Showing posts with label international art. Show all posts
Showing posts with label international art. Show all posts
Friday, 30 October 2015
Moving Out Symposium Live Blog 14: Bean and Mimiec
KENNY BEAN
LIGHT LAB
Light, time and memory. Used to take photographs... realised there was more fun in the bits inside a camera.
All his work relates to light. Has this camera obscura van... we all see upside down. So he reversed it. With screens around the caravan... cuts about the shop, had three and a half thousand people in this last 18 months...
Lie in the caravan and see the world outside on the ceiling.
Guerilla Projections - next project - communities to make their own projections. having recognised his own habit of leading communities to his own intended end, he is trying to hand it over to the participants.
RACHEL MIMIEC
Lots of work in hospitals, working with young people confined to their beds...
Also did pieces on people's experience walking in a place... gift me... exchange of time for art.
Facilitate workshops... spaces for making... creating a public studio... gave the materials, let people come in and make the exhibits.
Moves into different institutions...
LIGHT LAB
Light, time and memory. Used to take photographs... realised there was more fun in the bits inside a camera.
All his work relates to light. Has this camera obscura van... we all see upside down. So he reversed it. With screens around the caravan... cuts about the shop, had three and a half thousand people in this last 18 months...
Lie in the caravan and see the world outside on the ceiling.
Guerilla Projections - next project - communities to make their own projections. having recognised his own habit of leading communities to his own intended end, he is trying to hand it over to the participants.
RACHEL MIMIEC
Lots of work in hospitals, working with young people confined to their beds...
Also did pieces on people's experience walking in a place... gift me... exchange of time for art.
Facilitate workshops... spaces for making... creating a public studio... gave the materials, let people come in and make the exhibits.
Moves into different institutions...
Moving Out Symposium Live Blog 13: Sanctuary and Big Puppets
JO HODGES
SANCTUARY
A public space event... invite people to a remote area to explore meaning and designation of space and examine wider implication...
it's all about dark and light, including digital darkness (escaping the online identity). Be fully present for 24 hours, see the various art works, talks and walks.
Includes a radio station with all files deleted... you have to be there to hear.
Do stuff with technology old and new... in places where it is not usually present.
ETHOS: IT IS FREE... ARTIST AND AUDIENCE SAME COMMUNITY... UNIQUE OPPORTUNITY... DIS-COUPLE TECHNOLOGY FROM THE USUAL... FREEDOM TO FAIL...SHARED OWNERSHIP
It is not about being a spectator, it is about being a participant.
It is in a space where a temporary community can be formed... new connections and ideas to form.
MIKE AND RACH ROWAN
SURREAL MC COY
We perform in the street, and it is their place (that is, the audience's space). Mike did community theatre at Theatre Workshop, bit of panto, bit o' street, bit of guerilla.
Unashamedly populist. We conjure intimate interactions, directly addressing audience. We never entertain, we GET TO THEM.
Have these characters they use:
BIG RORY
Scottish geezer in kilt and skilts
MORAG
WEE MALKY
OCHY THE DOG
Ever so gentle connection... anarchic
SEAGULLS
were in Dismaland
.
Worked in 37 countries around the world
URBAN MEERCATS
POMPOUS MAXIMUS et c...
Basically, they do big puppets
THE IMPORTANCE OF THE SQUEAL
Company policy to notice people in wheelchairs and have fun with them.
I have consciously loved my audience... and they love you right back.
THEY MAKE THE WORLD'S NASTY BITS DISAPPEAR
SANCTUARY
A public space event... invite people to a remote area to explore meaning and designation of space and examine wider implication...
it's all about dark and light, including digital darkness (escaping the online identity). Be fully present for 24 hours, see the various art works, talks and walks.
Includes a radio station with all files deleted... you have to be there to hear.
Do stuff with technology old and new... in places where it is not usually present.
ETHOS: IT IS FREE... ARTIST AND AUDIENCE SAME COMMUNITY... UNIQUE OPPORTUNITY... DIS-COUPLE TECHNOLOGY FROM THE USUAL... FREEDOM TO FAIL...SHARED OWNERSHIP
It is not about being a spectator, it is about being a participant.
It is in a space where a temporary community can be formed... new connections and ideas to form.
MIKE AND RACH ROWAN
SURREAL MC COY
We perform in the street, and it is their place (that is, the audience's space). Mike did community theatre at Theatre Workshop, bit of panto, bit o' street, bit of guerilla.
Unashamedly populist. We conjure intimate interactions, directly addressing audience. We never entertain, we GET TO THEM.
Have these characters they use:
BIG RORY
Scottish geezer in kilt and skilts
MORAG
WEE MALKY
OCHY THE DOG
Ever so gentle connection... anarchic
SEAGULLS
were in Dismaland
.
Worked in 37 countries around the world
URBAN MEERCATS
POMPOUS MAXIMUS et c...
Basically, they do big puppets
THE IMPORTANCE OF THE SQUEAL
Company policy to notice people in wheelchairs and have fun with them.
I have consciously loved my audience... and they love you right back.
THEY MAKE THE WORLD'S NASTY BITS DISAPPEAR
Moving Out Symposium Live Blog 12: Some artists pitch their ideas
Eight artists
five minutes each
five images
John Wallace is first up... he's not on the delegate list, he says. But he is in the right place.
He makes documentary films and video art. Started off as a lighting guy in clubs around Edinburgh, and noticed how clubs made it work for the audience.
Went on to make films about rural landscapes - but film is always about people. His films gather information, an engaged process from start to finish.
In his video art, he asks how audiences might receive it in a place.
Worked with a soil expert to learn about eco-systems. This 2013 environmental art festival had a work formed by ecosystems' modelling, hanging screens over a river.
He expanded the work in 2014, over the Tweed on THE BORDER. The live sounds and smells merged with the video even having triggers so that the film could respond to change in environmental context.
This other thing was thermal imaging business... thinking about the public's response and reaction.
Public engagement means getting the public to be part of the work, and encourage their thoughts on their relationship to the place.
It's Angie Dight from Mischief. Set up in 1992, Mischief is still going strong. Did a special Festival of Ian Smith (22 November at the CCA sees a repeat... go and see it!). The cabaret of death they did as part of this is going to tour.
Walkabout Street Theatre, both commercially and a CS funded RFO. Fan Families are going to be at Galoshan, Elvis Cleaning Company overseas.
Now they have The Magnificent Organ: musical and physical, a big old organ going about the nation... did the summer, now off on a winter tour. Offered free to towns with poor art provision.
They do all sorts of sized work... it is about access to all (free at point of performance). Art not for the elite.
Being an RFO lets them develop a repertoire.
Put a couple of runners Des and Liz 'Take the Black Dog Out For a Walk' into the SMHAFF.
Increasing interested in mental health issues.
BEING SILLY DOESN'T MEAN YOU CAN'T ADDRESS SERIOUS ISSUES.
They are going to do something with Nursery Rhymes in the future...
ETHICS NIGHT COMING SOON 3 DECEMBER... PART OF THE ONLY WAY IS ETHICS FESTIVAL.
five minutes each
five images
John Wallace is first up... he's not on the delegate list, he says. But he is in the right place.
He makes documentary films and video art. Started off as a lighting guy in clubs around Edinburgh, and noticed how clubs made it work for the audience.
Went on to make films about rural landscapes - but film is always about people. His films gather information, an engaged process from start to finish.
In his video art, he asks how audiences might receive it in a place.
Worked with a soil expert to learn about eco-systems. This 2013 environmental art festival had a work formed by ecosystems' modelling, hanging screens over a river.
He expanded the work in 2014, over the Tweed on THE BORDER. The live sounds and smells merged with the video even having triggers so that the film could respond to change in environmental context.
This other thing was thermal imaging business... thinking about the public's response and reaction.
Public engagement means getting the public to be part of the work, and encourage their thoughts on their relationship to the place.
It's Angie Dight from Mischief. Set up in 1992, Mischief is still going strong. Did a special Festival of Ian Smith (22 November at the CCA sees a repeat... go and see it!). The cabaret of death they did as part of this is going to tour.
Walkabout Street Theatre, both commercially and a CS funded RFO. Fan Families are going to be at Galoshan, Elvis Cleaning Company overseas.
Now they have The Magnificent Organ: musical and physical, a big old organ going about the nation... did the summer, now off on a winter tour. Offered free to towns with poor art provision.
They do all sorts of sized work... it is about access to all (free at point of performance). Art not for the elite.
Being an RFO lets them develop a repertoire.
Put a couple of runners Des and Liz 'Take the Black Dog Out For a Walk' into the SMHAFF.
Increasing interested in mental health issues.
BEING SILLY DOESN'T MEAN YOU CAN'T ADDRESS SERIOUS ISSUES.
They are going to do something with Nursery Rhymes in the future...
ETHICS NIGHT COMING SOON 3 DECEMBER... PART OF THE ONLY WAY IS ETHICS FESTIVAL.
Moving Out Symposium Live Blog 11: Feedback
Politics and Artists
Last week, at In Cahoots, someone defined 'community art' in a cynical manner: it involves an artist cutting about with a bunch of people, getting them involved, then putting his or her name on the end product. Like when I get all people to write for The List, then tell everyone that I define the theatre section's identity.
So, that's the question of authorship considered.
Sometimes it's the metaphor rather than the physical manifestation that's more powerful. Boyden encapsulates the success of Bölter's work
Moving Out Symposium Live Blog 8: Chris Fremantle
Art in Hospitals
Who is the author of the art work?
Hospitals only put out work made by patients.
The patient is capable of challenging their status as an object by making art.
What are the users' needs?
Patient dignity informing an interior design project.
To connect with patients' everyday life.
Removing Disney stuff from the walls of kids' wards
The personal stories of staff worked into illustrations around the hospital.
Is equality the same as democracy?
Citizen Control
Delegated Power
Consultation
Informing
Therapy
Manipulation
Participation is often marked by a small number of people getting very closely involved
Mention: Matarasso A Restless Art 2015
art and participation are not the same in their effect... what does art do specially?
Kester, The One and the Many 2011
successful projects... non-hierachical, critical self-reflection, cultivate solidarity, pragmatic openness to site and situation
Questions
Where is authority and why?
Is there something distinctively art?
How does it relate to shared concerns?
Are there wider lessons from sited work?
Who is the author of the art work?
Hospitals only put out work made by patients.
The patient is capable of challenging their status as an object by making art.
What are the users' needs?
Patient dignity informing an interior design project.
To connect with patients' everyday life.
Removing Disney stuff from the walls of kids' wards
The personal stories of staff worked into illustrations around the hospital.
Is equality the same as democracy?
Citizen Control
Delegated Power
Consultation
Informing
Therapy
Manipulation
Participation is often marked by a small number of people getting very closely involved
Mention: Matarasso A Restless Art 2015
art and participation are not the same in their effect... what does art do specially?
Kester, The One and the Many 2011
successful projects... non-hierachical, critical self-reflection, cultivate solidarity, pragmatic openness to site and situation
Questions
Where is authority and why?
Is there something distinctively art?
How does it relate to shared concerns?
Are there wider lessons from sited work?
Moving Out Symposium Live Blog 7: Chris Fremantle
Art, Participation and the City
Producer on Arts and Healthcare Environment Projects
Chris' take on the area
He's got 'more hats than a hat shop'.
SITED project
A time limited research programme.
assumptions
sited work of equal value to work in official spaces*
across all art forms
temporary is valued by artists/ permanent by commissioners
artists and producers talk about contexts and behaviours
has visual art appropriated other art forms over the past 50 years?
SITED avoided this by having artists from different forms.
*Note: Glasgow Turner Prize winners all did sited work but were nominated for gallery based work. Does this imply the TP values gallery work over sited.
Note: is The Stag, The Cheviot... a sited based work?
Note: do sited work artists enjoy risk and uncertainty?
issues
Sited work has outgrown art-form led art-form led policy and needs a cross-artform frame
previously, sited work was a subset of visual art (in Creative Scotland categories, anyway)
Place and identity are central but need to be questioned
Sited work offers important new ways of working for 'official' spaces
Producers have a key role, but this is insufficiently understood
compare to 'knowledge exchange' - what does it mean?
Note: is sited work 'doing good'?
What does 'doing good' actually mean? Is it useful to think in such a simplistic way?
Note: Project led focus denies strategic thinking
Producer on Arts and Healthcare Environment Projects
Chris' take on the area
He's got 'more hats than a hat shop'.
SITED project
A time limited research programme.
assumptions
sited work of equal value to work in official spaces*
across all art forms
temporary is valued by artists/ permanent by commissioners
artists and producers talk about contexts and behaviours
has visual art appropriated other art forms over the past 50 years?
SITED avoided this by having artists from different forms.
*Note: Glasgow Turner Prize winners all did sited work but were nominated for gallery based work. Does this imply the TP values gallery work over sited.
Note: is The Stag, The Cheviot... a sited based work?
Note: do sited work artists enjoy risk and uncertainty?
issues
Sited work has outgrown art-form led art-form led policy and needs a cross-artform frame
previously, sited work was a subset of visual art (in Creative Scotland categories, anyway)
Place and identity are central but need to be questioned
Sited work offers important new ways of working for 'official' spaces
Producers have a key role, but this is insufficiently understood
compare to 'knowledge exchange' - what does it mean?
Note: is sited work 'doing good'?
What does 'doing good' actually mean? Is it useful to think in such a simplistic way?
Note: Project led focus denies strategic thinking
Moving Out Symposium Live Blog 6: Feedback session
Vile summary
The introductory speeches are positive.
They describe a growth of street art, and art in landscape.
The artist (or quality) is supposed to be at the heart of a project.
The local community need to be involved... not just used.
Public art merges the personal and political.
Is this about the need for social cohesion developed through shared cultural events (cf medieval pageants et c)? (thanks to Kenneth Davidson)
Can artistic projects develop a vision for the future of our culture... shape towns, re-imagine society, build community, interact with the environment?
The introductory speeches are positive.
They describe a growth of street art, and art in landscape.
The artist (or quality) is supposed to be at the heart of a project.
The local community need to be involved... not just used.
Public art merges the personal and political.
Is this about the need for social cohesion developed through shared cultural events (cf medieval pageants et c)? (thanks to Kenneth Davidson)
Can artistic projects develop a vision for the future of our culture... shape towns, re-imagine society, build community, interact with the environment?
Moving Out Symposium Live Blog 4 Mikey Martins
Current Trends in the UKSpecifically England... a brief history
Many great street arts festivals in the 1990s (v performance based) e.g. Streets of Brighton
Input of European companies into UK festivals
Inspired UK companies
NEWLANDSCAPES David Micklamace 2008
Street Theatre became Outdoors Arts
More funding opportunities
A community developed
ISAN formed to lobby
NASA a group for artists
Festival Consortia (e.g. GI20, Global Streets)
Joint commissioning (led to diverse arts events outdoors)
Joint touring networks
International collaborations
Strategic touring funding (finding areas of low cultural engagement)
Companies have become more interested in working outdoors, including choreographers.
Big spectacles are less common than they used to be.
Note: how is emerging/ work in progress presented? Is it clearly sign-posted within the festival context?
When a work comes into an area that is not used to it, how does the work have any legacy - no parachuting work and artists into an area... get long term about the relationships.
Increase in winter events (e.g. White Night)
Increase in site specific generally
Live Artists using public spaces
Closer relationship with urban planning and architects
Digital Technologies and Public Spaces
New Public Space? New Audience? An Evolution?
Vile Note: How does this increase relate the commodification of public space? Is culture an occupying force or a collaborator
Moving Out Live Blog 3: Pierre Sauvageot
European Perspective
From Marseilles...
Some words about IN SITU... since 2003, with 20 partners in 15 countries... to build a long term network in Europe.
Common model, new forms of art in public spaces (aka street art)
Working with the artists in a European context... similar problems and questions in different parts of Europe...
'When we begin, we focus on street art... now we focus on art which is working with the city'
Street art has different meanings in different countries. This is more than a matter of translation.
'the solution is with the artist'
The main question is the artistic quality... how doesthis balance between rich and poorer countries?
Concrete Results... to create a community of artists through 80 co-productions, 100 'writing supports', 100 'mobility supports' on a platform running 2013 onwards...
Vile Note: From street art, a theatrical based form, IN SITU has expanded to include other art forms, including visual art etc.
Co-operation Process
side by side a common question
mentoring et c
Building new media for dissemination.
From Marseilles...
Some words about IN SITU... since 2003, with 20 partners in 15 countries... to build a long term network in Europe.
Common model, new forms of art in public spaces (aka street art)
Working with the artists in a European context... similar problems and questions in different parts of Europe...
'When we begin, we focus on street art... now we focus on art which is working with the city'
Street art has different meanings in different countries. This is more than a matter of translation.
'the solution is with the artist'
The main question is the artistic quality... how doesthis balance between rich and poorer countries?
Concrete Results... to create a community of artists through 80 co-productions, 100 'writing supports', 100 'mobility supports' on a platform running 2013 onwards...
Vile Note: From street art, a theatrical based form, IN SITU has expanded to include other art forms, including visual art etc.
Co-operation Process
side by side a common question
mentoring et c
Building new media for dissemination.
Moving Out Symposium Live Blog 2 Leonie Bell
Leonie Bell (Creative Scotland)
Porous and open... the sector informs Creative Scotland's process... there is a ten year plan and five ambitions.
She is speaking very fast making it difficult to make notes.
Five ambitions
Excellence and Experimentation
It is all about quality. We need to get to a better place of understanding what has to exist for excellence to happen. We have to have experimentation to have excellence.
We may be facing uncharted waters... we have to encourage risk. Economic change is something we have to live with, there are massive population shifts across the world. To be brave... is of fundamental importance. We don't squash the arts into a series of outcomes... it has to be about the art first...
The closure of The Arches... that vast legacy...
you have the right to a culture life that is not imposed upon you
artists have a civic role... we need better evidence... viz. 2014 Commonwealth Festival
Place based, community based, mix of professional and community performers.
Somehow I lost the second ambition...
Location
... community is repeatedly mentioned... people have ownership over the arts...
Traditional but with the ability to evolve... international quality but located in the place.
She just quoted Lyn Gardner... arts administrations should be like town squares not monasteries...
The Workforce
Expert, resilient, et c... it is about people and buildings to support them.
e.g. The Briggait being supported by CS... to become a rehearsal space et c et c
e.g. NVA's St Peter's Seminary project
e.g. National Theatre of Scotland as Rockaville
International
Open to the rest of the word... connections are pivotal. 'We are an island, but... we do not operate in isolation.'
Cultural diplomacy and soft power... celebrating difference and diversity, and the arts strategy recognises them.
Scotland the Brand's identity across the world.
Vile Note: people having ownership over the arts/culture is not the same as people owning their culture. How does this different inform the creative process and define the relationship between artist and audience.
Inclusion, community, challenging times, opportunity, innovation,
four themes in CS
arts and civic society
Health, social work, infrastructure, context, artist at the heart, value of the arts.
Galoshans Festival: Moving Out Symposium Live Blog 1
Radical content and integrity of purpose... a debate that has been running for the best part of three decades...
an exploration into the innovative but often challenging range of art taking place outside conventional venues....
THE INTRODUCTION
Neil Butler (UZ) Based in Scotland sine 1994
The Context, Bringing together some strands
'This is the Beacon Arts Centre - a fabulous location...'
Galoshans is specific to Greenock. It means 'guising' young people performing to each other at Halloween - the Americans nicked the idea for trick or treating.
Halloween a time when two worlds touch (the supernatural and the natural).
International Festival embedded in this place here
Joseph Beuys who inspired George Wylie who inspires the festival.
in-situ a European network
Suramedura a residency in an area devastated by the tsunami
Work that needs the public to make it happen
Many different ways to engage with the public
Art in public spaces
The Tobacco Warehouse a location that is going to be handed over to artists/creativity by Greenock council. As part of the weekend, the space will be used for some exhibitions.
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