; most of which, directly or otherwise equates to financial reward for those who have control and influence. If this multifaceted structure is the first operational mode, then the second characteristic of the internet creates the paradigm, which reflects the narcissistic tendencies so extolled in the creation of late 20^th century Capitalist ideals. That is, the internet almost exclusively redefines the individual and their relationship with a perceived society or locale. For all it’s ‘wonderment’ (and let me assure you, I agree that it has this in abundance), in practice it seems using the ‘net’ is a relatively solitary act. Yet, as an apparatus used in the implementation of pure Individualism and because of its infinite nature, incalculable characteristics and specifically, all that it appears to promise – I can think of no greater embodiment of global Capitalist ideology. Although one may be given the impression that ‘anything can be achieved as long as one can get online ’, this illusion of a new found liberation through self imposed solitude, is just that. Nonetheless, what these ideas create within people and society as a whole, are of particular interest to me – especially when taking into consideration the arts.

I do concede, the anxieties I have raised, come from my own observations, experiences and interpretations of these matters. As has been attested throughout the last century (and probably in earlier centuries as well), there are always those subjects which are at odds with the general trends. Usually, if these artist’s (et al.) works, touch on real innovative and engaging themes, the work of such practitioners, is often revisited and reappraised, after the ‘dust’ from the prevailing ‘fads and trends’ have settled. Therefore, my central apprehension at this time is less with the quality of the art I see and hear; as there is much to be said for that at present. I would go as far as to say that there is actually more real innovative and intriguing work being produced now, than at any other time in the last few decades. Having said this though, my issues are with what, and why certain works are being given a platform, and what therefore happens to the rest of it. And why art, which in the past has attempted to engage with matters that deal with the plight of our (particularly young) citizens, is either not being made at all, or the task of excluding it from the mainstream creative consciousness, has so far in this period, been a wholly successful one.

Our correlated subjects – the contemporary art and music ‘scenes’ – and from these artistic disciplines, what is being presented as ‘typical’ examples from this period, for me share many of the same issues. One of my main anxieties in this regard, is an apparent and enveloping fixation with nostalgia. At a time when it would be more probable that these new technologies and the embracing of them, should correlate with the ‘majority’s’ attraction towards pioneering works and therefore one would think it more probable that the championing of new, perhaps young ‘creatives’ today, might be expected. To assume that adopting new creative approaches – by those performers whose actions would be more inclined to sweep away those who create works that have origins situated in, or are heavily linked with, earlier eras – would furthermore be another natural progression of this. These assumptions, as one would soon realise from looking at any magazine rack, music festival line-up and to a large extent the mainstream contemporary art world, have not necessarily come to fruition. Deliberating more on such suggestions, it is conceivable that these networks and modes of digital production are essentially an extremely useful way of distracting, and in turn controlling, those who at one time may have forced the prevailing powers into making some difficult choices. Choices one feels, will sooner or later need to be made. Consequently, at the present time, these areas of the creative industries are, to varying degrees, culpable of setting the same gloomy scene – through their dominate organisations and furthest reaching civic channels. This existing ‘setting’, is now filled with endless band reunions, gallery retrospectives and a kind of iconisation of older artists and musicians; some of whom were never all that great the first time round anyway, but in many instances, due to the effects of time, this now appears to have been forgotten. What all this has produced is a hierarchical structure, where if an arts practitioner missed out on the pre-internet ‘boom’, then the consummation of their work is likely to be far more marginalised, or in many instances, will be expected to be distributed either at the expense of the ‘maker’, or largely for free. This, in my opinion has further helped reinforce the view: that which is old and can generate feelings of nostalgia, is deemed as having more importance - and specifically, becomes a much safer option economically, regardless of it’s artistic worth. Subsequently, if we are to look at this situation and think of the new technological tools and systems which young people now have access to, one might rightly assume that what the internet has in actual fact produced, is conformity; perhaps less so in the creative sense, but certainly in a socio-ideological respect.

VI. The ‘Intern’, Discrimination, Acceptance & Activism

The situation new entrants to the arts have currently been left to ponder, to be brutally honest, is bleak. Coupled with the biggest problem the arts as an industry faces today, creative ownership and control over publishing (which will certainly increase further over time) an issue that clearly impacts most on those trying to establish themselves as self-supporting individuals working within this field, we now also have another related injustice. This being, that not only are young art creators struggling to support themselves economically, something which to some extent can usually be expected, but what we now find as being endemic in the arts, is that businesses and organisations are now able to have young (almost always young, ‘graduates’ etc.) people working for them, doing ‘proper’ work and filling much needed roles within their workplaces, but these arts and media companies are being allowed, quite openly, not to pay them. This is what is regularly known as ‘The Intern’. The culture, which surrounds these ‘Interns’, is so blatantly a short sighted financial tactic – systematic and detrimental to the ever increasing problem of youth unemployment (and largely highly educated youths in this regard). Therefore it never fails to amaze me that far greater attention isn’t being paid to tackling this damaging culture. I don’t mean primarily in a governmental sense either. The government and big business are fundamentally the same economic entity now, which is largely, once again, due to greater empowerment given to the free market over the last 30 years. Therefore, as much as any political executive might posture about this, they will always leave enough leeway in order for it to happen, and as we already know, if it is at all possible for businesses to get away with free labour (and let’s face it, that’s what it is) then it will continue. For me the biggest tragedy, which has come out of this new, wide scale exploitation, is a fundamental lack of any meaningful solidarity young aspiring art workers and other potentially new creative administrators seemingly have for one another. It seems patently obvious, that political leaders will not put an end to this system that allows such mistreatment to occur, therefore more than enough time has pasted for those affected to realise that the only way to prevent this from happening further, is for young workers to act. The ‘action’, would simply be to communicate through rhetoric and backed up by implementation; a position that states: from this point onwards, ‘no one works for free’. I believe this would also be fairly easy to implement. It is a simple piece of industrial action, and is the right of all us free citizens. Integral to this however, is the notion of the ‘Scab’, which would certainly have to be applied. One would have to deem this absolutely necessary in order that those privileged enough to work for free, should be shamed or persuaded into not doing so. As has happened in other previous decades, young people have been able to show solidarity towards one another as a way of achieving certain social and political objectives. Therefore, instead of embracing their oppressors, which these days I am aware of constantly, young people must start realising, much in the way Punks, Hippies and others have done before them, that the system is working against their best interests. Ideologically, it appears now, that individuals have never been so alone. Modern Individualism has left young people especially, largely battling one another, in the vain hope that our vastly inadequate system just might start working for them one day. These troubles are evident in all manner of ways and in various ‘walks of life’. However, through their strong connections to higher education, the formation of their economic models and due to their seemingly privileged natures – the arts and music businesses, truly are quite a special case in this regard. The sheer scale of injustices being perpetrated within these industries and the widespread implementation/acceptance of them – has prompted such conclusions as these to be drawn.

Therefore, for the time being, my assessment of the Thatcherite legacy, and how it has manifested itself in our new, and unquestionably pioneering technological advancements, would be that – it is thus far serving the economic powers, of the established minority, infinitely better than those who make up the vast majority of ‘ordinary people’ in this country. Hence, I believe this is now a significant, contributing factor to the ever increasing economic gap between those who have access to opportunities of social advancement and those who, through no fault of their own, do not. But even more crucially than this, these ‘digital apparatuses’ are being implemented, and then reinforced by all of us as users, in a way that enhances the current operational/ideological model. Furthermore, I consider that these networks and computerised devices have supported the idea that society, in the traditional sense, has gone. Firstly, by creating a mass diversion of consciousness through a kind of digitised control and via forms of entertainment; and secondly, by manufacturing new pseudo-social networks, which are in reality, complete illusions to what actual social cohesion really is. What both these two crucial aspects of today’s new global ‘communities’ have produced, and have in common is, solitude – and as a result, an enhanced fear of the ‘unknown’. This has happened I feel, because of an overly developed, false consciousness. I believe therefore, that these factors are two of the most tragic results of late twentieth century, free market capitalism and the ‘digital age’ it created.

In order to draw this preliminary social study to a satisfactory conclusion, I will draw on a recent interview I saw. This exchange involved the writer; broadcaster and celebrity intellectual Will Self, discussing Punk and today’s societal predicaments – and of particular interest to myself here, this dialogue primarily concerned questions relating to young people nowadays. One may view this short interview for themselves, in order to get the full context of it; however there is a point which I would like to briefly mention here. The general view coming from Self is that (and he takes no pleasure in making this point, I may add), young aspiring individuals, presently, unless born into a position of rare opportunity, are fundamentally disadvantaged in this current global system of exchange. This, in the case of the arts, media and ‘design’ etc., has produced relatively little political reaction; resulting in the victims of these structures, simply ‘going with this devastating flow’. Self articulates to the young interviewer at one point, words to this effect: if there is a job going within this media driven industry “they won’t pay you to do it, they’ll pay me”. Such a decision will also not be based upon ability or quality in any way either, he suggests. We are in a position where this current generation, if we are to be honest, are being lost, literally as we speak. They have been undoubtedly dealt a severe economic and political blow, but I must admit they are also allowing these discriminations too simply ‘happen to them’ – without the hint of a fight, or in some instances even a whimper. And as a result, a blind and resigned acceptance that collective change, is not even deemed futile anymore. It is, at this time, not even being considered at all. For a whole variety of complex reasons, the Thatcherite line is being ‘towed’ by young people; without question. The view that ‘one must only ever think of oneself’ and a ruthless drive for financial success should be all that matters – is the consensus which prevails, and is upheld by them. The sad truth is though, that this ethos is not serving them well in the slightest. In fact, it is utterly reinforcing this desperate situation. Possibly, this naïve faith or ignorance, which young workers and graduates have in the current system, has contributed to some of this obvious lack of faith that those in power clearly have for the ‘next/current generation’?

This sited interview with Will Self, surprisingly profound, touches upon the core subject of the latter part of my paper – the problem of ‘The Overlooked Generation’.

Conclusion – Formulating a Solution…

In order to finish this piece on a more positive note, I aim to express the thought that all may not be all lost. As I have alluded to in this chapter, I would firstly propose a course of action for those being subjected to this societal marginality. I believe those most affected, at present, by the issues I have been discussing are those between the ages of 20 and 35 (this is a very rough estimation, and of course all those in favour of meaningful action, or who demonstrate unity with this cause; are victims of these austere, democratically unrepresentative times, would be thoroughly welcomed as part of any political action). Therefore, the first course of action must be based around, and aimed at creating a shared solidarity with those from this same generation – whether directly affected by these problems or not. I consider this key to any proposed movement. Through the creation of networks and groups, which are exclusively run by, and are for, those trying to achieve justice for this generation and a resolution to this crisis; this would be a significant step in developing a much broader consciousness of these issues. This would initially be designed to create some apprehension in the establishment and simply a greater level of attention for this cause. From these new systems, the prevailing message must sound something like this: ‘we will take up this cause ourselves and change our situation accordingly’. Such thoughts are not unheard of. We have seen previous generations, create their own successes from this sort of position and through comparable progressive political attitudes. Then through this much needed process of ideological re-shaping, I firmly believe that creatively and artistically, those same younger adults will be able to fashion movements and make their own unique statements in their work – events that up until now have been lacking. Maybe looking at previous generations for inspiration is not a bad idea? But this must be done in the right context I feel. It is one thought looking for insight into the social, creative and artistic achievements of previous decades – however what we have seen recently is a far more sycophantic approach to this, which I think has been damaging and has produced the opposite change: compliance. No, quite simply those in this complicated social position (of which I am one), must now cease ‘embracing the oppressor’ and start developing a new unity of political and social activism; combined with new artistic and innovative ideas. If such a pioneering engagement does occur, then maybe Punk, as important as it was, will finally turn out to be ‘old news’ after all. And with this, one may well end up saying ‘what did Punk ever do for me?’ To think of previous generations, and their achievements in such a way, I judge would be a sign that we are finally finding the true worth in our own one.

There will be an Afterthought written by the editor Pipe, in consultation with the author of ‘Something akin to Punk’, Edgar Davis. The publishing date for this post will be announced soon. Please keep checking Pipe for details of this and other news, thanks.

Something akin to Punk: And the Apathetic Generation - III

noreply@blogger.com (Pipe) — Sat, 24 Aug 2013 18:00:00 +0000

[Part Three]

III. Technology, Education & Control

Currently I judge the arts find themselves in an entirely unfamiliar situation. Mainly this is due to the new technologies currently being used by artists and other creative’s; relating to how works are made, reproduced and then ‘shared’. This unprecedented availability to information and an ever increasing access to works, of all types – has quickly become a facet of this constantly evolving artistic terrain, a fact which is definitely taken for granted by most. The arts are consequently in a permanent state of flux. These changes can be traced back it seems, to the materialisation of an ever expanding ‘digital age’, and with it the most dramatic technological invention, unquestionably of my life time – the Internet. For good or bad, this source of information, which now expands beyond the realms of human contemplation, has changed everything. I firmly believe that the arts and the production of art, seems to have lost a definite focus because of these specific technological and cultural advancements. These pioneering digital ‘tools’ have produced a generation of artists and creative individuals who are now able to focus on whatever specific source information they choose. They can position themselves within the arts more accurately than was ever previously possible, with regards who and what they choose to associate with, or draw inspiration from. What's more, this has had a profound effect on how they share and distribute their work. The once strict role of the artist as principally a ‘creator’ has disappeared. The visual artist and musician starting out, newly established or just working independently today, is expected to carry out all manner of duties for themselves that were once the job of a range of different professionals (I am focusing on art and ‘popular/independent’ music, as these two disciplines have an interdisciplinary relationship in this regard, and I deem have significantly correlated with one another during the period I am focusing on.). For instance the artist, as well as constructing their work now also acts as producer, arranger, manager, promoter, technician…and this can extend to virtually any job that the practitioner might require and can be feasibly carried out by them. In most instances, they are able to accomplish these tasks, firstly without considering them new or novel in anyway and secondly through access to facilities that allow these crucial jobs to be satisfactorily completed. In the last decade, the steady pace of these recent technological and behavioural developments mean that such changes – which in the past progressed at a far more modest pace – have now quickened to a new and startling rate. From the year 2000 up until today, in comparison to previous decades – if one compares technical progress, ‘like for like’ – this period seems less like a decade of change and more like several decades of technological growth. However, let me make it clear, that although now unavoidable and unquestionably pioneering, these changes in the role of the artist, due to these radical ‘industrial/technological’ expansions, are not without noteworthy issues and by my studied observations have created some intriguing predicaments. This is a further reason why I am attempting to articulate some of my judgements now.

Now I will discuss various problems with some of the work being produced by new(ish) practitioners, in both the contemporary art and music industries. What I have noticed, firstly in art, is that it seems there has been some considerable convergence between the media, commercial design and cooperate driven markets and the contemporary gallery networks. Evidently there have always been strong ties between all these well established, media driven industries. However, as I have observed, the general attitude of the contemporary art world has shifted further and further away from any sort of real overt political engagement in recent times. This is of course, largely due to huge sways of cuts in the arts budgets and the self funding root having to grow and strengthen to a level we have never before experienced. As a result, obvious compromises have had to occur. The secondary effect, which has occurred, is in the sorts of work being produced, then chosen to be exhibited and the themes these pieces invariably focus on. Furthermore, this is absolutely attached to the type of ‘Higher Education’ given to young artists today and the current contemporary arts theory/rhetoric being communicated and focused on. For example, I have noticed there has been much attention paid to the notion of ‘space’, within recent fine art practice. The concept of the “Liminal Space” is a popular area of intrigue here. There are undoubtedly many interesting theories and works being created around these ideas. Nonetheless, the general framing of these concepts has been one which shies away from any clear or defined social or ideological engagement. Ideological statements now appear largely crude, unsophisticated and out of place in the new sleek, media ‘tuned’, cultural arena. These transformations are connected to the business of arts education as well. Art colleges are in precisely the same position as all self supporting businesses today. Therefore, it is becoming harder for art schools and tertiary educational institutions generally, to maintain much of the political activism and rigorous practical ideological engagements, which were so inherit in their progression through out the twentieth century. The business and marketing model is slowly removing that sense of political foregrounding and proper student activism. One has even begun to find most of the tutors and lectures that came through this system and would have championed and held these political and social ideals as fundamental to this educational ‘enlightenment’, are either retiring now or are leaving. This has left the next generation to take their places. Typically now, one finds individuals who are absolutely career orientated; almost corporate driven and as such, entirely accepting of the art world they inhabit. The study programmes frequently conducted within today’s universities and secondary educational institutions, by these new tutors, embrace a kind of openness and apparent ambiguity. In my view however, the terminologies and characteristics of ‘subtlety’ have been applied to mask a complacent rejection and basic lack of a much needed dialogue that focuses on actual social, ideological and cultural concerns, within the work being produced. The notion of political art, as a term of characterisation, is now actually something to be scorned at it seems. A recent general artistic trend, which exists today, appears to have largely rejected subjects that have a clear political commitment at their core. Ideas based around any sort of empiricism, or actual tangible subject matter, is often derided. The view that subtlety, and work which contains allegorical qualities, could not possibly exist within works which directly equate to a subject matter that addresses shared social anxieties, I have begun to realise, has now become commonplace. If one thinks of western art history for a moment – particularly if we were to focus on the work of Géricault (1791 – 1824) or Goya (1746 – 1828), as they are perhaps considered to be the first (renown) modern painters, up to where we are today in art – then this present attitude towards artworks and their subject matter, as a consequence of this retrospection, seems even stranger to me. At present though, recent artworks which contain all the qualities of cooperate graphics and design – clean, well ordered, fairly minimal compositions – are in abundance. Some of which I do appreciate immensely. Nevertheless, the sheer quantity of this work and its apparent lack of any definitive consciousness has become a real problem for me. This is coupled with the sad truth that the practitioners producing this work and the galleries which display and now set the agenda for the work, have not maintained any meaningful balance in the art they produce and is subsequently exhibited. Because this is now an art industry fully controlled by business, it unsurprisingly means that there is a contempt held for artists who attempt to deal with subjects critical or sceptical of the ‘corridors of power’, as these same power structures fully set the schema for the mainstream contemporary art world. This is the simple and most effective course of action to take. The call appears to be: ‘shut them out, economically and culturally, by whatever means possible’. I guess it just makes good business sense. There are now simply too many problems or contradictions which would arise if the contemporary work on display had an explicit modern ideological agenda. Therefore, work must be ‘opaque’ in what it might imply, in order to be accepted into the leading cultural arenas. As a result, such derision at work which does not subscribe to these imperatives is simply self-reflecting. If one was to employ a famous adage as a way of surmising this current approach, adopted by the art establishment, I might say: If you never allow the ‘elephant’ into the room, then you don’t even have to try and ignore it. However this approach, whether automatic or consciously in operation, is at best, naïve. In an attempt to avoid contradictions or simply ‘awkward moments’, these business powers have managed to give the impression that they have closed down proper, socio-cultural debate and discussion, within the arts. Therefore I sense, although long overdue, there has to be a reaction against the controlling nature of these structures. Much in the same vein as Punk did before - perhaps the longer these seemingly ‘compulsory’ trends continue – the more culturally important the eventual reactions will prove to be?

The fourth and final part of this text will be published next Saturday, the 31st of August.

Something akin to Punk: And the Apathetic Generation - II

noreply@blogger.com (Pipe) — Sat, 17 Aug 2013 15:27:00 +0000

[Part Two]

II. Individualism & Uniformity

Before I continue with this paper, let me initially describe a fairly well known anecdote, so as to make a link between my previous point on the continuing privatisation of all possible ‘commodifiable’ industries and how this has/is effecting higher education. I won’t get overly entrenched in this area. Nevertheless, I deem this story emblematic – as it involved Mrs Thatcher and profoundly anticipates the many problems we now face, specifically within higher education and the arts generally. The story goes: when on a press assignment during her time in office, Mrs Thatcher toured St Hilda's College, Oxford, and when there asked a girl what she studied: “Norse literature” the girl replied. “What a luxury!” was the then PM’s retort. Whether consciously or not, the opinion expressed by Margaret Thatcher on that day, in my view is a telling one. Her general regard for subjects which fall within the broad category of ‘the arts and humanities’, as exposed on that day, roughly equates to these academic and creative subject matters principally being deemed as superfluous. What this illustrates is an attitude that – although often unacknowledged by our political classes – states, if we cannot directly measure your endeavours and learning in financial terms, then it is just a ‘plaything’ and hence, it is unnecessary. Without getting too caught up in the sheer inaccuracies and ignorance of this view, on a purely economic basis that is, as that would be a ‘diversion’ I refuse to get drawn into. This is mainly because I personally do not measure all worth as these individuals do. However, what this has done is communicate, even by osmosis, the idea that one should only study these subjects, or enter this cultural realm, if that individual has the money to do so. It is as though, in the last couple of decades, there has been a slow and sustained effort to rid education of solely ‘thinkers’. Those academics that actually have a firm foundation in the ‘everyday’ are definitely under threat from the current financially focused university system. I am pleased to say, that clearly this has not happened completely, and hopefully never could do. But by attempting to turn all areas of higher education into massive corporate institutions – I suspect it goes without saying, that it affects the work being produced and the rhetoric being communicated in the contemporary arts today. The positives and negatives of this are subjective of course. But as this is the critical field I inhabit, I can say that the level of concern I observe being expressed by many similar practitioners as myself, equates to a significant anxiety. For me the major apprehension I see in the majority of work being created and then given a platform; is that there is a stark lack of any sort of creatively articulated resistance, turmoil or even a collective anger contained within it. This is difficult to accept in a time when the general formation of our society is so blatantly working against young people and specifically those whose backgrounds and economic situations prevent them from accessing the same quality educational and social opportunities as their more privileged counterparts. In addition, this highlights an absence of any real, meaningful sense of solidarity young people might feel for each other. And secondly, because today’s new technologies and apparatuses, which are used so widely, should really make some distinct social changes more probable. Therefore, as more time passes and transformations of this kind fail to appear; the social, ideological and educational structures that determine this system will continue to be moved further in the opposite direction – hence, I surmise this will remain largely working against students and their best interests. If no meaningful student lead resistance to these changes happens, this will continue to occur until everything within these institutions is commodified and the prevailing ideology becomes absolutely inclusive and as a result, a completely sustained force, which neither has to, or is even able to, adapt its functioning model. This leaves us increasingly with the proposal that there should be a compulsory ‘choice’ to make in every aspect of ones life. This totally misleading concept is fundamentally at the basis of modern cooperate capitalism – but is clearly never outwardly promoted as such. Our current ideological structure only presents these dubious ideas around ‘choice’, in order to conceal what this essentially means. What they actually equate to is the capability to pay, and therefore this ‘choice’ always comes at a hefty price - above all socially.

A largely unquestioning participation in this financially determined process, I deem has created large social groupings that are basically totally subservient to an ideological structure, which operates counter to what would benefit them and the majority of those within that group. However, what else has emerged recently within the predominate social factions in this country, is even more alarming. The tragedy of this situation is what has been created through the approval of those Thatcherite ideals linked to individualism. This has resulted in an overall apathy and non-engagement within the time honoured political modes used in ordered to activate any meaningful and much needed ideological change(s). The ease in which it seems those who hold power are able to control the ‘masses’ is at times, astounding. We are living through a period where we are bound by a political elite that is blatantly inadequate. The almost weekly scandals, ‘sleaze’, incompetence's and actual law breaking, is made evident to us the Public in a ‘newsworthy stream’ of unprecedented regularity. Big corporations and companies are able to candidly operate in largely whatever way best suits their economic agenda. And we are fully aware of all this. Events have proven that global financial institutions are left to control and regulate themselves mainly. Therefore, they primarily function in order to make as much profit for their respective organisation as is possible; until of course, it all goes wrong and the state gifts them more public funds so they can try it all over again. And the media too is on trial for breaking the law – remember. Not to mention, it’s often misleading and suspiciously selective reporting on local and international news stories. One has a few obvious ideas where this selectivity might come from. Much of this distrust is allied to the interconnectivity between those in places of power, i.e. the elite within our society and those who are granted a place at the top echelons of the media, and therefore control mainstream reporting. This definitely has nothing to do with any sort of ‘conspiracy theories’ either – in my experience, there is simply always some inherent bias within global media. Those of you who want to examine this subject in more depth, well there is ample evidence out there to support such claims. However, I often feel that one must only spend some time out in the ‘real’ world, trust your instincts and take in what you experience and it usually becomes plaintively obvious how these global media networks operate. The further we travel along the path away from free education and any meaningful notion of equal opportunities for all, towards ‘choice’, and more accurately, wealth – becoming less an advantage and more a necessity, as is increasingly evident all the time – the consequence is our civilisation seems far more homogenised. This reality affects all parts of our state. Therefore we see it within much of our mainstream media also. It is becoming, in a strange way like the pre-60’s generation, where everyone had to speak in a certain way in order to be on TV or radio. Although now not everyone sounds like the aristocracy; it as though much of the regionality of the voices we hear coming from the media presenters, has been replaced by a sort of ‘cosmopolitanised’ cultural set. Most of the individuals we see appear to have come from, or inhabit, largely the same metropolitan environments, and in so doing have started to become indistinguishable. Subsequently, I now witness much less little idiosyncrasies in these individuals and the images which follow them; and a far more uniformed overall impression from one ‘setting’ to the next, appears. It is as if, being ‘out of touch’ (in a societal sense), whether in terms of class, age, background or political consciousness/persuasions – and therefore not asking too many difficult questions – is far more advantageous than otherwise should be the case. I do not suggest that this has been consciously constructed, or there is any ‘big secret’. It simply figures, that this is how these organisations are run and our ideological system currently serves those groups who hold these powers. The more individualism (& its associated uniformity) is promoted, coupled with – the less that is done to change any of its social consequences – the more these control arrangements perpetuate themselves. What has happened in the previous decades prior to this however, was that youth subcultures and countercultural movements seemed to form and create what have been proven to be important cultural episodes. Such events often inspired some sort of realignment of the social orders through their very occurrences. At the very least, this generates a feeling in the popular psyche that ‘we’ as a collective group, ‘will always think for ourselves’, and in doing this, begin to make those who hold power aware that they must always consider ‘the people’. Sadly however, I have seen and experienced nothing which could resemble this sort of political engagement for almost two decades now. At a time (as I have been at lengths to describe in this section), where this type of social progress is now long overdue. What a little filth and fury did for the Punks, something similarly iconic and culturally meaningful, is crucial now – the collective imagination so requires it I suspect.

Part Three will be published next Saturday, the 24th of August.

Something akin to Punk: And the Apathetic Generation - I

noreply@blogger.com (Pipe) — Fri, 09 Aug 2013 20:48:00 +0000

[Part One]

Preface

Now, I have been kindly invited to write this piece for Pipe. Those fine folk said “write about anything you want” and I don’t get those sorts of invitations very often, so I thought this was the opportunity I needed to write this. I do hope they understand.

I have been considering the subject matter & themes which inform this article for some months. In fact, the areas under discussion, which have structured this text - I have largely considered them, concerns. These concerns may be more accurately described as being years old, rather than months. It has been only recently that I have adequately interrogated many of these questions. In doing so, this has helped me develop my ideas for this paper. Subsequently, now I attempt to articulate these questions, and the issues which surround them, in a written form.

Introduction

This article intends to question why roughly over the last decade, new artists & musicians have not followed the commonly set trajectory of previous generations: those practitioners from the latter half of the 20^th century up until the millennia, where I have observed this break has now occurred. Of course, each era has had its own specific cultural and socio-political nuances. However, I firmly believe that from the 1950s onwards (when the ‘teenager’/youth [sub-] cultures, and all that this now suggests, originated); since then each generation has had certain inherent behavioural traits and reactions, which essentially unite them all. That is until around the commencement of the 21^st century; where such anticipated reactions and consequent exchanges, began to change. This cultural period – which we are still in the midst of – did not change because of some new creative ‘happening’, or arts inspired movement. If this were to have been the case then this could, in an historical sense, be read as suspected; principally due to the events of previous decades. No, instead what has characterised these times is less what has happened – culturally and in-turn creatively – and more precisely, what hasn’t happened.

Therefore what I aim to explain and investigate in this article, is why over recent times movements related to and defined by ‘young people’; have not had the impact on society in the same manner as they had in other subsequent post-war decades. In recent times – because of this lack of popular youth definition and repatriation from their ascendances – I will describe a generation as having (in a creative sense) culturally stalled. In this examination, I aim to understand and explain some of the social, cultural and political reasons why I deem this might have happened.

I. The Background

For someone who grew up, if not entirely under her premiership, then certainly as successive Prime Minsters has enabled, under ‘Thatcherism’. Therefore the death of Margaret Thatcher has unquestionably given the ideas surrounding this text a far clearer focus for me. A telling factor which this inescapable episode has prompted, is a particular realisation that even though we may be two decades on since she was fairly unceremoniously elbowed out of office by her own cabinet - in ironically a very Thatcherite manner - the all male Prime Ministers since have sadly done little, or nothing to alter the political ethos and general scheme she devised. In fact they have all wilfully followed it. The reality of unrelenting Thatcherism and my full realisation of it, in the days following her death, have had a fundamental effect on how I view our current political elite/system and how her Premiership socially affected the country I grew up in. As a result, this has profoundly shaped the piece I am writing now. Therefore, these considerations have allowed me to formulate a more definite clarity than would have been afforded me without the help of the recent crucial debate over her tenure as Prime Minster and its wider social influence.

Firstly, let me say that I am not someone who believes all the social inequalities and lack of communal cohesion that has thus far defined the 21^st century, are wholly the ‘work’ of Prime Minster Thatcher. I do acknowledge, some what forlornly, that in the last two decades there has been sufficient time to address the tragic errors commitment by her free-market inspired governance. However, not only has this not happened, but the programme set by Thatcher has been followed through with an unwavering enthusiasm, and if anything, with even more empowerment and freedom granted to the financial industries and private sector(s) than even she sanctioned. It is safe to suggest though, that it was Thatcher who began this seismic transformation of the UK and created the capital led economy that we have today (a fact she would have been proud of I’m sure). Nonetheless, this has undoubtedly significantly contributed to the current economic situation the country is in. My interest here though, is with the kind of society – culturally, artistically & socially – that these ideological changes have gradually, but progressively created. The now infamous quote, “there’s no such thing as society”, claimed by Thatcher, has been generally realised now I feel. This statement was, at the time pre-emptory of course. When it was made at the Conservative Party Conference in 1987, there were undoubtedly countless noteworthy examples all across the UK, which wholly contradicted these sentiments. In my own experiences as a child in the late 80’s, early 90’s – I felt part of a community and saw the collective nature of a wider social group ‘at large’, in the areas I grew up in. And I still firmly believe this ‘togetherness’ was for the collective good. However one feels about the merits of a strong ‘open’ society; the ever present gatherings which took place in the majority of neighbourhoods until fairly recently, now have a very different nature. This sense of a large community cohesion, has either mostly gone or is slowing disappearing altogether. Crucially on this matter, I consider a clear indication of a strong communal bond between the inhabitants of an area, to be the notable presence of children. This factor, although as my parents would testify to, can be tiresome and wholly infuriating at times, is nevertheless a prime example of actual community organisation. The freedom which children and other young people have in which to structure their own relationships with their peers, has changed out of all recognition from what was the custom when I grew up (of which now London seems the most acute example of this shift). In many respects it has now become positively frowned down upon for children to be out without their customary parental guides. I have noticed that within large sections of our communities, this has created children that almost seem, oddly enough, slightly ‘middle aged’ in their attitudes and characteristics. They appear to lack a lot of the general mischief one would expect, and is natural for young people to have. There is in my view, far too much blind acceptance of what they are told and expected to do by their everyday figures of authority. This then frequently turns into a somewhat scorned, subservient, ambivalence within them; as they approach ‘adulthood’. The evolution of parental roles is intriguing as well in this regard. It’s as though in the modern day, one is expected never to become ‘elderly’; in the traditional aesthetic sense. We are surrounded by the new pseudo-young, a totally unreal phenomenon. Coupled with being told they must work as long as they can (despite the endemic problem of youth unemployment); they are instructed to have a structured, impenetrable ‘career’; and more economically significant, consume in abundance. This has apparently produced something quite novel in the ‘sandwich’, and their older generational counterparts. Of course, in reality these changes are not occurring exactly like this. No, the implications of all these factors are socially far more serious than I have initially described here. Nonetheless, some of the new behavioural patterns we see happening today in men and women from these newly ‘liberated’ age groups are in there own material way, quite starling. The wearing of jeans, ‘funky’ t-shirts, getting tattoos and purchasing a whole variety of the ‘freshest mod cons’, customarily intended for their kids – are just a few of these associated acts. And this virtually goes on up until the point they drop down dead – the ‘grey pound’ is seemingly stronger than ever. Perhaps the only one that is? The sight of the much older parent with their young – slightly odd; tweed clad; well tailored; fabulously trained infant – is a picture which is becoming commonplace all over the country. Whether this is a positive trend or not; maybe it doesn’t matter? It may just be inevitable, only time will tell. Nonetheless, I too believe that there is a connection between these behavioural examples and with those individuals – particularly young people – who are situated, for a variety of social and economic reasons, outside these parental and social structures. Their lives and actions are frequently in the extreme. What was once common rebelliousness or a general ‘rights of passage’, has become severe in its mindlessness and absolute in its levels of destruction. In what has undoubtedly become a new age of extremes, spectacles (in a sort of revised Debordian sense), and an era of supposed advancement of society – this now works two fold: both as a positive means and also to the detriment of the overall order of communities. And subsequently, this is a crucial reason why I make such judgements about these new acute variations in social conduct and attitudes.

There are always many exceptions when dealing with societal development. The complex nature of these matters is unquestionably intricate. But I have mentioned these factors thus far, because I sense the connections are important to these times; and as a result are worth consideration. In a period where homogenised consumerism has conned individuals into believing they can ‘have it all’. And that regardless of what their inherent identity or social traditions may have been once; it is time to surrender all those in favour of modern capitalism’s uniformed Individualism. Therefore, for a whole variety of reasons, my views are exclusively connected to the unprecedented continual privatisation of most sections and services within our “society”. This I deem has created a structure which encourages families to live more and more isolated existences. It seems this system, which subliminally promotes the belief that, ‘it’s good to be bourgeois’ & ‘there is no longer such a thing as class’, has also created the behavioural patterns of the ‘establishment’ within the majority of its citizens. Habitually the aristocracy have, for the most part, always lived by these same kinds of financially voracious ideals - for fairly obvious reasons. This is due to their customary economic strengths. But now a whole new ‘majority’ of those living – what by any stretch of the imagination would be seen as normal, economically modest existences – have also adopted many of the same socio-economic tendencies. However these are just the tendencies, minus much of the ‘substance’ needed to enact them satisfactorily; hence much of the current unrest, I would deduce. For me, this is both poignant and utterly incompatible with how the largest social groups have ordered themselves in the past. How these social changes connect with my main topic: the effects these recent behavioural tendencies have had on the arts and culture in this country, is what I will endeavour to explain next.

Part Two will be published next Saturday, the 17th of August.

‘Something akin to Punk’:

noreply@blogger.com (Pipe) — Wed, 07 Aug 2013 14:44:00 +0000

Pipe: The Editor’s Note

After a period of summer recess for Pipe, we have now returned and are excited about a new succession of essays that will be published in consecutive weeks starting from this weekend (10^th – 11^th August). We have asked new and somewhat elusive, cultural theorist Edgar Davies to write this extended piece – which we will post as a series of chapters. Allowing Davies an almost totally free reign to compose and frame this piece, has been a little daunting. But we are now thoroughly excited at the prospect of publishing this thought provoking work for you, our esteemed readership.

Although having a tremendous amount of faith in Edgar, the views he expresses in this essay are his own (we presume), therefore these opinions are not all necessarily shared by us here at Pipe. However, this work is intended to be a ‘call and response’ essay, and as such, raises some interesting issues which we hope stimulate a dialogue with others.

As I am sure one has noticed from the heading here, the essay will be titled Something akin to Punk. As Davies suggests, this work will generally deal with the current state of the arts – exclusively the contemporary art and music scenes. The text will connect with themes associated with social, cultural and political concerns; as an integral part of this subjective examination.

Photo of Edgar Davies, the author of Something akin to Punk; as he contemplates his work

The entire text will be published over 5 weeks, starting from this weekend – with more announcements to follow [view twitter: @thisispipe, for more details].

Over this period, Pipe will also be publishing other new unrelated content. So do please keep visiting the blog and letting us know your thoughts. In the meantime, we hope that you will appreciate Something akin to Punk.

Regards

The Forgotten Self -Melancholy and the fleeting remembrance of things lost. Part II.

noreply@blogger.com (Pipe) — Tue, 02 Jul 2013 21:04:00 +0000

II. Melancholy Art: depictive and reflective

When studying melancholy in visual art, we can often recognise cultural and historical traits in the way in which it is described. In the compendium for the catalogue Expressions of Melancholy (from the 2001 exhibition of the same name), at the National Museum of Contemporary Art in Norway; Kari J. Brandtzaeg comments on how the way visual arts was concerned with sensitivity; particularly sensitivity to darkness, yearning and sadness, during the Romantic period (Brandtzaeg, 2001: 7). According to Isaiah Berlin, Romanticism embodied "a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals." (Berlin, 1990: 92) This longing and sensitivity is evident in the landscapes of the archetypal Romantic Painter, Caspar David Friedrich – for example Abbey in Eichwald. (see figure 6). I chose this particular image by Friedrich for a number of reasons. Abbey in Eichwald depicts many things linked to melancholy, such as the autumnal landscape and a time in

Figure 6. Caspar David Friedrich, Abbey in Eichwald. (1809-10)

the day when daylight meets darkness. We don’t know if it is early morning or early evening which gives it a sense of timelessness. It also contains a ruin, which depicts life’s impermanence. In Nature and Art: Some Dialectical Relationships, Donald Crawford explains how ruins are a visual representation of time passing, and more specifically the qualities of ephemerality, closely associated with melancholy (Crawford, 1983: 55). For me different visual depictions of abandonment are a key way of portraying ‘time passing’, longing and abstract loss linked to melancholy.

In the late 19^th century ‘melancholic yearning’ was given a vital new appearance by Edvard Munch. Brandtzaeg describes how Munch inventively managed to ‘charge the human figure with an inner tension interacting with the surrounding landscape’ (Brandtzaeg, 2001: 7). An example of this is Evening. Melancholy I from 1896 (see figure 7). Despite my admiration for his work I find this piece, amongst other similar artworks by Munch, depicting rather than evoking melancholy.

Figure 7. Edvard Munch, Evening. Melancholy I (1896)

Looking at Friedrich’s Abbey in Eichwald and Munch’s Evening. Melancholy I, from a contemporary viewpoint – could it be so that the melancholy these artworks are associated with is bound in history? Or can they still convey melancholy to a present-day viewer? Holly addresses the importance of not forgetting that an individual work of art and the historical constellation of which it is part of “have come from a time and a place that still resonates, and what is past is not necessarily so” (Holly, 2013: xx). In this respect I agree with her. Caspar David Friedrich’s Abbey in Eichwald comes from a world long gone, yet I believe we can still respond to the scene within it. Holly refers to Erwin Panofsky who described that “The humanities . . . are not faced by the task of arresting what would otherwise slip away, but of enlivening what would otherwise remain dead” (ibid: 3). Holly implies that we automatically find life in a work of art because it is within our nature to react to its continuing presence. So, when studying the two previously mentioned images, do they really have the ability to evoke melancholy in the viewer? Is there still something there for us to relate to? Or is it possibly just an impression of melancholy that they depict? As I mentioned, Munch’s Evening. Melancholy I, left me wondering if it depicts rather than evokes melancholy. I believe it is bound in the history of melancholy due to ‘the melancholic pose’, which informs us of what the image is about almost as much as the title does. The pose; ‘head in hand ‘has been represented again and again throughout the history of Art. Albert Dürer’s Melancholia I from 1514 (see figure 8) is one of the most famous examples of this. The solitary figure lost in thoughts, with its head in its hands has throughout the centuries come to represent a typical portrayal of “the melancholy mood” (Brandtzaeg, 2001: 5). According to Raymond Klibansky’s research on Dürer’s engraving in Saturn and Melancholy, the primary

Figure 8.. Albert Dürer, Melancholia I (1514)

significance of this age-old gesture is grief, but it may also mean fatigue or creative thought (Klibansky, 1964: 285-6). This might be why I find Munch’s Evening. Melancholy I, just depicting ‘the historical representation’ of melancholy. Whereas I deem a landscape painting, like Friedrich’s Abbey in Eichwald being far less bound in history. For me it represents a past and a history that still exists. As a result this image manages to evoke something within me; it enlivens what would otherwise remain dead.

Of course, landscape paintings like Abbey in Eichwald are also entwined in art history relating to melancholy. Could this restrain some our perception of such a painting? In Melancholy, Mood and Landscape, Jennifer Radden discusses whether melancholy possibly has some ‘reinforced associations’? - If it contains connotations intertwined with the iconographic traditions of Western European visual art? She discusses whether “the melancholy landscape makes us think of, rather than feel, melancholy, and particularly to think of mood states of unexplained disquiet and sadness?” (Radden, 2007: 46). Radden wonders why we describe bleak, wintery landscapes with featureless spaces as ‘melancholic’. She links these connotations to the history of melancholy and in particular its relation to mental illness. I deem she has a point. In History of Madness Michael Foucault describes the mental world of melancholy as “damp, heavy and cold” (Foucault, 2006: 272). This description pictorially defines much of the visual artwork that we often refer to as melancholic. Friedrich’s Abbey in Eichwald and recent images such as Peter Doig’s Echo Lake or Sigrid Sandström’s Original Hrönir (see figures 9 and 10), might all simply carry the impression of melancholy?

Figure 9. Peter Doig, Echo Lake (1998)

Figure 10. Sigrid Sandström, Original Hrönir (2003)

I think these kinds of melancholy artworks are too complex to just ‘carry the impression of melancholy’. Thus, I surmise that we still intuitively attach expressive characteristics such as melancholy, to some pieces of visual art because they initially produced feelings linked to transience and abstract loss within us. We merely ‘just use’ the word melancholy as a description of what they make us feel – since recollections linked to melancholy are the closest to what we believe we have experienced when we first saw them. Where Radden asks how “aspects of the landscape make us think of, not […] feel, melancholy” (Radden, 2006: 47), I believe that if we start thinking of something as being ‘melancholy’, the feeling itself is already lost. Melancholy only ‘exists’ within us when we experience it. If someone describes a landscape painting as melancholic, it only gives us an idea of what we could expect based on the cultural and historical ‘reinforcements’ that Radden talks about. It doesn’t necessarily mean that we will experience it as ‘melancholic’.

So, where I find the ‘head in hand’ pose too symbolic and historically bound, I conceive that a landscape can have natural qualities that may have the ability to transfer

Figure 11. Karin Andersson, Leftover’s (2006)

melancholy to its viewer. However, this does not only apply to landscapes, certain ‘figures’ and ‘settings’ can also trigger melancholy. For me Mamma Karin Andresson’s Leftover’s (see figure 11), is an example of that. In this image there are no autumnal landscapes or lonesome figures. Perhaps it is its mundane nature – the unmade beds or a vague familiarity that evokes a somewhat melancholic feeling in me? Whatever it is, I find there are a lack of history bound connotations to adequately define this image.

To surmise, I think melancholy artworks can exist as either producers of the sensation of melancholy; or producers of the representation of melancholy - and in some cases - as both. I agree with Holly, who suggests that melancholy in visual art can find its own way, since it reflects a past that never really existed (Holly, 2013: xiii). It can still evoke a feeling originally aroused in this past, within the viewer. I deem the kind of artworks that provide us with this sensation of melancholy being reflective in a similar way to how Boym describes reflective nostalgia (Boym, 2001: XVIII).). This kind of melancholy is what really intrigues me. A piece like Peter Doig’s Man dressed as Bat(see figure 12) is an subtle figurative example of this. I find this piece possessing a rare sensitivity; the transparent creature warily seeking the attention of the viewer. A more obvious example which in my view manages to both depict and convey melancholy is Anslem Kiefer’s leaden plane Melancholia (see figure 13). Both the title and the use of the polyhedron in Kiefer’s Melancholia creates a bond with Albert Dürer’s Melancholia I (see figure 8) obvious to anyone acquainted with Western art history. Kiefer’s airplane might not be a landscape but it connects with Radden’s discussion about how melancholy art contains ‘connotations intertwined with the iconographic traditions of Western visual art’. However, I don’t find this piece bound in history in the same way as Munch’s Evening. Melancholy I. I think that Kiefer manages to use the history of melancholy in an innovative way – he subtly borrows Dürer’s polyhedron, which according to Klibansky is ‘both a problem […] and a symbol of […] perspective (Klibansky, 1964: 328). Kiefer’s piece reminds us of many problems faced by humanity. The exhausted airplane recalls the consequences of World War II. However, just as it recalls the aftermath of the War, it also reflects and represents the beginnings of a ‘new’ post-war era in modern history, and the loss and divisiveness that came with it. For me Kiefer’s Melancholia suggests how closely related human progress and destruction are. Its significance to my discussion lies in its links to the past and in its ability to ‘evoke a sensation of loss’ in the viewer. Behind this piece’s direct and seemingly clear melancholic historical associations, lies an ability to start a thinking process which in itself can evoke melancholy in the viewer.

Figure 12. Peter Doig, Man Dressd as Bat (2007)

Figure 13. Anslem Kiefer, Melancholia (1990-91)

For me the loss and the passing of time linked to melancholy became just as evident when I encountered Kiefer’s Melancholia as it did when I saw Peter Doig’s Man dressed as a Bat, even if it manifested itself in very different ways. Whilst Kiefer’s Melancholia left me thinking about devastation and life’s transience, Doig’s Man Dressed as a Bat managed to affect reminiscent longings for home within me. In both cases, melancholy was the basis for these associations and thoughts. In dissimilar ways both these artworks make it evident that the aftermath of melancholy can affect our perception of images by transporting us into deeper consciousness.

In this examination of melancholy art I have started to identify how different visual artworks can evoke new implications and create different feelings of loss. Representations of melancholy vary, and as each decade passes and artist’s forms of expression change, they become greater and more complex.

Even if the works of art I have highlighted in this essay all have very dissimilar motifs and descend from very different eras, ‘the melancholic moods’ that many of them – at least when I first saw them – managed to induce within me are ‘real’. Perhaps it is the feeling of loss, together with its connection to the sensation of abandonment that gives these images the capacity to ‘strike’ ‘that melancholic cord’? This is what I find so hard to pinpoint. Whatever it is they manage to stir up within me, I deem that when we view certain visual artworks, they sometimes manage to help us find those ‘fragments of our own existence’ which Benjamin suggests can help us understand our past. (Zizzelberg, 2007: 296-97). Even if these images do not always permit us to enter ‘the melancholic sphere’, they do at least have the ability to ‘preserve melancholy longing’, as Zisselberger describes it (ibid: 297). Holly uses a quote by Chirstoffer Bollas that fittingly describes why melancholy in visual art is so captivating: A work of art can give the viewer “the sense of being reminded of something never cognitively apprehended but existentially known […] this experience originates as a crystallization of time into a space where objects and subjects achieve and intimate wordless rendezvous” ( Holly, 2013: 19). That in itself is a unique quality which we should not underestimate. It highlights how melancholy is and has always been an important part of the human temperament.

Epilogue

Melancholy has a long and complex history. Sometimes its past, with all its connotations becomes more of a burden than an explanatory part of its fleeting existence. Still our interpretation of the term today is heavily influenced by this multifaceted past. The way in which many contemporary writers and artists describe ‘the essence of melancholy’ is somewhat less depressing than the majority of the terms historical connotations. However the term still carries traits from both Freud’s interpretation of melancholia and from the “emotional vulnerability” he claimed to have found in our experience of transitory and ephemeral phenomena.

Melancholy’s complexity becomes evident to us when we examine historical and contemporary artworks that seemingly possess melancholic traits. We can differ between the kind of artworks that ‘just’ depict melancholy and the kinds that also manage to evoke melancholy. For me the latter ‘kinds’ are the true carriers of ‘the essence of melancholy’. This is what I find so intriguing. Holly points out that “one certainly does not need to be a skilled art historian to become enraptured by a particular work of art, and then to become melancholic upon leaving it” (Holly, 2013: xii). For me this is the key to ‘Melancholy Art’. It has the capability to touch anyone. In my view the melancholic feelings that visual artworks can evoke within the viewer are not to be overlooked. These feelings arise because they carry fragments of our past. In many ways they manage to ‘release’ artworks from the time in which they were made. This gives melancholy a peculiar relatedness to time and to our past. Through my research I have also learnt that even after the sensation of melancholy leaves us it can affect our perception of images by transporting us to another level of consciousness. For me this kind of melancholy found in certain art works, is reflective and not “bound in history” but informed by it.

I may never be able to totally comprehend melancholy’s real meaning, but I have learnt that it contains many layers of interpretation. By my considered judgement, melancholy will continue to exist and develop with every generation of civilisation. It is part of the human temperament; possessing a unique ability to make us aware of a past that has become abandoned by our memory – our Forgotten Self. For that reason the presence of the familiarity it carries will always be welcomed by us.

Figure 14: the Circulation Proceeded Unnoticed (2013)

Bibliography

Benjamin, Walter. (2002). Berlin Childhood around 1900. In: Selected Writings, vol. 3: 1935-1938. Cambridge, Mass: Harvard University Press.

Benjamin, Walter. (1985). The Origin of German Tragic Drama. Suhrkamp Verlag.

Berlin, Isaiah (ed. Henry Hardy). (1990). The Crooked Timber of Humanity: Chapters in the History of Ideas. John Murray

Bollas, Christopher. (1987). The Shadow of the Object: Psychoanalysis of the Unthought Known . Columbia University Press.

Boye, Karin. (1994). Complete Poems. Translated by, Duff, David. Bloodaxe Books.

Boym, Svetlana. (2001). Future of Nostalgia, Basic Books.

Boym, Svetlana. (2007). Nostalgia and it disconcerts, At: http://www.iasc-culture.org/eNews/2007_10/9.2CBoym.pdf (Accessed on: 05.04.13)

Brandtzaeg. J. Karl. (2001). Expressions of Melancholy. Exhibition Catalouge. The National Museum of Contemporary Art, Olso, Norway.

Crawford, Donald. (1983). Nature and Art: Some Dialectical Relationships. In: Journal of Aesthetics and Art Criticism, No: 42, 1983. p.26-29.

Dillon, Brian. Anatomy of a Cloud. In: Sandström, Sigrid and Atopia Projects (eds.). (2006). Grey Hope: The Persistence of Melancholy. Atopia Projects, p 26-29.

Foucault Michel. (2006). History of Madness. Routledge

Freud, Sigmund. (1915). On Transience. At: http://www.psptraining.com/readings/Freud,%20S.%20(1953-74).%20On%20transience%20(1919).%20The%20standard%20edition%20of%20the%20complete%20works%20of%20Sigmund%20Freud%20(v.14,%20pp.304-307).pdf (Accessed on 09.03.13)

Freud, Sigmund. (1917). Mourning and Melancholia. At: http://www.free-ebooks.net/ebook/Mourning-and-Melancholia/pdf/ (Accessed on 05.03.13)

Gustafsson, Lars. Time Pain and Loss. In: Sandström, Sigrid and Atopia Projects (eds.). (2006). Grey Hope: The Persistence of Melancholy. Atopia Projects, p 56-61.

Holly, Ann, Michael. (2013). The Melancholy Art. Princeton University Press.

Kafka, Franz. (1979). Conversations with the Supplicant. In: Description of a Struggle and Other Stories. Penguin

Krauss, Rosalind. .(1986) Photography in the service of Surrealism In . Amour Fou: Photography and Surrealism. Krauss, Rosalind and Livingston, Jane. London: Arts Council of Great Britain.

Radden, Jennifer. Melancholy, Mood and Landscape. In: Sandström, Sigrid and Atopia Projects (eds.) (2006). Grey Hope: The Persistence of Melancholy. Atopia Projects, p.46-56.

Sandström, Sigrid (with Gavin Morrison). Grey Hope. In: Sandström, Sigrid and Atopia Projects. (eds.) (2006). Grey Hope: The Persistence of Melancholy. Atopia Projects, p.6-9.

Sarafianos, Aris. (2004). The many colours of black bile: the melancholies of knowing and feeling. At: http://www.surrealismcentre.ac.uk/papersofsurrealism/journal4/acrobat%20files/Sarafianos.pdf (Accessed on: 05.02.13)

Schopenhauer, Arthur. (1964). On the Vanity and Suffering Of Life. From: The world As Will And Representation. Translated by: E.F.J Payne. Vol. 1, Fourth Book . Dover Publications.

Tarkovsky, Andrei. (1989). Sculpting Time- Reflections on the Cinema. Translated by Hunter-Blair, Kitty. Faber and Faber.

Zisselberger, Marcus. Melancholy Longings: Sebald, Benjamin, and the Image of Kafka. In: Lise Patt with Christel Dillboher (eds.). (2007). Searching for Sebald, Photography after W.G. Sebald . The Institute of Cultural Inquiry and ICI Press.

Films:

Directed by Andrey Tarkovsky (1988). Directed by Michal Leszczylowski [DVD]. Sweden. The Swedish Film institute. SFI.

List of Illustrations:

Figure 6: Caspar David Friedrich. (1809-10). Abbey in Eichwald [Oil on Canvas, 110.4 x 171 cm. Courtesy of Schloß Charlottenburg, Berlin] At: http://www.bc.edu/bc_org/avp/cas/his/CoreArt/art/resourcesd/fri_abbey.jpg (Accessed on 03.04.2013)

Figure 7: Munch, Edward. (1896). Evening. Melancholy I. [Woodcut, 41.2 x 45.7 cm. Courtesy of MoMA, New York.] At: http://www.moma.org/collection_images/resized/669/w500h420/CRI_61669.jpg (Accessed on 03.04. 13)

Figure 8: Albert Dürer. (1514). Melancholia I. [Engraving, 24 x 19 cm. Courtesy of the British Museum, London] At: http://www.artfund.org/what-we-do/art-weve-helped-buy/artwork/158/melancholia (Accessed on 09.04.13)

Figure 9: Peter Doig. (1998). Echo Lake. [ Oil paint on Canvas. 230 x 360 cm. Courtesy of Tate, London] At: http://www.tate.org.uk/art/images/work/T/T07/T07467_10.jpg (Accessed on 15.04.13)

Figure 10: Sigrid Sandström. (2003). Original Hrönir [acrylic, collage, oil on board, 48x60”/122x153cm] At: http://www.sigridsandstrom.com/painting_files/2003_files/original_hronir122x153cm.jpg (Accessed on 30.03.13)

Figure 11: Karin Mamma Andersson (2006). Leftovers. [Mixed technique. Private Collection] At: http://blog.mutewatch.com/wp-content/uploads/2011/09/Mamma_Andersson_Karin-Leftovers.jpg (Accessed on 22.03.13)

Figure 12: Peter Doig. (2007). Man Dressed as Bat. [Oil and distemper on linen, Courtesy of Michael Werner Gallery, London] At: http://www.artnet.com/Images/magazine/reviews/robinson/robinson2-6-09-6.jpg (Accessed on: 03.03.13)

Figure 13: Anselm Kiefer. (1990-91). Melancholia. [Led airplane with crystal, 320 cm x 442 cm x 167 cm, Courtesy of the San Francisco Museum of Modern Art ]. At: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xJ3YbJJh_yRBC0oq9aOFQ2s9mkeRneQ04o_ngwM3hWdYcXCo1kboQo65yX7lsygUfvbn5ScDtmpKA1Gnpl73wQeBnegaSURaJ3ixKXWLTX_tzs54zWtrWtP2cvMf5RQe7cNh06FoYZI/s1600/sfmoma_Fisher_15_Kiefer_Melancholia.jpg (Accessed on: 03.03.13)

Figure 14: Glantz, Anna. (2013). the Circulation Proceeded Unnoticed. [Illustration, acrylic, gouache, and ink on paper] In possession of the author: Canterbury.

Marked by Images: The Remembered Film & Douglas Gordon

noreply@blogger.com (Pipe) — Wed, 05 Jun 2013 19:03:00 +0000

Part II.

fig v)

The next example of Gordon’s work is Through a Looking Glass (1999) (Fig v). This piece is a visual representation of a psychological process. The work is taken from Martin Scorsese’s (1942- ) Taxi Driver (1976) and shows the sequence where a psychotic Travis Bickle played by Robert De Niro (1943- ) is talking to himself in a mirror. The scene is played on two screens which face one another with a thirty foot gap in-between. Gordon states that “Something happens between the surface of the glass and the silver reflected surface”[1] and in doing so he desired to make this quarter inch gap in the mirror into a thirty foot gap that the viewers could place themselves in. To use a relevant account from the artist:

Wouldn’t it be really great to expand that thickness in order to step in – I don’t want to be on that side of the mirror or the other side, but half way…to extend this space and therefore to have one foot in the fantasy and one in the reality.[2]

This indicates how narrative is often disposed of when recalling a film, and how these recollections then merge with personal memories. This is something that also links with Through a Looking Glass and has been acknowledged by the artist’s own explanation of the piece. If you transpose the word “fantasy” for “film” in this last recollection from Gordon, it is quite conceivable that this piece acts as a visual comparison of Burgin’s theories. To ‘have one foot in the fantasy and one in the reality’ exemplifies what Burgin is at lengths to portray in his book: that the visual experiences taken from film, will often ‘merge’ with those taken from reality. Our recollections from fantasies become part of our associated and connected realties. Consequently it seems entirely conceivable to see a work like 24 Hour Psycho as another view of a psychological occurrence. As the images on the two screens, played at different rates, start to become totally out of sync with each other, this monologue turns into a dialogue. Being stuck in-between, the audience attempts to translate this confused state. This confusion, once again is mirrored by the viewer’s recollection of the relentless images. Fiction becomes reality and visa versa; much in the way one remembers one’s own life.

The idea of the indistinguishable nature of fact and fiction, through certain remembrances is also evident in Gordon’s quasi-autobiographical book What Have I Done, produced for his retrospective at the Hayward Gallery in 2002. This short book - a strange account of Gordon’s early life - has no obvious narrative flow and is far more descriptive than linear in its narrative development. It provides a few crucial aspects of Gordon’s account of his upbringing and these make an important contribution to this paper: firstly, in this book his memories have no beginning, middle, end, and therefore any defining narrative features are abandoned. This echoes many of Burgin’s judgments on memory and its disjointed nature. Secondly, his recollections seem to be a mixture of fact and fiction. They produce a sensation of fantasy constantly. And crucially, the film and literary works are placed side by side, and become synonymous with ‘actual’ events; again, as has been described in The Remembered Film. And thirdly, the character of ‘Jimbo Park’, Gordon’s childhood friend and ‘Interlocutor’ (perhaps his imaginary friend?) features throughout. He starts to act as a kind of alter ego - a theme also significant to his work - who films Gordon and gets him into trouble. In my view this is a depiction of Gordon the artist, who deconstructs, analyses and documents the events which unfold.

The following section from Gordon’s book is used to demonstrate the notion of the film being ever present and a part of associated memories - and describes him being watched by an ever present alter ego:

There was always two of us: I was born with a person watching at my side. There was always two. Myself and my interlocutor; the child on the rug; tasting sherbet, watching James Cagney films on TV, James Cagney’s face and his jerking shadow beside the electric chair, or James Cagney on top of the burning building, that James Cagney, the one that lives in my own nerves and in my blood throwing down his gun and shouting to his mother…our first video machine, at midnight I came down to see it and noticed him there...There was always two: I called him Jimbo Park.[3]

It is clear from What Have I Done that Gordon places great significance on film, popular culture, literature, religion and his Scottish working class roots as part of his upbringing. In the book, these aspects of his youth blend with the lived events that surround them; highlighting their fictional characteristics and producing a sensation of childlike fantasy in the reader.

He continues:

We told the church minister Marilyn Monroe was more alive than the girl next door and the girl next door was more alive because of Marilyn being on the television one night in Bus Stop while she, the girl, was dyeing her hair, waiting for the phone to ring. Jimbo was good for a laugh. ‘We faced death like John Wayne,’ he said. ‘Like Montgomery Cliff. Like Peter Pan. Like Harold Lloyd.’ The minister took me by the ear. [4]

Consequently as Burgin explains, in his initial example from The Canterbury Tales - Gordon also uses the personal and cinematic memories that he blends, merges and hybridises. His work is a culmination of this.

IV)

My next instance of a significant connection between Burgin’s study and Douglas Gordon’s art comes via the crucial observations of Roland Barthes, and from his text The Third Meaning. Burgin remarks in The Remembered Film that Barthes “had made a closely similar distinction between the ‘obvious’ and ‘obtuse’ meanings of some film stills. We may bring much the same distinction to other images from everyday environments.”[5] This remark then led me to analyse his distinction.

To use Barthes’ own descriptions of both these terms: the ‘obtuse’ meaning and the ‘filmic’ experience, which produce ‘The Third Meaning’, he writes.

First and foremost, obtuse meaning is discontinuous, indifferent to the story and to the obvious meaning (as signification of the story). This dissociation has a de-naturing or at least a distancing effect with regard to the referent (to ‘reality’ as nature, the realist instance).[6]

This meaning has an “infinity” of interpretations and acts on a purely individual human level, much like the ‘punctum’ Barthes defined in photography. It is a meaning which is difficult to define. The viewer connects with a characteristic within a scene which operates entirely separate from the informative or narrative traits within the image. “They extend outside culture, knowledge, information; analytically, it has something derisory about it”.[7] In his examples, this is often evident in gestures, expressions and other such human behaviour.

Also of particular note for me here is the idea of the ‘filmic’. Barthes defines it as this:

The filmic, then, lies precisely here, in that region where articulated language is no longer more than approximative and where another language begins (whose science, therefore, cannot be linguistics, soon discarded like a booster rocket). The third Meaning – theoretically locatable but not describable – can now be seen as the passage from language to significance and the founding act of the filmic itself.[8]

fig vi)

fig vii)

This concept of an indescribable sensation which one gets from an image in a film connects with my final example from Gordon’s cinematic works: Zidane: A Twenty First Century Portrait (2006) (Fig vi & vii), and embodies the notion of the ‘Third Meaning’. In this work what is seen is the famous French footballer Zinedine Zidane (1972- ) being filmed for the entirety of a match. The camera follows him and what is displayed to us is a moving image of remarkable sensibility. Neither narrative nor documentary information is displayed; this film is Gordon’s study of one human being experiencing various levels of mental and physical experiences. Like the expressions and characteristics of the actors that Barthes describes in Sergei Eisenstein’s (1898-1948) movies, it becomes evident that what draws me into this film is Zidane’s subtle idiosyncratic human movements, which Gordon choose to record. To quote Michael Fried (1939- )- who is also fascinated by the ideas of ‘absorption’, and what he calls ‘to-be-seemness’ - from his essay Douglas Gordon and Philippe Parreno’s Zidane:

I see Zidane as belonging to the absorpative current or tradition that has played a central role in the evolution of modern art. But: Zidane’s absorption in the match is not depicted as involving a total unawareness of everything other than the focus of his absorption – in particular, an un-awareness of being beheld that has been the hallmark of absorpative depiction.[9]

I believe then, that moments in this picture provides significant evidence to suggest that what we are viewing is various unconscious thoughts and considerations. This in turn makes for a work which is an embodiment of the ‘filmic’ experience. If one recalls Burgin’s accounts of the remembered scene or image, and Barthes’ ‘obtuse’ meaning, there seems to be a definite linkage with Zidane. What Fried describes are moments which have most resonance, are the untypical images of Zidane.

From time to time he spits. He wipes his face with his arm or sleeve. He scratches his head behind his left ear. Now and then he barks ‘Aie’ or raises one arm asking for the ball. We are also given repeated shots of his legs and feet, including close-ups that reveal him scuffing the toes of his cleats against the turf as he walks along – why does he do that? His gait becomes intimately familiar to us by the end of the film.[10] (Fig viii)

fig viii)

These moments are fascinating as they depict Zidane in an unfamiliar fashion. The uniqueness of this ‘human element’ is profoundly unexpected. Zidane even describes how during specific points in the game he becomes “switched off” to the 80,000 or so crowd watching. This is highly evident in the films images too. The joke he shares with a team mate becomes one of the highlights of the film. A moment Zidane himself had not even recalled and had hated seeing; a “lack of focus” he suggests. What I feel this picture shows are multiple moments of the ‘obtuse’ meaning, and what Burgin describes as ‘Inner Speech’, which is taken from the linguist Lev Vygotsky’s (1896-1934) expression. “In psychoanalytical terms it represents the persistence of the ‘primary process’ that historically precedes ‘secondary’ modes of thought – preferring images to words, and treating words like images.”[11] The images produce a wealth of thoughts and make the overall reading one of infinite possibilities. It has no specific narrative to follow or conscious character development to depict. Above all else, what we see is the individual nature of a human being and the empathy one feels towards them. This, I conclude, produces Barthes’ ‘Third Meaning’.

Epilogue)

What Gordon’s work here begins to visualise are some of the various facets of the ‘mental occurrences’ described by Burgin in The Remembered Film. Whether by the memory of a moment in time, or by images - these works show what it means to be “marked by an image”. They cut across chronology, transcend narrative and shed light on the nature of human perception. Consequently, this understanding of an individual’s inclination to combine ‘filmic’ memories with those from actual ‘real’ events – reveals how ‘fantasy’ has a fundamental function within a person’s psyche.

Bibliography)

Barthes, Roland, Camera Lucida: Reflections on Photography, (Great Britain: Vintage, 1982)

‘Diderot, Brecht, Eisenstein’, in Narrative, Apparatus, Ideology, ed. by Philip Rosen, (New York: Columbia University Press, 1986)

The Pleasure of the Text, trans. by Richard Miller, (Basil Blackwell Ltd: Oxford; United Kingdom, 1990)

‘The Third Meaning’, in Image Music Text, trans. by Stephen Heath, (Flamingo: London, 1984)

Burgin, Victor, The Remembered Film, (Reaktion Books Ltd, London, 2004)

Freud, Sigmund, ‘Hysterical Phantasies and their Relation to Bisexuality’, The Standard Edition of the complete Psychological Works of Sigmund Freud, ed. And trans. by James Strachey, (London,)

Gordon, Douglas, What Have I Done, (Hayward Gallery Publishing: London, 2002)

Douglas Gordon, ed. Russell Ferguson, (MIT Press: United States of America, 2001)

Douglas Gordon: Superhumanatural, (Die Keure: Belgium, 2006)

prettymucheverywordwritten, spoken, heard, overheard, from 1989... Voyage to Italy, ed. Mirta d’Argenzio & Giorgio Verzotti, (Skira Editore S. p. A.: Italy, 2006)

Laplanche, Jean; Leclaire, Serge: Coleman, Patrick, ‘The Unconscious: A Psychoanalytic Study’ (1960), Yale French Studies (Yale University Press: USA, 1972)

Wollheim, Richard, Freud, (Fontana: London, 1971)

[1] http://www.youtube.com/watch?v=SjYb6EN0v8w&NR=1, Meet the Artist: Douglas Gordon Part 2 of 2, Q&A with the artist at the Hirshhorn Gallery, 2004, section starts 5minutes 15 seconds.

[2] Ibid.

[3] Douglas Gordon, What Have I Done, chp. 1., ‘Doubles’ (Hayward Gallery Publishing: London, 2002), p.18.

[4] What Have I Done, chp. 3., ‘Beauty’ (Hayward Gallery Publishing: London, 2002), pp. 21-22.

[5] Victor Burgin, ‘The Remembered Film’, The Remembered Film, (Reaktion: London, 2004), p. 66.

[6] Roland Barthes, ‘The Third Meaning’ (1970), Images-Music-Text (Flamingo: London, 1984), p. 79.

[7] Ibid., p.55.

[8] Ibid., p.65.

[9] Michael Fried, ‘Douglas Gordon and Philippe Parreno’s Zidane’, Douglas Gordon: Superhumanatural, (Die Keure: Belgium, 2006), p. 106.

[10] Michael Fried, ‘Douglas Gordon and Philippe Parreno’s Zidane’, Douglas Gordon: Superhumanatural, (Die Keure: Belgium, 2006), p. 107.

[11] Victor Burgin, ‘Introduction: The Noise of the Marketplace’, The Remembered Film (Reaktion Books Ltd: London, 2004), p. 11.

The Forgotten Self -Melancholy and the fleeting remembrance of things lost. Part I.

noreply@blogger.com (Pipe) — Mon, 03 Jun 2013 19:09:00 +0000

Objectives

I intend to examine the contemporary usage of the term melancholy within visual art. My interest lies in its association with loss, time, and its connection with ‘the past’. I will firstly investigate how I deem Melancholy links to these subjects. Then I will proceed to analyse the way the term can be revealed visually in art today, by focusing on a selection of different historical and contemporary works.

My drawings and their purpose within the Paper

I am using my own works here to visually describe how my thoughts and my recent practice relate to melancholy. My drawings are not definitively bound to the text; instead they illustrate my interpretations on the subject. Sometimes I use them together with quotations, which have helped to inform my practice. In other instances they are used to create a reflective pause for the reader/viewer.

The approach I have used here corresponds with this quote by Louis Aragon’s thoughts when viewing certain surrealist compositions,

“… they did not assume an allegorical stance or the personality of symbols; they seemed less the outgrowths of an idea than the idea itself.”

(Aragon: 1986: 25)

Prologue

I started this investigation into melancholy because of an urge to create imagery reflecting the inner emotions that I connect with the term. At that moment I could only describe my interest in melancholy as instinctual. It seemed to cover a range of subjects that interests me and relates to my practice. However, I found it hard to clearly explain what I meant when I described my work as being informed by melancholy. Its historical meanings and connotations didn’t always relate to my views on the term. I therefore decided that it was necessary to research both the history and the contemporary attitudes towards melancholy.

When I started my investigation into the ideas which surround melancholy, I soon found myself wondering what the term melancholy, with its complex history, means to visual artists today. Maybe the desire to accurately define melancholy isn’t important, or even possible? However, even after this initial exploration, my interest in establishing an understanding of melancholy’s complex nature and its ability to capture us still persisted. I therefore started my research by trying to comprehend what emotions are often associated with the term and why these seem to be so ephemeral.

I. The characteristics of melancholy

I deem that the sensations that melancholy embodies are a mixture of reflective and sombre feelings which gives it a unique power to ‘capture us’. In her essay Grey Hope the Swedish artist Sigrid Sandström describes how “the melancholic void” takes over an individual, and when captured by it “the future becomes lost in the sudden deepening of the present” (Sandström, 2006: 8). I agree with Sandström’s view on this. Melancholy has an unusual and particular affiliation with a person’s subjective realities and a unique relation to time. The term is often used to describe a fleeting state of mind. This represents an undistinguishable longing for ‘past times’ which one cannot fully recall.

Melancholy can become evident in our everyday lives through a variety of basic sensory reactions. In the Melancholy Art- (Essays in the Arts) Ann Michael Holly describes the presence of Melancholy as “the awareness that an authentic fragment or a vestige of something once rich and whole tarries there in its own material aftermath” (Holly, 2013: xiii). Whatever one believes defines Melancholy - it is able to momentarily begin to define ‘that what we have forgotten about ourselves’ in the present moment.

Even though melancholy is inextricably linked to its complex history, it also has an unusual ability to reinvent and adapt itself to a contemporary setting. Melancholy forms a part of the human psyche and is an underlying aspect of our makeup. Lars Gustafsson writes about this in his essay; Time, pain and Loss. He suggests the term holds a particular position within a human being, since it is so closely related to our emotions and perception of time (Gustafsson, 2007: 56).

Still, if melancholy is an underlying aspect of our temperament, why is it that we find it so hard to define? I deem that its complicated history has continuously re-shaped the interpretation of the term throughout the centuries. A lot of meanings have been attached to melancholy since it first appeared in Ancient Greek philosophy. The Greeks connected it to the idea of humans possessing an excess of black bile as a result of dryness. (Sandström, 2007: 7). Since then it has evolved in a variety of ways; relating to mental illness, psychological frailties and artistic creativity. Melancholy has been widely discussed within psychoanalysis, and has been described and portrayed by artists over many centuries. Presently the term is commonly used to describe certain short-lived emotional states. I believe that the fascinations many artists have for this subject come from melancholy’s ambiguity and how, when it first affects us, it subconsciously draws us to the notion of being in Search of Lost Times.

Figure 2. The Returnee (2013)

In the presence of melancholy, I become if only for a moment, captured by fleeting fragments of the past filled with memories that I cannot locate. Holly fittingly describes this kind of feeling as “a chain of associations older than we feel we actually are”. She calls it; “this homesickness of things” relating to our past. Melancholy holds many emotions and abstractions simultaneously. It is so full with associations that its proximity becomes ‘almost painful’.

If melancholy is to some degree ‘painful’, why don’t we try to reject its presence? I believe it is melancholy’s capability to awaken our recollections of the past that intrigues us. It unsettles us, but at the same time it contains reassurances of something familiar. In my view the “homesickness” that Holly talks about retains a rare ability to reassure us of this familiarity. These feelings are so temporary and obscure; that their meanings and origins become complex. In the essay Anatomy of a Cloud Brian Dillon refers to the melancholic individual as being a kind of cloud, “he becomes foggy, indistinct, feels himself adrift and untethered”. (Dillon, 2007: 27). The reason for this struggle to describe the melancholic state of mind is that the essence of melancholy is ‘untethered’. It exists only in its own present moment. Thus, I consider this the reason why feelings of pain and loss which melancholy is associated with are so ephemeral.

Gustafsson discusses “the pain of the soul” that relates to melancholy, referring to it as the mental pain that occurs the moment we realise an occasion is lost forever. “Loss is a fundamental experience without which we would not be able to recognize ourselves as ourselves at all” (Gustafsson, 2007: 57). The loss we experience shapes us as human beings and more importantly it changes how we perceive the world. Loss is therefore an essential aspect in the way we interpret and experience ‘melancholic moments’. This often occurs when we encounter certain places or works of art.

The impact that loss has on us is dependent on time. The unfathomable nature of time is hard to comprehend; it is always related to one’s state of mind. Gustafsson points out how time has only one direction, while space has several (ibid). Thinking of time in relation to space makes it feel almost claustrophobic. We are forever locked in time’s perpetual forward facing motion. Perhaps this is why the emotions we associate with melancholy - such as pain or loss - are so strongly related to time; and particularly to ‘past time’. I deem that the pain we encounter when we are affected by melancholy is related to a past and a loss that only becomes evident during the influence of melancholy. To surmise, I will conclude this complex issue by stating that melancholy’s power is that it can remove us from the rational logic of everyday existence. It is as though “the texture of consciousness slips out from the strict cartographic depictions of a complete, coherent structure to a more unsettled and ambiguous terrain” (Sandström, 2007: 7). In the grip of melancholy, we briefly find ourselves in a place ‘here and now’, where time and place merge.

Figure 3. Divine Messenger Rising (2013)

We feel the pain, but not the lack of pain we feel the grief, but not the lack of grief; the fear but not the safety. ” from The World As Will And Representation by Arthur Schopenhauer

How melancholy connects to ‘time passed’, longing and loss closely relates it to nostalgia. In particular it is associated with what Svetlana Boym in the Future of Nostalgia, refers to as reflective nostalgia. Just like melancholy, reflective nostalgia “dwells on the ambivalences of human longing” (Boym, 2001: XVIII). However, there is an important difference between these two terms; “unlike melancholy, which confines itself to the planes of individual consciousness, nostalgia is about the relationship between individual biography and the biography of groups or nations, between personal and collective memory” (Boym, 2007: 8). Nostalgia always has a sustainable connection to ‘something’ which we associate with our history. Conversely, the origin of melancholy’s past is transient and personal, yet indiscernible. While we can stay in a nostalgic moment through focusing on memories, melancholy has no sustainable connection to our past and can therefore disappear instantly.

Zisselberger writes in his essay Melancholy longings: Sebald, Benjamin, and the image of Kafka; how melancholy is a ‘tool’ that enhances a longing for the past that is always already lost (Zisselberger, 2007: 296). Therefore some of melancholy’s power lies in its ability to briefly make us feel as though we are revisiting ‘something’ that connects with the past. It’s offering us a brief connection to the Forgotten Self.

While we can grieve over the loss of a ‘nostalgic’ time or place in our past, we cannot mourn the Forgotten Self since we cannot pinpoint what we have lost. In Mourning and Melancholia, Freud talks about mourning as being a “reaction to the loss of […] some abstraction which has taken place for one, such as one’s country, liberty, an ideal, and so on” (Freud, 1917: 242). He then addresses that for some people the same kind of influences produce melancholia instead of mourning. Even though Freud talks about melancholia as a mental condition, his description of this still closely relates to certain aspects of a more contemporary outlook on the melancholic state of mind. Freud suggests that unlike melancholia, mourning is a more impermeable term which more specifically relates to the process of overcoming a loss. (ibid: 243). The biggest difference between the two terms is that the mourner comes to a point when he acknowledges his loss, whilst the melancholic remains absorbed in his loss. He can therefore not clearly distinguish himself from the feelings of loss. In some cases he “cannot see clearly what it is that has been lost”, this, since loss experienced by the melancholic is somewhat “withdrawn from consciousness” (ibid: 244).

I am examining Freud’s analysis of ‘the melancholic illness’ in an attempt to form an understanding of melancholy’s allusive nature. I conclude that his description is a true embodiment of many things, which still define the term melancholy. The state of ‘absorption’ and the ‘withdrawness from consciousness’ Freud describes as being a characteristic of the melancholic has seemingly led to ‘a modern’ understanding of melancholy.

Figure 4. Moonshine (2013)

You became my heavy thirst
for worlds of white relief,
You became the vision cool
that steels me to all grief.

Invisible Things from Hidden Lands by Karin Boye (1924)

In another essay with a contemporary relevance to Mourning and Melancholia, “On Transience” Freud reflects on how the ephemeral and mortal condition of ‘Man’ is closely associated to melancholy. In the essay he recalls a memory of how he, accompanied by a poet, strolls through the nature on a beautiful summer’s day. His companion becomes struck by the beauty of nature, but this experience is not only joyful it is also filled with grief. This sensation is explained by Freud as a reminder of our mortality. The poet “was disturbed by the thought that all this beauty was fated to extinction that it would vanish when winter came, just like all human beauty and all the beauty and splendour that men have created or may create. All that he would otherwise have loved and admired seemed to him to be shorn of its worth by the transience which was its doom.” (Freud, 1915: 305). Freud’s consideration of his friend’s thoughts is that he found a fault in the logic that beauty’s transience should cause grief instead of increasing life’s pleasure. Freud claimed to have identified an “emotional vulnerability” in our experience of transitory and ephemeral phenomena. This emotional vulnerability is another vital aspect which relates to why melancholy always manages to affect us. And why it can move us between contrary feelings of comfort and loss, grief and pleasure.

There has never been a time in which I have been convinced of my life through myself alone. I apprehend the things around me only in representations that are so outdated that I always feel that the things were once real but are now fleeting away. I have a constant longing, my dear sir, to catch a glimpse of things as they may have been before they show themselves to me. I feel that then they were beautiful and calm. It must be so, for I often hear people talking about them as though they were there.

- Frank Kafka, ‘Conservation with the Supplicant’ (1958)

Walter Benjamin believes that “We can never entirely recover what has been forgotten” (Zizzelberg, 2007: 296). He deems that the loss of the forgotten could be a ‘good thing’, because it maintains our longing for the past as well as ensures that we, in some way, understand it (ibid). We do, to some extent understand it, since our longing is capable of recovering ‘some’ fragments of the forgotten (ibid). The longing linked to melancholy can therefore have a positive effect on us. It can serve as a tool that subliminally helps us understand our past and the ‘emotional vulnerability’ that Freud identified.

In his 1934 essay on Kafka, Benjamin suggests that ‘reading’ could serve as an activity in which ‘we could find fragments of our own existence’ (ibid: 297). Zizzleberg explains that these kinds of fragments ‘could preserve our ‘melancholy longing’ (ibid). Just as reading certain texts can nurture the melancholic state of mind, I find studying specific works of visual art can also help sustain and develop this cognitive process.

Figure 5. Perpetual Transience (2013)

note I. Full bibliography to follow with part II of The Forgotten Self -Melancholy and the fleeting remembrance of things lost.

note II. Part II of this essay will be posted a fortnight from today (17/6/13). We will announce this a day before publishing - keep following for further details…

thanks,

List of Illustrations:

Figure 1: Glantz, Anna. (2013). Jorm. [Illustration, acrylic on paper] In possession of the author: Canterbury.

Figure 1: Glantz, Anna. (2013). The Returnee. [Illustration, acrylic, gouache, ink and screen wash on paper] In possession of the author: Canterbury.

Figure 3: Glantz, Anna. (2013). Divine Messenger Rinsing. [Illustration,, acrylic, ink, screen wash on paper] In possession of the author: Canterbury.

Figure 4: Glantz, Anna. (2013). Moonshine [Illustration, acrylic and ink on paper] In possession of the author: Canterbury.

Figure 5: Glantz, Anna. (2013). Perpetual Transience [Illustration, acrylic, ink and screen wash on paper] In possession of the author: Canterbury.

Marked by Images: The Remembered Film & Douglas Gordon

noreply@blogger.com (Pipe) — Tue, 21 May 2013 19:05:00 +0000

Part I.

Prologue)

Encouraged by Victor Burgin’s (1941- ) book The Remembered Film, I will analyse this text and explore how certain cinematic images or scenes are absorbed by, and stay with the viewer; and by looking at three works by the artist Douglas Gordon (1966- ), why I consider some of Burgin’s ideas relevant to his work.

Victor Burgin

Burgin quotes from Roland Barthes’ (1915-1980) essay, Introduction to the Structural Analysis of Narratives in order to describe how narratives have an almost “infinite diversity of forms”. Following a list of the many ‘receptacles’ that carry narratives and their “substances”, Barthes resolves that narratives are “simply there, like life itself”[1]. Because of this “infinity of narratives”, Barthes explains that:

There is a world of difference between the most elementary combinatory scheme, and it is impossible to combine (to produce) a narrative without reference to an implicit system of units and rules.[2]

In The Remembered Film, Burgin in his Introduction discusses many narrative functions and some of the rules implied in Barthes’ text. The succeeding chapters attempt to tackle the “salient topics” mentioned in this Introduction.

However, due to the formulaic structure of narratives, which both Burgin and Barthes extensively examine, I am drawn to something which operates outside of the narratives’ linear development. My topic is defined here by Burgin, with the final words in his Introduction:

What does it mean to be marked by an image?[3]

fig i)

II)

To follow on from this initial brief discussion of the vastness of narrative works, I will direct this paper towards the key critical source which has impacted on my argument. This is the title chapter of Burgin’s book, which is also entitled The Remembered Film. In this piece he gives examples of how a recollection and lasting significant memory of an image, within a film, over time breaks free from its original place, embedded within the film’s narrative. Burgin explains why two scenes from two very different films - Powell and Pressburger’s A Canterbury Tale (1944) (Fig i) and Tsai Ming-Liang’s Vive l’amour (1994) (Fig ii) - have become so synonymously linked within his memory. These two sequences, for him have become detached from their original narrative sources. He states that:

The narratives have dropped away, like rockets that disintegrate in the atmosphere once they have placed their small payloads in orbit. Detached from their original settings each scene is now the satellite of the other. Each echoes the other, increasingly merges with the other, and I experience a kind of fascinated incomprehension before the hybrid object they have become.[4]

fig ii)

The idea of a film memory breaking free from a movie’s linear progression and amalgamating with other memories is extended to the ‘real’ memory also; and is a theme of particular interest here. When discussing a further example of this, Burgin describes just how much information he could grasp from simply watching the film, Fire Down Below (1957) for a few minutes. The eight word synopsis of the narrative told him nothing he did not already know from watching the film for this short period, which he describes in some detail. I suspect that this is mainly due to a variety of recognised classic Hollywood storytelling traits; filmmaking techniques; and preconceived character/actor associations. However what interests me is Burgin’s description of what happens to this fleeting narrative in his memory:

The more the film is distanced in memory, the more the binding effect of the narrative is loosened. The sequence breaks apart. The fragments go adrift and enter into new combinations, more or less transitory, in the eddies of memory: memory of other films, and memories of real events.[5]

This is followed in the text by an example from the University of Provence. In 1977 they carried out a ten year oral history research project which found an “almost universal tendency for personal history to be mixed with recollections of scenes from films and other media productions.”[6]

Therefore, taking all of this into account, and by way of an individual judgement, I consider that what is held in our memory from a film is rarely its narrative. Instead what we recall is a fragmentary collection of scenes and imagines which blend, connect, and sometimes clash with other images from an array of remembrances - both from film and real lived experiences. Finally to paraphrase Burgin, I acknowledge that when a film image truly “marks” us, it is as if these image(s) are the only ones that have remained in one’s memory from the original source. “I know that there are others, but it is as if they lack illumination.”[7]

III)

Douglas Gordon with his ‘work’

I wish now to explain how I believe that Douglas Gordon’s work - and his background – creates a link to Burgin’s text and the instances just described. Before this, and as away of connecting Gordon’s work with the previous passage, I would like to talk about a relevant historical example.

At the start of Burgin’s book he gives the account of André Breton (1896-1966) and Jacques Vaché (1895-1919). During cinema’s early period, they would drop into one Nantes’ movie theatres after another, at random, watch a sequence from the film and then leave when they had tired of it. This activity was doubtlessly perceived by them as a new way of stimulating their perceptions of the world around them, and in doing so gaining an insight into possible new art practices, which would ultimately influence their surrealist works. Burgin then gives a whole array of examples of similar behaviour through a short history of this practice. The tradition of manipulating a film from its original context has become commonplace: “The decomposition of narrative films, once subversive, is now normal.”[8] This notion of subverting images brings us to specific examples from Gordon’s oeuvre.

Gordon’s early interest in film is clear from various accounts of his childhood, and early art works. Holger Broeker describes how he was “raised in a Calvinist environment, as much as by the babysitter of TV”[9]…“He tells how, when he was seven or eight, he saw films like North by Northwest and Strangers on the Train. Later, he also saw Psycho and The Birds, which, as he recalls, his mother had insisted he was too young to watch, even as a teenager, because they were so disturbing and intense. His memories of film, therefore, are not only of the films he saw, but also of the films he was not allowed to see.”[10]

Incidentally this notion of defying authority is a constant theme of Gordon’s work. Therefore it’s unsurprising, decades after Breton and Vaché’s own ventures into self-altering cinematic perceptions, and a kind of early ‘video manipulation’ - that artists in the 80s and 90s like Gordon, would experiment with new widely available technologies, to create a controlled subversion of the ‘filmic’ experience. Clearly this mode of working had been developed and used for many decades prior to Gordon and his contemporaries; through the use of projected film from reel to reel, 16mm and the like. However VCRs and their tapes made this activity far more accessible and affordable. Artists would duly take advantage of this.

fig iii)

Two years prior to his first solo show at Glasgow’s Tramway in 1993 Gordon had been planning a new video installation piece. This would eventually become his now famous 24 Hour Psycho (1993) video installation (Fig iii & iv) of Alfred Hitchcock’s (1899-1980) film Psycho (1960); slowed down so that an entire viewing would last for a 24 hour period, the fictional duration of the film’s narrative. “According to Gordon, it was while watching a video of Hitchcock’s Psycho, pausing and slowing down the tape, that he made two important discoveries.”[11] It was from these early discoveries that Gordon started to slow down, stop and manipulate the original footage as a way of focusing on certain aspects of the film. It was from this experimentation that he would create his final work. To exhibit it he simply used a VCR player with an infinitely adjustable speed, a commercially available video cassette of Psycho, a projector, a semi transparent screen suspended at roughly head height and a darkened room. By doing this the “experience of how the narrative structure or perception of the storyline disintegrates almost as soon as it has been built up and recognised, was something Gordon wanted to portray to the public.”[12]

fig iv)

This notion of narrative destruction, on the part of Gordon touches upon Burgin’s idea of the image being loosened then detached from a film’s original narrative context. Burgin describes the memory’s tendency to recall the design or construction of objects and forms within a film over the narrative itself:

The elements that constitute the sequence-image, mainly perceptions and recollections, emerge successively but not teleologically. The order in which they appear is insignificant…and they present a configuration…that is more ‘object’ than narrative.[13]

In 24 Hour Psycho images remain on screen, almost like stills, portraying and acting as a visual representation of a mental picture. On a ‘perceptory’ level, these images seem to linger in a similar manner to the lasting memory of them within the recipients’ psyches, therefore giving them an even greater significant resonance, and the capability to mark the viewer with their appearances. I find these pictures blend and merge with other memories and current experiences that have affected the viewer also; and like Burgin’s extensive observations of his earliest memories of childhood, these have become intertwined with those from film. He remarks initially that “Temporal ‘secretions’ very often combine memories and fantasies with material from films and other media sources”[14], and in doing so, take the filmed image and filmic experience into the ‘real’ lived one. What the research studies at the University of Provence have shown is that this is a common human experience.

note. Part II of this essay will be posted a fortnight from today (4/6/13). We will announce this a day before publishing - keep following for further details…

thanks,

[1] Roland Barthes, ‘Introduction to the Structural Analysis of Narratives’(1966), Images-Music-Text (Flamingo: London, 1984), pp. 80-81.

[2] Ibid., p. 81.

[3] Victor Burgin, ‘Introduction: The Noise of the Marketplace’, The Remembered Film (Reaktion Books Ltd: London, 2004), p. 28.

[4] Victor Burgin, ‘The Remembered Film’, The Remembered Film, (Reaktion, London: 2004), p. 59.

[5] ‘The Remembered Film’, The Remembered Film, (Reaktion: London, 2004), pp. 67-68.

[6] Ibid., p. 68.

[7] Ibid., p. 69.

[8] ‘The Remembered Film’, The Remembered Film, (Reaktion: London, 2004), p. 8.

[9] Holger Broeker, ‘Cinema is Dead! Long Live Film! The Language of Images in the Video Works of Douglas Gordon’, Douglas Gordon: Superhumanatural, ( Die Keure: Belgium, 2006), p. 62.

[10] Ibid., p. 62.

[11] Ibid., p. 63.

[12]Ibid., 66.,(footnote ref.) See exh. cat., Amy Taubin, ‘Douglas Gordon’, Kunstverein Hanover Mitgliederzeitschrift, 1996, 4, pp.12-16 (p. 13) and Beatrice Schaechterle, ‘Douglas Gordon. From God to Nothing’, in Noëma, 1998, pp. 28-36 (p. 31)

[13] Victor Burgin, ‘The Remembered Film’, The Remembered Film, (Reaktion: London, 2004), p. 21.

[14] Ibid., p. 15.