At SAW, Ottawa on November 9th 2019, the Confraternity of Neoflagellants (Norman Hogg and Neil Mulholland) will conduct a performance of Shift/Work [STATIC] Speculations, a score-scroll originally composed at Edinburgh Sculpture Workshop to be performed at the Kochi-Muziris Biennale Biennale, India (March 2017). It has since been performed in Kristiansand (Norway), Malmö (Sweden), Edinburgh (Scotland) and Calgary (Canada).
Speculation is a ‘gesture that interrupts’ (Biesta 2017, 36); an ‘irritation’ (Ascott 2003, 145); ‘a corruption, a rupture of information’ […] ‘static, a parasite?’ (Serres and Schehr 2007: 3) The speculative parasite is one that stimulates paragogic play, materialising Shift/Workers’ learning expectations. In performing each other’s Speculations Shift/Workshops, Shift/Workers gain a metacognitive understanding of the speculative processes and challenges of artistic learning.
Scroll-score: To blackbox facilitation, Confraternity of Neoflagellants will scaffold play with a scroll-score, a minimal set of prompts that sets the parameters within which Shift/Workshop design is communally performed. Confraternity of Neoflagellants will be using a set of Speculations Playing Cards as parasites for interference, gestation, regurgitation and problem creation. Speculative materials, probes and props will be drawn directly from the pan-pan exhibition.
SAW Video and The Confraternity of Neoflagellants invite you, your colleagues, your friends, family, and neighbours for a really special proxy encounter with the loungey vibe of the gastēr-investigative anchorhold that lies, literally, behind the convulsing spyryte-casts that animate þan-þan.
Stalk and assay the CoN weorld across a fetid Fotodiox tele annulus 180mm f5.5 pontifex as The Confraternity of Neoflagellants forever forgo the National Capital Regional sunshine for SAW’s soft, warm cell. Clicking and whistling, gossamer malware spectres creep from this 2000+ MHz anchorhold to course betwixt the Fotodiox’s precision machined anodised aluminium ring, bringing you and your colleagues, or friends and their family and neighbours approximately 219* theses from the heretical þan-þan apocrypha.
Considered dead to the world, CoN will devote themselves to propagating a litany of errors – including ASMR CrockPottery, EVPclimatology, pineal gland LRAEXLing, peristaltic mystery unboxing, and deodandy [userexperience] management – so that you, your friends’ colleagues and family, or your neighbours don’t have to. gYEAhhhhhh!
Blow off all your fun socks. Just PUSH! Make fierce pH and totally gutshaft straight through gelatinous copper. MHzzzzzzzzzzzzzah! Lose your unknown cargo unto the swirling quotidian-circuits that peristaltically convulse the gastro-investigative wambuterus of þan-þan.
þan-þan. Unpasturised horse-class autogenerative REXLLA Plusigone [STATIC] fermented Can-Con dolloromoburþing a relentless low-end patina of vagrant WeRLtd-certified New Forrest Mall mondegreen. þan-þan. Pressure-farmed parasitical panarchic pool of future-dead mould-casts, auditory pareidolia divination, defibrillated [userexperience] and compurgation swarms topped with a steamin’ hot speziality SCOBYGrandeu®.
PUSHH! Beaver-gutslammin’ Oh [UX] Henry! vending phenomenon that faithfully reconstruct all traces of deuterocanonical clickbait ever left in mash by warpy prongs. PUSSSHHHHH! Bloody-edge WrinkleTech™ Can-Crock Pots that put a donk on all ylemmy stick-craft memes and smash the basal buttons of even the grubbiest gossamer silicate dermis. Gyeah!
REDUCE! Engorge the inevitable reversibility of this spore-bearing crescendo by playing the sous-chef vainly attempting to remove the cous from the cous-cous. REDUCE! Redemption by re-viewing review of redemption of Amazon CAD$50 Gift Voucher Redemption Review.
Culture lives; here! gYEAHHHHHHH!!
The Pan-Pan Myth-System (or Psychosis as Method)
What fresh heresy is
this? Is this a joke?? Will no one stop them? Where are the guards, cops, bailiffs,
etc, etc? Has the publisher no self-respect? No editors and censors or sense of
186a Deptford High Street, SE8 3PR London, England
Exhibition continues 30th March – 28th of April
@baojiaxiang, Scrabulous Anomaly in the Re-write Department, Confraternity of Neoflagellants, Department of Decay, Lewis Den Hertog, Plastique Fantastique, Bianca Hlywa, AGF HYDRA, Marija Bozinovska Jones with MBJ Wetware, Natalia Janula, Alexandra Koumantaki, Peter Lee, Christopher Macinnes, Piano Princess, Hannah Rose Stewart, Marta Stražičić, Tea Stražičić, Theo Triantafyllidis, Jennifer Walton.
Whale Fall is the carcass of a fetid dataset by 19 artists working across digital media, installation, performance, fashion, music, film and theory-fiction. At Gossamer Fog, it is remixed and presented as a site-specific film installation.
It is a project by Most Dismal Swamp, an experimental art platform and record label simulating and exploring a contemporary ecology that has come to be defined by the hallucinatory entanglement of multiple logics, systems, temporalities, and realities: a mixed-reality paradigm; a pervasive, horizonless swampscape.
Whale Fall focuses on the diverse bodies emerging from and inhabiting this ‘swampscape’, and how they might pose challenges to orthodox conceptions of personhood, intelligence, corporeality, and life. Do these categories perhaps even harbour assumptions that erase difference and confine the possibility-space of human social, ethical, technological, intellectual, political development? In other words, might an uneven and combined heresy (a revision of the human) possibly emerge from the somatic mutations and social transformations native to the swampscape?
A version of Whale Fall can be watched online at www.mostdismalswamp.com. And a digital release of the music by Jennifer Walton featured in Whale Fall, entitled Winged // Dislocated will also be available via Most Dismal Swamp and across all major streaming platforms.
This exhibition has been made with support from Arts Council England.
Most Dismal Swamp is a mixed-reality biome, an art platform, a multi-scalar mystic fiction, a forecasting laboratory, a long tail, a transitional ecosystem, a party, a cognitive scaffold, a bad dataset, a curatorial MMORPG, a memeplex aggregator, a planetary weirding studio, and a record label.
It is a model for parsing, navigating, and elaborating a Dank Enlightenment: globally variable synaesthesia across multiple and simultaneous dimensions.
Re-imagining the Art School assesses the organisational development of the humanist ‘idea of the art school’ from the post-rationalist perspectives of constructivist and connectivist educational learning theory. It examines how recent internal (‘porous’) and external (‘para’) reforms have transformed the production of subjectivity in art schooling and pioneers the application of theories and methods of para-academia and paragogy in art education. It is the first book to be published on the future of the art school to develop an open access paragogy for artistic learning and research.
Reimagining the Art School will be published in 2019 by Palgrave Macmillan
Bourdon Lecture Theatre , Glasgow School of Art, Bourdon Building
Renfrew Street, Glasgow G3 6RQ View Map
Artists in the City: SPACE in 1968 and Beyond
Edited by Anna Harding
Designed by Modern Activity
Published by SPACE (Art Services Grants Limited)
Distributed by Cornerhouse Publications, HOME, 2 Tony Wilson Place, Manchester M15 4FN. Price £19.95
In celebration of SPACE’s 50th anniversary, a display in the project space presents previously unseen material from SPACE’s archive covering the years 1968-75 as well as photographs of early events and studio sites, capturing the founding years of SPACE and AIR, the Art Information Register which was the sister organization to SPACE. This material forms the basis of the book Artists in the City: SPACE in 1968 and beyond to be published in March.
The book launch event is set for Saturday 17 March, followed by a panel discussion with selected contributors at Whitechapel Art Gallery on Thursday 22 March.
Neil Mulholland – The Unlearning Organisation: Cultural Devolution and Scotland’s Visual Arts 1967-2017
Building on primary research in CCA/GSA’s Third Eye Centre archive and interviews with key stakeholders, this chapter elaborates the ways in which visual artists based in Scotland developed their own civic infrastructure in tandem with the devolution of state arts patronage from London to Edinburgh from 1967 onwards. It demonstrates how the Keynesian arms-length principal inherited by the Scottish Arts Council (SAC) generated a productive tension with nascent Artist Run Initiatives (ARIs) in Scotland. With limited state support, artists successfully developed and ran their own platforms while the Scottish Arts Council founded and led more generously funded (competing) national and civic arts organisations.
Realising Tom Nairn and Bob Tait’s vision of a Scottish International, Scotland’s nascent ARIs bypassed official Scottish and British arts bodies, finding a blueprint and network for their activities in ARIs such as SPACE (London) and PS1 (New York City).
As a means of mapping means of production and systems of distribution over the past half century, the chapter presents snapshots of organisational change at pivotal moments in the devolution of the arts in Scotland: 1971, 1979, 1992 and 1999.
These case studies provide a basis for critical analysis of the devolution of the visual arts since the reconvening of the Scottish Parliament. Following political devolution in 1999, Scotland’s Governments have revoked JM Keynes’ arm’s length Patron State model in favour of the New Labour experiment with Structuration and creative economics that is Creative Scotland. Throwing SAC on the arms-length-bodies bonfire that has raged across R-UK, a centrist ‘creative economy’ model has been accelerated by the SNP.
In some respects, post-devolution Scotland is less devolved than it was in 1994 and, also, less democratically accountable. The chapter proposes that the Scottish Government may best unlearn the existing Union State apparatus by adapting the distinctive model of collaborative advantage that artists have developed to successfully govern their activities over the past 50 years.