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For its contribution to INVITATION ONLY at SIDESHOW, VerySmallKitchen presents WHAT IS IMPORTANT IS KEEPING IT MOVING, a one day exhibition in response to a proposition within an artists book fair within an arts festival in Nottingham within unfolding networks of new, ongoing and potential collaborations and exchanges.
Featuring: Jonathan Jones/ The Sticky Pages Press, thwart; Pippa Koszerek, Top 100 and Spoiler(Glossary); C S Leigh, Syntax (London, New York and Tokyo versions); Achim Lengerer, SCRIPTINGS; Jill Magi, SMALL TALK SMALL BOOKS; Tamarin Norwood, Homologue and DO SOMETHING; Onomatopee, A Task for Poetry 1-3; seekers of lice, LOUSE FACTORY, QUOT and dumb show; Red Fox Press, C’est Mon Dada and Franticham’s Assembling Box.
Sideshow Artists Book Fair
Today: Saturday 30 October 2010 – 1:00pm – 6:00pm
Over the last few weeks I’ve spent some happy hours reading the Artists Talking blogs on the a-n website. I’ve been picking a “Choice Blog” for the month, and landed gladly upon David Minton’s Dead and Dying Flowers (see this page here).
Separately, I’ve been struck by the role of the studio in many of the blogs: it appears variously as a place separate from the proper bits of life; the only place where proper life happens; a place where mistakes are allowed and enjoyed; a place where things are still; where things are never still; where things stay and wait until the artist next returns. (Do the things dance around like Woody and Buzz while we’re away, and flop back down in naturalistic poses just as we open the door? Wouldn’t that be nice. Maybe we should spend more time out of our studios to let the artworks play on their owns.)
Below is an update on The Writer’s House, a three-day series of writing residencies this weekend at Wandle Park as part of the POST event AWAY DAY. The event is open to all and runs 29-31 May, 12-6pm daily.
The Writer’s House is curated by VerySmallKitchen. From the VSK site:
“The Writer’s House invited five practitioners to devise day long projects that utilised the house/ tent as a studio for a writer in residence, yet also took account of the public and interactive nature of the AWAY DAY event. What happens to the writing when it takes place in the social and natural environments of Wandle Park? What – where – who- when – how- if – then – was/is/will be writing?
Projects – by Bram Thomas Arnold, Rachel Lois Clapham (in collaboration with Antje Hildebrandt), Marianne Holm Hansen, Tamarin Norwood and Mary Paterson, each begin as a score with varying relations to what might happen in the park itself.
My radio play What The Matter Is came up in conversation the other day, and it reminded me I still hadn’t put it online. So here it is, as it was originally broadcast on Resonance 104.4FM in March last year. (Original post here.)
“My hole punch is black. It’s just normal. It’s made of black metal, and the underneath is black rubber so you peel it off when you want to get the holes out. At the moment it’s too full of holes to push the top bit down so it can’t actually work. I rarely change the holes because they get everywhere and they aren’t really meant to be all that good on their own, the point of them is to breed and start a community that’s meant to establish itself among your plants.”
I’m still very fond of this short and completely unplanned addendum I made after What The Matter Is, which begins “The ladybirds have settled..”.
PERFORM-a-TEXT was at the Beyond Text event 10 Performances in November, where I performed my illustrated talk What To Do. She took down some notes as she watched, and has just posted transcriptions of her notes as documentation. On her blog she wrote “I will transcribe these writings as they are written in as honest a transcription I can make of the mark.”
You can read her documentation here.
I’m practising for the 26th.
In November we’re holding a workshop at Goldsmiths around circulation, distribution and dispersion of artwork.
I want to think about artworks that make claims about not being circulated. My interest in this area stems from my own work, but I want to use the opportunity to research things other people have done. Because of the nature of the subject I don’t anticipate sticking exclusively to examples from art, but I hope to draw some conclusions that have relevance to art.
Most of the work I’ve found on this subject is around event-based art. A starting point could be the dissemination of happening-type work Allan Kaprow calls “lifelike art”. In his 1966 lecture How To Make A Happening he urges us to “happen” in the real world and not in art, and not to put on shows for audiences. He differentiates between the happenings and the instructions or descriptions of them, saying that the latter are not art, “just literature”. Nevertheless these happenings enter an art context and find an art audience through this “literature”, or informally through anecdote. Read the rest of this entry »
In June I wrote a short audio play called Things Are Exact, which you can listen to here. I wrote it forwards rather than backwards: intuitively, to find something out by writing it rather than writing it to show something I’d already found out. It means listening to it remains a useful way for me to find things out.
The play draws to a conclusion around the idea of catching and joining together moments of time. Here’s part of the dialogue:
- Why do you always cry?
- I think we have to calibrate things. I think things have to be clear enough to mark differences between them. [...] I cry to mark things out.
- Do you cry because things are exact or so that things are exact?
- So that.
- Then it doesn’t have to be crying. It could be something else that joins things together. String. Read the rest of this entry »