Category Archives: Curating

Shift/Work – finnisage

finissage : Sunday 7th of August from 7 p.m at Edinburgh Sculpture Workshop during the Edinburgh Art Festival

www.facebook.com/Shift/Work

Edinburgh Sculpture Workshop presents Shift/Work, a workshop running between the Saturday 30th of July and Sunday the 7th of August 2011.

The sites in which art is made and the myriad ways in which it is supported are increasingly overlooked, festival culture being fixated with the quantifiable outcomes of homo economicus: the tourist spectacle, the brand, the product. Workshops and studios such as ESW are more often concerned with non-economic work, work that can’t be easily quantified, with the process of learning through action. To make art and money involves a combination of shadow work and shiftwork, the patterns of which largely remain invisible. The expansion of ESW’s workshop facilities and studios should encourage us to reconsider the ways in which publicly funded arts organisations might best facilitate comprehensive approaches to production rather than novel ways of fetishising consumption.

Neil Mulholland has consulted with three artists to devise a rota-based curriculum that draws attention to the workshop as a convivial means of production and distribution. These shift-supervisors will exploit ESW’s resources to assist twelve invited participants in their learning through on-the-job training.

Each intensive two-day workshop will be an isolated shift, the artist and participants having no detailed knowledge of the other workshops to follow in the cycle. A shift pattern of working will ensure that productivity levels are maximised over the period of the project. Only the twelve participants will have a holistic view of the entire process and will be in a unique position to put it to work.

At the end of the two-week shift cycle there will be a public finissage : Sunday 7th of August from 7 p.m.

The legacy of Shift/Work will be a publication, a user’s manual combining the curriculae with related images, illustrations and essays. In the future, Edinburgh Sculpture Workshop will invite other workshop-based organisations to use this manual for the implementation of related projects.

An Unco Site!

Edinburgh Art Festival 2010

An Unco Site!

 

As part of the 2010 Edinburgh Art Festival Expo Commission, the Confraternity of Neoflagellants are staging a ‘zombie walk’ and reception on Saturday the 7th of August. This involves a mash-up of Robert Burns’ Tam O’Shanter, The Party (starring Peter Sellers) (1968), Night of the Living Dead (1985) and The Fall’s Live at the Witch Trials (1979). A secret party is being held in the honour of Edinburgh’s ‘ghosts’, the living dead who wear historical costume for their work. At 11:00pm this Confraternity of Neoflagellants will assemble at the Scott Monument and walk through the City of Edinburgh, arriving at an undisclosed location before the midnight hour. Once there, they will cross the Styx to a wake. The after party will feature music and DJ sets as well as projections by artists currently exhibiting in ‘Avalon’ at The Embassy gallery in the Roxy Art House, Edinburgh. An Unco Site! is a psychogeographical work’s night out, a busman’s holiday that will create a confluence of professional historical actors, re-enactors and tour guides working in the City of Edinburgh – to allow them to meet and mingle and to share indulgences, resources and friendships.

 

Warlocks and witches in a dance:

Nae cotillon, brent new frae France,

But hornpipes, jigs, strathspeys, and reels,

Put life and mettle in their heels.

If you would like to participate or attend please contact the event producers:

leadingmotif[at]googlemail.com

An Unco Site! has three components:

1. ‘The Zombie Walk’ 11pm, Scott Monument, Saturday 7th August 2010.

2. 
‘The Reception’ 
early hours of Sunday 8th August 2010.

3. ‘Investigating Premodern Futures’™ – Symposium, Monday 9th August in Inspace, University of Edinburgh, featuring a range of speakers on the subject of neomedievalism.

An Unco Site! will be streamed live to Bambuser. http://bambuser.com/channel/Confraternity+of+Neoflagellants

Photographs and footage will be edited for future podcasting on Central Station http://community.thisiscentralstation.com/_Confraternity-of-Neoflagellant/group/113456/126249.html

 

Supported by:

The event has been made possible by support from the Scottish Government’s Edinburgh Festivals Expo Fund for the Edinburgh Art Festival 2010, Central Station, New Media Scotland and Inspace.

The Edinburgh Art Festival showcases the very best in Scottish, British and international visual art in Edinburgh during the August festivals.

‘Avalon’

‘Avalon’

 

 

The Embassy, Roxy Art House, 
2 Roxburgh Place, 
Edinburgh EH8 9SU

 

19.06.10 – 11.07.10

 

The relentless association, from the Renaissance onwards, of the Middle Ages with the ‘hypereconomy’ of the gift, with whatever exceeds calculation or rationality, for good or for ill, has made the Middle Ages a marker of fantasy and excess (…), a figure of the unnecessary and the extraordinary. Louise Fradenburg, 1997

 

 

Atilliator Plastique Fantastique – Burgage in London and Birmingham. www.plastiquefantastique.org

 

Doctor Mirabilis Torsten Lauschmann – Bad Soden, Germany, 1970. Wapentake Glasgow. www.lauschmann.com

 

Angry Penguin David Osbaldeston – Middlesbrough, 1968. Riding in Manchester. www.mattsgallery.org/artists/osbaldeston/home.php

 

Head Fatrasist Alex Pollard – Brighton, 1977. Hide in Glasgow. www.sorchadallas.com/artists/6

 

Almoner Andro Semeiko – Ozurgeti, Georgia, 1975. Knight’s fee London. www.androsemeiko.com

 

Falconer General Ewan Sinclair – Burgh Edinburgh. www.ewansinclair.co.uk

 

Neoflagellant without portfolio Eddo Stern – Tel Aviv, 1972. Rape of San Francisco. www.eddostern.com

 

Witch with HP-50 Emma Tolmie – Lathe Edinburgh. www.emmatolmie.co.uk

 

 

 

‘Avalon’ is the first curatorial investigation into premodern futurity by The Confraternity of Neoflagellants – lay peoples dedicated to the ascetic application, dissemination and treatment of neomedievalism in contemporary culture. Borne of the new irrationalism of zombie capitalism, they are attuned to the scent of medieval in the creative commons, in the folkmote, the plateau of middle, in the unbundled territoriality of post-post-industrialism.

Neomedievalism embraces the spectral traces or ‘uncertain knowledges’ of its historical past as part of an ever-morphing, force-feedback simulation, (or permanent rehearsal) of coming events. The longing for a future assembled from a bricolage of pre-modern components embeds itself deeper with every advance in the technologies of representation. The fantasy must become ever closer to reality.

This investigation specifically augments The Embassy’s residency within the bell tower and crypt of the Baronial Revival Roxburgh Church. The Confraternity have drawn upon the scholastic symbolism of Dante Alighieri’s Commedia – the principle map of dualistic medieval cosmology and a mythology important to the hacker intelligentsia of early Internet development communities – to codify the ecclesiastical space according to neomedieval gaming principles of grinding and leveling-up common in the ‘beige age of swords and circuitry’, the nerdosphere of MUD’s and MMORPG.

The neomedieval dislocates from other historical medievalisms (and the very practice of linear historicism) via its engagement with the present and its hypostasisation of the Middle Ages either as deep-rooted, disembodied fantasy of excess, or as a disembodied textual resource that may be freely engaged. But, if neomedievalism allows us to speak to the medieval within us and imagine our futures through a medieval lens, it also functions as an actual return to the social, political and cultural conditions of Medieval Europe.

This sense of insecurity reflects the fact that the provision of security itself as a public good – the very raison d’être of the states system – can no longer be guaranteed by that system. – Phillip Cerny

And so we begin our Gnostic cycle of the Ouroboros…

In conjunction with The Embassy, Edinburgh Annuale, Edinburgh College of Art and Central Station, a collaborative codex of rhizomic illumination – Umberto Eco’s ‘fantastic neomedievalism’ in the ‘sword and sorcery’ model of story-telling, popularised by pulp author Robert E. Howard in the 1930s – has been made available in the free manuscript ‘Avalon, Book II’.

Additionally, at 3pm on the 28th June, the Confraternity will mount the Roxburgh Kirk pulpit to expound further irrationalisms.

Cartography of The Tower:

Lasciate ogne speranza, voi chintrate – Dante

1st Circle, Limbo:

Ewan Sinclair and Emma Tolmie Modified Knights: Crusaders of the Cosmic Forge (2010). Looped DVD and Mixed Media.

2nd Circle, The Lustful:

Ewan Sinclair and Emma Tolmie Modified Knights: Crusaders of the Cosmic Forge (2010). Looped DVD and Mixed Media.

3rd Circle, The Gluttonous:

Ewan Sinclair and Emma Tolmie Modified Knights: Crusaders of the Cosmic Forge (2010). Looped DVD.

4th Circle, Avarice and Prodigality:

Eddo Stern Best…flame war ..Ever: Leegattenby King of Bards v. Squire Rex, (2007), QuickTime Movie, 14:37mins.

5th Circle, The Wrathful and Sullen:

Andro Semeiko Secret (2010) Acrylic and Oil on Board, 120x50cm.

6th Circle, Heretics:

Portal to Jerusalem, Edinburgh Annuale 2010 Information Point

7th Circle, Violence:

Plastique Fantastique Plastique Fantastique Inversion Cone (2010). Assemblage.

8th Circle, Malebolge:

Plastique Fantastique Plastique Fantastique Diagram of the Plague Bacterium: Welcome Cunverse – Negative (2010). Glitter, variable dimensions.

9th Circle, Giant’s Well:

Plastique Fantastique Plastique Fantastique Cunverse: Welcome Run – T – Mo – Bile – Still – Ner (2010). Looped DVD.

The Empyrean:

In modernism, i.e., in evolutionary thought, man stands at the top of a stair whose foot is lost in obscurity; in medieval though he stands at the bottom of a stair whose top is invisible with light. – C.S. Lewis

David Osbaldeston Another Shadow Fight (2008). Digital prints in Vorticist mannerism originated from woodcuts based on Sidney Noland’s Ned Kelly series (1946-7). Newspaper kiosk design by Herbert Bayer, 1924 (unrealised). Variable dimensions. 3rd installation.

Andro Semeiko Unveiling Model of Rocket MT2010 (2010) Acrylic and Oil on Board, 195x125cm.

Alex Pollard Chrome Poulaine (2010) Bespoke training shoe, made in Italy.

Alex Pollard Dandy Outlaws Gesturing by a Falling Tree (Night Vision) (2009) Oil on Canvas, 145cm x 155cm.

Torsten Lauschmann Parlez-Vous Hollywood? (2010), DVD, 5mins

Andro Semeiko Tea Break (2010), Acrylic and Oil on Board, 30x55cm.

The Confraternity would like to give thanks to the artists, The Embassy Directors, Edinburgh College of Art, Central Station, Edinburgh University Settlement, Roxy Art House, Sorcha Dallas, Laing Art Gallery, Berwick Gymnasium Art Gallery, Laura Edbrook, Rocca Gutteridge, Little Moves, James Clegg, JJ Charlesworth, Thea Stevens and Emlyn Frith.

The Confraternity of Neoflagellants was founded in 2009 by Serjeant-At-Law Norman Hogg and joined by Keeper of the Wardrobe Neil Mulholland. It is a secular and equal opportunities confraternity bound by chirograph.

For further information and to join the Confraternity of Neoflagellants:

http://community.thisiscentralstation.com/_Confraternity-of-Neoflagellant/group/113456/126249.html

Yé-Yé

17 November – 10 January : Yé-Yé

At the French Institute
Opening hours of the Institute
Free

Preview on 17 November at 6pm

Michelle Naismith and David Michael Clarke relocated independently to France in the 1990s following residencies in Nantes. Their work then turned subtly towards more Francophone philosophical concerns less visible in Scotland, while retaining some of the pop qualities that were held in suspicion in France during the 90s. It negotiates a cultural gap in this sense, drawing sustenance from the worlds of music and fashion.
Photography, video and installation.

In partnership with Edinburgh College of Art, curated by Neil Mulholland.
Kindly supported by Richer Sounds Edinburgh