Listen to this – I’m somewhere that I shouldn’t be….
Daniel Defoe, author of “Robinson Crusoe” also wrote a book called “Journal of the Plague Year” It’s a book about the experience of navigating your way through London at the time of plague.
In principle this sounds a very simple task, but in the days before the A-Z, and before streets had names, one would navigate one’s way via the known sights and landmarks of the area. When the plague struck, however, various streets and buildings would be quarantined and closed, making the usual paths un-navigable, and forcing oneself into unknown territories, rendering the capital city un-recognisable. And of course, just as quickly as new routes sprang up, they would be quarantined again, forcing yet more new passageways to open up.
The book documents these journeys, as well as the experiences and impact on the person as the city develops. Along with William Blake, these two seminal authors are now thought to be the earliest forms of what has now come to be known as psychogeography, a term coined and and formalised by Guy Debord and the Situationist movement.
I think it’s important both as a spiritual and emotional experience and a politically transgressive tool, as a means of resistance and re-gaining control of one’s environment, and becomes more vital as space is increasingly privatised and gentrified in contemporary society.
For years, psychogeography languished in obscurity, but more recently it has been revived as by many psychogeographical societies (google them, and you’ll find a whole host of organisations) and the authors Will Self, and Iain Sinclair, who is speaking at Greenbelt this year.
I was very pleased to find that Iain Sinclair is at Greenbelt this year, and hope to catch his talk.
If you miss it, you should be able to get the talk from the Greenbelt shop. Should be a good ‘un.
I’ve just got out of a talk by the artist Billy Childish, and frankly it’s the best talk I’ve ever been to. This things he said were so honest and refreshing, and I was especially pleased to hear him talk about a sense of play in art being missing in a lot of contemporary work, which is EXACTLY what I’ve been saying for some time now. YES! YES! YES!
I managed to stream some of it, but you should be able to buy his talk as a download from the Greenbelt website soon. Awesome stuff, embedded below. Sorry that the image goes a bit foggy after a while, but cameraphone goes a bit doolally on a low battery.
Every year, about this time, I go to a festival called Greenbelt. Tomorrow I shall be doing so once again. I’m nearly packed. Nearly.
For those of you who know little about it, it’s a music and arts festival that happens at the Cheltenham Racecourse. It is a Christian festival, which inevitably puts some people off, but don’t let that deter you. It’s very welcoming and accepting, and there’s something for everyone here.
Every year I go, I never know what to expect. It’s different every time. It’s inspiring, exciting, thought provoking, maddening, relaxing, stressful and exhilarating all at once. I’m kind of wishing I’d gone down there early today like a few others, but life stuff prevents.
From an artists point of view, there’s plenty to look at, and plenty of thought provoking material. I’m quite looking forward to see Billy Childish this year. Plus I get to see some wonderful people that I see sometimes just once every year.
I shall be going in my capacity as a social media person. You’ll be able to follow me on Qik, Twitter, Audioboo, possibly some youTube and Vimeo as well.
Last year I did a few videos, with the running theme of “Is it possible to do Greenbelt with a 3 year old and a 3 MONTH old?” Which you can see hereherehereherehere..
This year I’ll be working more with the others as a cohesive team, so I’m not sure what my role is yet. I may do interviews with other artists, and walk around some works talking about them like a sort of tour guide, or something like that. It might also be an excuse to indulge my new found love of psychogeography.
We’ll see. Hopefully I’ll be able to post some of it here.
I finished another work in the series of paintings I’ve been doing with Japanese endpapers today. Very pleased with it too.
The work is called “Via Dolorosa”, it’s acrylic paint and spray paint on board, and it’s 26cms x 34 cms x 5cms.
The figure is from a photo I took of one of the kids who play outside my window on the South London estate where I live. One day, one of their games took a particularly violent turn (more so than usual), and the lad in the photo fell badly on his wrist. I couldn’t tell if it was genuinely serious, or if he was playing it up to gain sympathy. Either way, he seemed to be ok after a while.
As an image though, I thought it was quite poignant, in that it could be about vulnerability, brutality, school memories, survival, and so on.
The image also works really well as a contrast with the leafy pattern, the soft focus – I don’t have much time for romanticised notions of either childhood or socio-economic dis-advantage, and art has a way of backing you into a corner and forcing you to think about such things. Especially when you’re making it yourself.
The flash from the camera has washed out some of the colour in the picture, so some of the detail is lost. If you come along to the show I’m exhibiting in next month, you’ll be able to see it a bit better in the flesh.
I went to see the new “Altermodern” show today on it’s first day of opening at TATE Britain in London, UK.
I went with some trepidation. I’d read a pre-amble in the TATE magazine, and I have to say that I find the movement back to modernism is one that I find alarming to say the least. However, there’s a big difference between an idea and a show, which in this case turned out to be just as well.
I went into the main hall at TATE Britain and was distinctly disappointed by what I saw. The work was OK, but not great. Subodh Gupta’s saucepan tower in the shape of a mushroom cloud was quite spectacular, and I always have a soft spot for Mike Nelson, but the rest of it left me pretty cold.
However, I’d missed that there was another, main part to it that you have to pay to get into. It’s not very well signposted, and there’s no little hand-held leaflet guide to tell you where you are, but with a wave of my TATE members card, I swished in for free.
I was straight away confronted by Franz Ackerman’s profusion of colour that was strangely calming despite it’s luridity. Piles of disused flags and an empty cage signaling the escape from shackles of nationhood into a bright new global modernism. Yes, I get it.
However, before long I came to see the idea of Altermodernism as a conceit of the curator – an idea to hang a show on. He’s coined a term, but will it catch on? I hope not, but in any case I found that once I’d manage to detach and forget about the idea of altermodernity from the actual works I was looking, at the show became much more enjoyable.
The first few works perversely helped me do this. Olivia Plender & Joachim Koester’s works felt more like plundering the past than a trajectory for the future. Firstly in “The Hashish Club” the hemp-heads unite to remember halcyon opium-filled days, and then the work on the Kibbo Kift Kindred completes the appropriations.
Thank goodness for some humour in the form of Charles Avery’s work (especially “Untitled (Head of an Aleph)” ” I really enjoyed his new world, almost inventing a past and describing a present that never actually happened but should have. I thought the drawings were perfectly executed, and the stellar maps drew me in too.
For the chillout enthusiasts, my old mucker Darren Almond exhibited his moonscapes, and I was quite happy to collapse on the scatter cushions in Gustav Metzger’s LCD projections – Liquid Crystals projected and altered by the heat, a bit like lava lamps. More than a nod and a wink to the abstract expressionists who, of course, we tend to associate with modernism. Very good works all.
Walead Beshty Fed-Exed a load of glass boxes around the world packed with little protection. The resulting damaged cubes are shown. Raised a smile and some thoughts about travel and handling. Very engaging – like little people with their own story to tell.
Shortly thereafter, I found myself standing in what only can be described as a room full of vibrators. Shaking the floor and humming inside my head. The possibilities for innuendo are endless, but you will not think about that at all when you stand in that room. Spine tingling – literally.
Those are the works that stood out with some brilliance for me. Like all good shows (and it IS a good show) its one that I will need to return to many times, and I may like completely different works for completely different reasons.
But I guess the biggest obstacle of the altermodern idea for me is that if you’re saying that you’ve learned from the postmodernist critique, then why would you exhibit the majority of artists from OECD countries? It’s not exactly a record of the marginalised and at worst smacks of imperialism. And I suspect the “creolisation” that Bourriaud talks of as a part of altermodernism leaves no room for the poor or marginalised.
But then, I never like feeling that I’ve been “steamrolled”.
I’m reading a compilation of his selected poems, and to be honest it’s been heavy going. I like the idea of reading something that is mutilayered, but in his case, it’s possible to have too many options.
As you may have surmised, I wasn’t looking forward to whiling away my journey in his company, but earlier today I read a poem that was so good, it made me feel bad for cussing him on Twitter this morning. I thought I’d share it with you:
hate blows a bubble of despair into
hugeness world system universe and bang
-fear buries a tomorrow under woe
and up comes yesterday most green and young
pleasure and pain are merely surfaces
(one itself showing,itself hiding one)
life’s only true value neither is
love makes the little thickness of the coin
comes here a man would have from madame death
neverless now and without winter spring?
she’ll spin that spirit her own fingers with
and give him nothing(if he should not sing)
how much more than enough for both of us
darling. And if i sing you are my voice,
