Boshears argues that, to be genuinely open, research should be focused less on research objects and more on the new ‘publics that result from the circulation of these objects’. (Boshears 2013: 617) Thinking about what sort of publics we might engage (or generate) through the production of open research objects is an ambitious challenge, one that our masters of contemporary art have risen to meet. They do so during a pandemic that has brought the arts to a virtual standstill.
Rather than create virtual projects aimed at a faceless mass of placeless lurkers, paragogues have peer-produced participatory workshops for each other. Working together in four small basho (Red, Green, Purple, Yellow) they have created an intimate, reciprocal programme of artistic learning that is, nevertheless, scaleable.
The four projects produced by each basho blend curatorial tools, re-imagine event-places and devise artistic practices for multiple scenarios. The JEDER MENSCH EIN KÜNSTLER fair is a work in progress, a chance to playtest the range of practices offered by the members of each basho. Anyone is welcome to browse through and participate in any of the asynchronous projects and workshops.
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!
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.
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’
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 longformed 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.
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
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.
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.
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.
“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.”