Category Archives: Art

🐲@Neoflagellants : The Middle Ages in the Modern World 🐉

A multidisciplinary conference on medievalism in the post-Middle Ages. MAMO 3 will take place at the University of Manchester between 28 June and 1 July, 2017.

SATURDAY 1 JULY

MAIN LECTURE THEATRE, SAMUEL ALEXANDER BUILDING, THE UNIVERSITY OF MANCHESTER, Lime Grove, Manchester M13 9PP 🐝

10:00-11.30am Panel session 10  

A. Neomedieval Fictioning before and after Contemporary Art 

(Org. The Confraternity of Neoflagellants; mod. Neil Mulholland)

Plastique Fantastique, ‘Mumming in the Post-Truth Era’

The Confraternity of Neoflagellants, ‘Trial by Future Dead’

David Steans, ‘Saint Good Works’

Panel Synopsis:

This panel consists of commissioned art works that take the form of three little neomedieval theory-fictions (c.20mins each).

In its attempt to disrupt postmedieval anthropocentrism, art is currently gripped by intense speculation on all things nonmodern. This often takes the form of nonmodern world-building, the practice of constructing theory-fictions. Fictioning as a world-building technology combines with mythopoesis: how previous modes of existence might be utilised against the impasses of the present. By using the term ‘fiction’ as a verb we refer to the writing, imaging, performance or other material embodiment of alternate worlds.

Broadly speaking, while the pre-modern bestiary has long formed the sine qua non of small scale curating, the pre-modern university – a hybrid, transtemporal fictioning of social relationships, tools and things – is fictioned as the true modus operandi of today’s artists. The medieval Wandergesellen is fictioned as a permanent supranational state, one in which artisans, scholars, cultural pilgrims, artefacts and many other things drift endlessly betwixt compagon and biennale.

In these brief examples, cultural production is periodically fictioned after contemporary art. The timeframe of artistic practice has shifted from the finite ‘just-now’, bound by human finitude, to a ‘long-now’ that outlives and eludes us, in which the people of the middle ages are our exact contemporaries. Fictioning today, thus, is both before and after contemporary art.

Presentations:

Trial by Future Dead

The Confraternity of Neoflagellants

Following their book-length neomedieval theory fiction thN Lng folk 2go (a preview of which was presented at MAMO 2013) the Confraternity have continued their project of non-modern ‘world building’ through a series of speculative hagiographies, avatar bestiaries, mall-rat pilgrim confessions, technocratic relic translations, liturgical corporate strategizing and scholastic summae of conflict management.

In attunement with neo-animist configurations of the non-human turn, this fictioning will precis two parts of the trial of a rooster-redeemed $50 Amazon Gift Voucher. The cock-a-rooster will undergo Trial by Compurgation and Trial by Ordeal:

“Great Moderator: Nevertheless, The Great Moderator asks this of its Defence Council: If we were to forcefully decouple said Voucher organ from said Polyresinal Rooster organ, do you propose that the Cock is culpable but the Coupon not?  How is The Swarm to discern and apportion the faulty or culpable portions of this thing without recourse to the butcher’s arts of cutting out the back bits to imprison in a humble pie?”

Similar to a medieval body-part relic, the Polyresinal Rooster organ-redeemedvoucher is part corporeal, part transaction and part commodity. As a person-object, subject to continuous translation, the Amazon $50 Redeemed Gift Rooster, inhabits and embodies a cosmology in which aesthetics is not limited to the sensual relations between human self and world, but, instead, describes a synaesthetic hyper-economy through which all ‘selves’ inscribed or enfleshed, animal, vegetable or mineral, represent, translate and co-construct common-oddities that probe the otherwise separate realities they inhabit. Will the Amazon $50 Redeemed Gift Rooster be proven innocent or guilty? Let the swarm decree….

The presentation will be performed in the Confraternity’s own ludic sub lingua franca comprising post-literate netspeak, emojinal gylphs, product spin, inter-species pidgin, object noise-chatter,  and middle American mall talk. Dialogue includes Electronic Voice Phenomena recordings of the medieval dead.

Green Screen Mumming in the Modern Age

Plastique Fantastique & Orphan Drift

Members of the group producing the performance fiction Plastique Fantastique will present a new collaboration with the artist group Orphan Drift. This collaboration involves  and a common interest in mumming and animism. Plastique Fantastique have used mumming – the tradition of presenting masked plays – as mode for delivering communiqués from the extreme past and future in a number of performance works, most recently in the flag-ship Apple shop in London. The talk will present the group’s films and discuss their interest in animism and human and non-human agents explored in relation to mass-media. They will also talk about the concept of myth-science and performance in relation to what has been referred to as the post-truth or past-fact era.

Saint Good Works

David Steans

Saint Good Works is a short fable that manifests in the form of a talking pebble: “When SGW reached the age of one hundred, he conclude d that his life was coming to an end, and that he was no longer able to usefully serve God on this earth. After attending to what little worldly affairs he had, he walked into the mountains, with neither provisions nor intent of return. After a day of walking he sought rest within a cave. Grown thin and weary, he sat down in the cave and contemplated his death. In the cave he held a stone, shiny and grey underneath its coat of moss. He contemplated the stone….”  The pebble will narrate its magnificent story.

Presenters’ Biographies and Contact Details:

1. The Confraternity of Neoflagellants (Hogg and Mulholland) are lay peoples dedicated to the ludic, ascetic, aesthetic and athletic treatment and application of neomedievalism in the hypereconomus of contemporary non-modern cultures. They are an equal opportunities confraternity bound by chirograph.

confraternityofneoflagellants.org.uk

@neoflagellants

2. Plastique Fantastique (Burrows and O’Sullivan) is a mythopoetic fiction – an investigation of aesthetics, the sacred, popular culture and politics – produced through comics, performances, text, installations and shrines and assemblages.

www.plastiquefantastique.org

3. Saint Good Works is a talking pebble made by David Steans an artist and curator based in Leeds. Steans co-founded the Medieval Helpdesk at the 2015 Leeds International Medieval Congress www.medievalhelpdesk.co.uk. He teaches fine art at Leeds College of Art and is a practice-based PhD student at The University of Leeds.

www.grinkinginthedraveyard.co.uk

@Dovad_Steans

Praktika II : 21 Years of Deveron Arts

 

I wrote a short report on Praktika II : which formed part of the 21 Years of Deveron Arts Celebrations in Huntly, December 2017

PDF is available from Deveron Arts (via this link)

and from this link

—————————————————–
21 Years of Deveron Arts

“By taking stock we reflected on our position as a key player for socially engaged art in Scotland. Working with Anthony Schrag and David Harding, we held Praktika II. Praktika was a 3 day intensive workshop in 2008 which brought 12 artists together with David Harding, Rosie Gibson and Deveron Projects to consider, and raise the profile of, socially engaged art practice.

Praktika was also the first time we worked with Anthony, since he has done two projects with us, A Perfect Father Day and Lure of the Lost. Unlike the original Praktika this was just a two hour session, however rather than purely artists this workshop brought together a selection of artists, academics, community members and policy makers. In order to gain an insight from all parties involved in socially engaged projects. The workshop considered the “wicked problem”, as Anthony puts, it of socially engaged practice and how Deveron Projects can move forward.”

“Der Fachidiot”: The paratechnic in the monotechnic

The Porous University – A critical exploration of openness, space and place in Higher Education | 8th and 9th May, An Lòchran, Inverness Campus

Prof Neil Mulholland
“Der Fachidiot”: The Paratechnic in the Monotechnic
(slide cast of provocation paper):

Paratechnic Principals … paraphrasing: ‘5 Principals’ in Corneli & Dandoff, (2011) Synergising individual organisational learning, Wikiversity

1. Diverse methods, diverse communities of practice
2. Externally-facing ’University of Dissensus’ [Readings: 1997]
3. Immediation, 1:1, live
4. Fluid, adaptive co-learning
5. Cooperative and collegiate

The Porous University Symposium – Programme

See ‘Additional info’ for details of sessions which can be viewed online – this includes sessions to be broadcast live via Twitter, and also a parallel session which will run as a webinar on Day 2.

The hashtag for the event is #porousuni

twitter.com/ShiftWorkESW

Shift/Work : Kochi-Muziris Biennale

Shift/Work: Composing and Playing Artistic Workshops

Neil Mulholland & Jake Watts

March 22nd & 23rd 2017

Kochi-Muziris Biennale www.kochimuzirisbiennale.org

Biennale Office, Fort Kochi, Kochi, India

Shift/Work: Speculations

Workshop-Workshop / H-Frame

Wed 22nd March 2017, 10 am to 1 pm

Unlearning

Wed 22nd March 2017, 2:30 pm to 5:30 pm

&

Thurs 23rd March 2017 10 am to 1 pm

Speculations

Thurs 23rd March 2017 2:30 pm to 5:30 pm

The two day sessions are open to art professionals, art teachers, curators and art students. Participants do not require any prior skills or knowledge and do not need to prepare.

Shift/Work Speculations

Shift/Work: Speculations

Speculations is a two day Shift/Workshop. Speculations will be collectively composed and play-tested at Edinburgh Sculpture Workshop on the 3rd and 4th of March 2017, a participatory action-research workshop ordained to fabricate speculative artistic research methods.

Click this link to sign up on Eventbrite

What will we be ‘composing’?

We will compose a workshop in which participants develop, learn and apply speculative artistic research methods. It is crucial that the genesis of this workshop is, in its own right, speculative. Our speculative process encourages artistic practices that cannot be held, observed‌ or enacted without taking risks or experiencing their consequences. To this end, Shift/Work: Speculations will be collectively composed.
Speculative methods may include, but are not limited to: abduction, syncretism, forecasting, futurism, divination, becoming-rites, probing (making and employing actants), paradisciplinarity, ‘pataphysics, hyperstition, theory-fiction, mythopoesis, fabulation, fictioning, (mis)management, gaming / playing, versioning, licensing, servicizing, technés / technoetics, extended cognition (ExC), imaginative propositions, paper architecture, thought experiments, proposing, lateral thinking/feeling/knowing, weird-ing, speculative realism, mangle-practice….

Who are the Shift/Workers?

A compagon of ‘composers’ – comprising artists, curators, designers, musicians, producers, educationalists, social anthropologists, philosophers and futurists – will join us at Edinburgh Sculpture Workshop in March 2017 to scribe and audition Speculations. Working in three groups, participants will compose three iterative workshops. The three groups will then rotate, each participating in the workshops composed by their peers. Our post-workshop re-calibration of the three workshops will translate them into one workshop. Shift/Work will direct this ‘calibrated’ workshop at the Kochi-Muziris Biennale at the end of March 2017.

www.kochimuzirisbiennale.org

At the time of writing, we may only speculate on the form Speculations will take. We speculate that the workshop will enable participants to compose, experience and evaluate an iterative, action-based, peer-to-peer learning experience that is both theoretical and practical. We expect they will learn how their speculations (and their attendant risks and uncertainties) are co-affective upon the experiences of their peers. Like previous Shift/Workshops, Speculations will enact relevant discourses, practices and models of artistic paragogy to enable and inspire participants to adopt speculative methods and implement their own workshops.

We hope that you can come to ESW to take part in the composition phase of this workshop.

Click this link to sign up on Eventbrite

NB: If you are able to particpate for only one day, please contact us to let us know.

Shift/Work @ blip blip blip

Project Space, Patrick Studios, East Street Arts, St Mary’s Lane, Leeds, LS9 7EH 

blipblipblip.co.uk

eaststreetarts.org.uk

What’s a studio & how do we use one?

In conjunction with the No Working Title project: Inventory of Behaviors

A One Day Symposium​​​

Monday 6th February​

In a climate of economic instability, and at a time when artistic practices are continuing to diversify, the symposium aims to explore a number of modes of studio practice. How does exposure to different models of the studio within art school impact on how artists use a studio upon graduation? How do studio groups differ in their support of artist’s practices? What is the relationship between artists and their assistants?

Speakers include a number of prominent art educators; studio groups from a range of different cities; artists and academics who will discuss the practices of artists who employ teams of assistants within their studios.

11.00 Martin Newth ​​​Programme Director of Fine Art, Chelsea College of Arts

11.20 Juan Cruz ​​​​Dean of Fine Art, Royal College of Art

11.40 Neil Mulholland ​Shift/Work, Edinburgh College of Art & Edinburgh Sculpture Workshop

13.30 Adam Townend &​​​ Serf, artists studios and project space, Leeds

        Michaela Cullen

13.50 Annie Carpenter &​​​ Rogue Artists Studios, Manchester

        Taneesha Ahmed

14.10 Adam Phillips &​ The Northern Charter, artists studios and project space, Newcastle – Dawn Bothwell

 15.30 Jenny Dunseath ​Author of ‘Artist Boss: Anthony Caro’s studio assistants and issues of legacy in British Sculpture’

15.50 Phil Mayer ​​​​Ryan Gander’s studio manager

16.10 Jon Wood (TBC)​​​ Research Curator, Henry Moore Institute, Leeds

 16.50 No Working Title​​​ – Jo Addison and Natasha Kidd

 17.00 FINISH