Art, Confraternity of Neoflagellants, Exhibitions

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

Akadēmeia, Art, Books, Education, Events, Shift/Work, Talks, Theory, Writing

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

Akadēmeia, Art, Books, Catalogue, Criticism, Events, Exhibitions, Writing

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.

Akadēmeia, Paper, Talks, Writing

The Unlearning Organisation: Cultural Devolution and Scotland’s Visual Arts 1967-2017 @ Scottish Society for Art History 2018 Study Day

The Scottish Society for Art History’s Study Day for 2018 is on the theme of Art Organisations and Institutions in Scotland. The event is hosted in association with Fine Art Critical Studies, The Glasgow School of Art, and will take place in the Reid Auditorium, GSA , on Saturday 10 February.

The study day will share current research and scholarship on art institutions, galleries, societies, collectives and support organisations in Scotland. The event will feature a selection of papers from a variety of different speakers, from academics and independent researchers, to curators and practising artists.

Tickets for the study day can be purchased online via Eventbrite: https://www.eventbrite.com/e/art-organisations-and-institutions-in-scotland-ssah-study-day-tickets-39874340225

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 paper 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 paper presents snapshots of organisational change at pivotal moments in the devolution of the arts in Scotland: 1971, 1979, 1992 and 1999.

Akadēmeia, Education, Paper, Shift/Work, Talks

Shift/Work : ISSOTL17, Calgary

Shift/Work : ISSOTL17, Calgary, Alberta, 🇨🇦

Directed by Edinburgh Sculpture Workshop (Dan Brown) and Edinburgh College of Art (Prof Neil Mulholland), Shift/Work is a collective that composes workshops that cause participants to reflect upon and recalibrate processes of artistic learning. Key to this is an open engagement with practice (work) as a means of both generating and transferring new knowledge (shift). Our workshops enact new practices and collectively compose open educational resources for artists, art professionals, curators and art educators to adapt and implement. ‘Shift/Work’ is an iterative process, a rolling workshop that can be continually re-performed like a musical score. Given that SoTL generally does not feature in contemporary artistic practice or pedagogy, Shift/Work is distinctive and significant in its engagements with, and innovative contributions, to SoTL.

We will briefly outline the genesis and aims of Shift/Work in relation to SoTL and ‘educationally-turned’ contemporary artistic research, before focusing on Speculations, a participatory workshop composed at Edinburgh Sculpture Workshop then play-tested as part of the Kochi-Muziris Biennale in India (March 2017) and at the Faculty of Fine Arts, University of Agder, Kristiansand, Norway (Sept 2017). In Speculations participants develop, learn and apply speculative methods, processes and practices that cannot be held, observed or enacted without taking risks or experiencing their consequences. Rather than simply reflect upon speculation and artistic research, the workshop actually generates new speculative-artistic methods through participatory action research.

Speculations offers a unique insight into Shift/Work’s ludic approach to workshops as reciprocal and enmeshed game-rules governing how actants interact. Playing the ‘game’ – Speculations – leads to the rules being revised and updated, offering fresh game-theoretic insights. Speculations is, thus, a paragogy, a ludic and ‘meta’ practice of peer-to-peer learning that is central to artistic learning. It is a heuristic to improve our understanding of how parameters calibrate and enable adventurous, creative play. In turn, it demonstrates that play does not just make learning fun, it is constitutive of learning. Speculations unravels and clarifies Shift/Work’s commitment to codifying playful paragogy in order to publish and distribute it as an open educational and artistic resource. This has invaluable implications for SoTL as an experimental paragogy that can transform the whole field of education.

http://www.shift-work.org.uk

@ShiftWorkESW