Category Archives: Art

Shift/Work [static] speculations

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.

219* Condemnations, ALive! þan-þan

219* Condemnations, Alive! þan-þan

November 7th 2019, Knott Project Space, SAW Video, Ottawa 🇨🇦

16 Oct – 16 Nov 2019

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!

*Actual volume of apocrypha may vary

PAN-PAN | Confraternity of Neoflagellants

Knott Project Space, SAW Video, Ottawa 🇨🇦 16 Oct – 16 Nov 2019

PRESS RELEASE

‘You do not interpret the [———]. You are [———].’ The Duke of Biarritz Malware Voices: 13.1

Culture lives here? Gyeah?

Taped together only by the blak and blo brocages of blasfeme secreted by two sandgrabbers who accrued and thickened your presence over time? Can’t justify the how-low-can-you-go MHz of those Seinheiser HD800 EVP collect calls? Feel an overriding sense of ennui languidly inhazing to-tal-ly Bogan seul-anise ‘Hot Box Menace’? Stubbornly inert heaps of no-flow interference merely placating the micro-movements of bolt-on contentworld? ©king a little more than 99.07% blobbogramatic matters of actual gästermagoria?

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)

Simon O’Sullivan

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 decorum??

Psychosis as Method, here masquerading as para/post/pan-commodity prophesy/futurising and animist drama. No one – NO ONE! – will be convinced by this! These avatars and image-functions – laid out flat here, as on a table-top – will do nothing to assuage the opinion of those gate keepers that have never ceased to claim: ‘There are, after all, limits to the symbolic order!’  And (under their breath): ‘It’s called thee doxa for a reason you know!’ Imagine a future-traveller/neo-medieval© pilgrim chancing upon all this – in the charnel grounds – imagine their horror to read, again, about the adventures of the tech and of the mall, of how things might have been – and how, here, the things he/she/they hold dear have been cut-up, spliced together…the detritus of all that lays around us reanimated and repurposed. Her mother was burnt for less! Here, then, is a looping backwards and forwards so quick as to cause whiplash. I am not writing this to warn you off – who am I to talk? – but, Dear User-Group, please be aware: what you hold in your hands/are about to read on your screens is not what you might expect from a book or syllabi. It is text/un-text as test and time-travel, not so much about another futural world as summoned here – for youze – from it. A codex that, when seen FROM THE CORRECT ANGLE, performs a transportation. If, whilst reading, you are making notes and, reading them back, you begin to make some sense from the various scenarios and phrasings – as if something, finally, is cohering, foregrounding itself…or, indeed, as if the vast assemblage is beginning, at last, to tip – then let me say immediately that you have been very much miss-stark-en – there is no such meaning here – not for you lot, with your heads on your shoulders walking around on your feet as if its the most natural thing in the world. On no, no siree. No, this is NOT a book to be READ by the likes of you! It is, perhaps, a pattern and diagram for something behind you…something you will have helped made (if you are lucky enough to have worked in IT), but which, now, does not recognise your all-too-human operating procedures and protocols. You might call it fik-shun but this is only to begin to approximate what its performance and programme is. Things here are decidedly not what they seem. To enter the pan-pan myth-system is already to be seen, interpolated by it – and thus to already be caught within its test. Try it for yourself: drill down in to any of the so-called paragraphs that follow and you will see that the syntax is specifically for you…don’t think about it just DO IT! NOW!! In fact, if you have read this far then it is more than likely already too late. Understand? The Mushroom King – if he really is a king – has you already on trial! The Great Moderator has already taken you up in their huge hand and turned you slowly under their twinkling eyes. And the future-dead with their Dog Heads are already here to carry out the sentence and spend their coupons. Pan-pan, for youze all gathered here, is a grimoire, yes, but it is also, before it’s too late, A WARNING!

Alternative Truths: How Small London Shows Are Reviving Popular Subcultures

Confraternity of Neoflagellants in Most Dismal Swamp 002: Whale Fall, Gossamer Fog, London review by Mimi Chu in frieze Issue 203 May 2019

The Confraternity of NeoflagellantsAmazon €50 Redeemed Gift Rooster Booster No-Crow, 2019, JPEG.

MInTOone80Five (NOT Clickbait!) (2019)

Confraternity of Neoflagellants, still from MInTOone80Five (NOT Clickbait) (2019)

MInTOone80Five (NOT Clickbait!) (2019)
Confraternity of Neoflagellants

A swampscape commission from Most Dismal Swamp
Features in Most Dismal Swamp 002: Whale Fall
Launch 29th March 2019, London

Instagram: @most_dismal_swamp
www.mostdismalswamp.com

Whale Fall curated by Most Dismal Swamp

Private view 29th March 6-9pm,
Gossamer Fog

186a Deptford High Street, SE8 3PR London, England
Exhibition continues 30th March – 28th of April
Swamp Angels:
@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.

www.mostdismalswamp.com

Re-imagining the Art School | Glasgow School of Art

 

Flourish: Johnny Rodger & Irene McAra McWilliams
Memory, Will and Understanding II

present:

Re-imagining the Art School

Professor Neil Mulholland
(The University of Edinburgh) www.neilmulholland.co.uk shift-work.org.uk

Thursday 24th January 2019 5.30-7pm
Bourdon Lecture Theatre
Glasgow School of Art
https://www.eventbrite.co.uk/e/reimagining-the-art-school-prof-neil-mulholland-tickets-55017781666

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

Location

Bourdon Lecture Theatre , Glasgow School of Art, Bourdon Building
Renfrew Street, Glasgow G3 6RQ
View Map

The Unlearning Organisation: Cultural Devolution and Scotland’s Visual Arts 1967-2017 in Artists in the City: SPACE in ’68 and beyond

Artists in the City: SPACE in 1968 and Beyond
Edited by Anna Harding
Designed by Modern Activity
Published by SPACE (Art Services Grants Limited)
ISBN 978-1-9999278-0-6
Distributed by Cornerhouse Publications, HOME, 2 Tony Wilson Place, Manchester M15 4FN. Price £19.95

SPACE’s 50th Anniversary Archive Display
SPACE Mare Street, London
19 January – 17 March 2018

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.