So back from the second residential in Leeds -
.... a very different affair from Wakefield...
Unfortunately Susan couldn't be with us, so SAJE became three (AJE), with susan voice in attendence via Anna... reactions? All fine, although more critical feedback would be good. Next step is to review what the mixtape is and how we distribute it. I was very aware when we were presenting that this wasn't the format it was intended to be viewed in - somehow, in a presentation, it becomes too reduced, no rhythym, too regularr and too reductive... The joys of a mixtape were always the unexpected, so lets think of:
- rhythym and pace,
- editing (smooth or jarring)
- volume (shouting or whispering)
- placement/distance (close or far)
- level of completion or production: rough cut or polished
- Clarity or distortion
- and of course visual appearance - looking, reading, squinting, remembering, interpreting, translating
Worth a read - although one thing that seems missing to me is any investigation of where the resources come from, and what the money is intended to do... If space in the symposium/publication was devoted to why we should fund public art in the first place - then maybe we could see how small arts orgs specifically particular serve that goal, which might be one approach within what is referred to as collective strategies...
This Common Practcie event was interesting to attend and I am glad you picked up on the issue regarding lack of rigor around use of public funds. I found the event a unique insight into the small scale visual arts organisations and their concerns. I found that in these concerns that there was a lack of public accountability in the methodology of the galleries. Some of the more established ourganisations were very clear about asking for sustained support from ACE just to carry on doing what they want. It is worth noting that this was an ACE funded gig for a self organised group of National Portfolio Organisation's who feel at risk of loosing that status with the impending cuts. There was very little discussion of audiences and who the activity was to benifit and this was, to me, a large gap. I was sitting next to a great woman called Ella from INTOART http://www.intoart.org.uk/studio/weblogs/Exhibitions/blog.html, (an organisation that I think is really useful for Susan to look at and we will be working with them again in 2014), and we were both commenting on the lack of awareness of a public. She runs her organisation with a very specific notion of supporting artists that have learning disabilities and they have just becoem an NPO. Whilst at Peckham Space it is an every day reminder of the vast number of people we do not engage (many do, but 40,000 people use the public square per month and only 1,000 come into the gallery) and is that mainly because fo perception or medium of the artowork or something else? etc These are concerns that seemed specific to us. Whilst many of the core galleries that were part of the research from the start were taking air time with more concern about maintaining current activity in the face of cuts, not about changing activity or questioning what they are doing. I am keen to follow the group further as many of the galleries involved are really interesting models. However I do think there needs to a more inclusive forum for debate and investigation of what being in receipt of public money means in this current climate.
ReplyDeleteI am not sure this helps me think about our publication, but I look forward ot discussing that this afternoon.