January 23, 2015
School of Art, Edinburgh College of Art, University of Edinburgh (Hunter Lecture Theatre), 10.00 am
with Hans Abbing, Evangelos Chrysagis, The Confraternity of Neoflaggelants (Norman James Hogg and Neil Mulholland), Angela McClanahan, Georgios Papadopoulos, Stevphen Shukaitis, Marina Vishmidt
Taking its cue from debates surrounding the contested character of value in artistic production, this one-day symposium presents an interdisciplinary take on the issue by bringing together scholarship from the fields of anthropology, art and critical theory, Marxism and economics. Some of the areas that the participants will address include the following:
Aesthetic value and processes of urban regeneration
Speculation and art production
Ethical values and economies of affect
Emotional labour, entrepreneurialism and self-precarization
Technologies of value and digital media
Neo-medievalism and hyper-economies
The Four Seasons: MacInnes over Africa
Images: Angus B. MacInnes African Affair paintings (2013-14).
My presentation for the Steven Campbell Trust Lecture at CCA, Glasgow. (10 mins)
The Steven Campbell Trust are delighted to announce that artist Ross Sinclair will be giving the sixth annual Steven Campbell Trust Lecture.
In the role of emcee, Ross Sinclair will be joined by artists, writers, curators and educators; Ellis Luxemburg, Rebecca Gordon-Nesbitt, Jim Colquhoun, David Harding and Neil Mulholland to cast a critical eye over the current state of the visual arts community flourishing in the shadow of the much used (and abused) paradigm of ‘The Glasgow Miracle’.
The Scotland-wide GENERATION project is currently celebrating the development of contemporary art in Scotland over the last 25 years. It has brought exhibitions and projects by over 100 artists to over 60 galleries around the country including landmark installations by both Ross Sinclair and Steven Campbell. To coincide, the BBC produced Scotland’s Art Revolution: The Maverick Generation, featuring Sinclair and contemporaries, charting the development of the recent Scottish scene. But can these kind of large scale, media positioned, centrally funded events ever hope to reflect what’s really going on? Let’s find out.
Sinclair has worked for the past couple of years on an AHRC funded project with Francis McKee, Director of CCA, in partnership with The Glasgow School of Art: The Glasgow Miracle- Materials for Alternative Histories. The project has explored and rationalised existing archival material from the Third Eye Centre and CCA (material spanning the period 1972- the present) and through which Sinclair has conducted an ongoing series of long form interviews with artists building an archive for future historians: http://glasgowmiracle.blogspot.co.uk
In 2014, Shift/Work commissioned an artist (Leeds United www.leeds-united.org.uk) and designer (Crille Lampa www.crillelampa.se) to facilitate a three-day workshop at Edinburgh Sculpture Workshop. Shift/Work Unlearning (28-30th May 2014) acted upon current discourses and practices that engage with the values of unlearning, deschooling, improvisation and amateurism.
Working in two groups, the participants spent a day designing an unlearning process for their peers to experience on the final day.
The workshop was subsequently re-calibrated to run at the Malmö Art Academy, Sweden (12-14th September 2014).
Shift/Work is a research project jointly developed by Edinburgh College of Art and Edinburgh Sculpture Workshop that has run since 2010. Setting out to examine and reconfigure comprehensive workshop-based approaches to artistic production that are theoretically informed, practical and participatory. Shift/Work facilitates new experiential knowledge, practices and tools for artists and art educators to adapt and implement.
Shift/Work: Unlearning targets the rapidly expanding international audience for contemporary art education: specifically, artists, educators and curators. It will focus on current discourses and practices that engage with the values of unlearning, deschooling, improvisation and amateurism.
Day 1 : Wednesday 28th May
12:00-13:00 Shift/Workers Arrive
13:00-14:00 Crille Lampa Talk | www.crillelampa.se
14:00-15:00 Sean Kaye, half of Leeds United, will talk on the Leeds College of Art Foundation Course www.leeds-united.org.uk
15:30-16:00 Neil Mulholland & Dan Brown on Shift/Work and unlearning schedule
17:00 Group discussion of unlearning based on the themes that emerge from the talks
Day 2 : Thursday 29th May
10:330-12:30 Shift/Workers allocated into a group (RED & GREEN) and move off into separate studios. Each group works with one Shift/Supervisor (RED Sean, GREEN Crille) and one observer (RED Jake, GREEN Neil). Dan will act as go-between the two groups.
– Further discussion of unlearning in relation to workshop design. Discussion steered by Shift/Supervisor, notes taken by observer.
13:30-15:30 Each group designs a day long workshop based on their discussions. 2 hour session in the morning, 2 hour session in the afternoon. Workshop plan finalised and printed in preparation to run in the same studios the following day.
16:00 Whole group meet. Any instructions that need to be issued will be issued at this point.
16:30 Dan, Neil, Jake, Crille and Sean meeting.
Day 3 : Friday 30th May
10:30-12:30 Groups rotate studios to take part in the first two hours of their workshop.
13:30-15:30 Groups take part in the second part of the two hour workshop.
15:30 All reconvene to discuss the day’s events. Drinks. FIN
Ysanne Holt – University of Northumbria | northernperipheries.wordpress.com
Angela McClanahan – University of Edinburgh | northernperipheries.wordpress.com
Neil Mulholland – University of Edinburgh | www.neilmulholland.co.uk
Louise Thody – University of Edinburgh | www.eca.ed.ac.uk/eca-home/louise-thody
Stephen Hurrell – Artist, Glasgow | www.hurrelvisualarts.com
“The term charrette, meaning cart in French, and its prominence in design education is rooted in the L’E ́ cole des Beau Arts where students’ projects were collected and placed in a cart en route to final review (Sanoff, 2000). In today’s studios, the term charrette is associated with developing a creative design solution, often in an intensive participatory or group format, within a shortened period ranging from one day to two weeks.” – Jason B. Walker and Michael W. Seymour Utilizing the Design Charrette for Teaching Sustainability.
Structure and Format
The charrette will be hosted at Timespan, Helmsdale. There is no limit to the number of participants and no need to prepare for the charrette. It will consist of a morning and afternoon session.
10:00-10:30 ////// Arrival
10:30 ////// Presentations: Angela & Ysanne will give presentations on the Northern Peripheries Network and their research on Northern cultures.
11:00 ////// Group Work 1
We will start the first of two break out sessions. Groups of participants will discuss the parameters of what we consider, today, to be “The North” or “Northern”. We ask the groups to list their ideas in relation to the following three criteria:
Positive how and why is the north presented as a positive attribute, what are its strengths?
Negative how and why is the north regarded pejoratively?
Conditions what conditions are required to enable ‘northern-ness’?
11:45 ////// Feedback 1
Through feedback and discussion, we will attempt to generate a consensus around the group regarding the positive, negative aspects of the north and the conditions that make northernness possible.
12:30 ////// BREAK
1:00 ////// BREAK Presentations: Louise & Stephen will give presentations on their research.
1:30 ////// Group Work 2
After the second set of presentations we will reconvene the second of two break out sessions. Taking our conditions of northernness as a base for discussion – the groups will discuss their views on future norths. What is probable?
Groups of participants will discuss the parameters of what we consider, today, to be “The North” or “Northern”. We ask the groups to list their ideas in relation to the following three criteria:
Possible – What sort of north is possible in the future (good and bad)?
Preferable – What would be the preferable future for the north? How could this be implemented?
Probable – if Conditions remain as they are now, what is the most probable future for the north?
2:30 ////// Feedback 2
Each group will, in turn, tell the charrette the story of their future norths. Start by discussing your possibilities, then move on to what’s preferable before discussing what is probable.
Each group will get feedback from the charrette as a whole regarding their future narrative.
We will conclude by voting for the future north preferred by the charrette as a whole.
3:30 ////// FIN: We expect the charrette to end by 3:30pm
Future Norths is supported by Timespan, the AHRC Northern Peripheries Group and the Masters of Contemporary Art, School of Art, The University of Edinburgh.
The Confraternity of Neoflagellants will be presenting Dark Age Matter as part of the Goldsmiths Art PhD Programme Symposium on Neomedievalisms
27-29th January 2014
Organisers: Roman Vasseur & Alex Pollard
The sessions on Tuesday 28th & Wednesday 29th will be in Studio B, Room 5 at Goldsmiths College.