Friday, 2 December 2011
Thursday, 24 November 2011
Exhibition: 14 November – 27 November, Monday - Sunday, 12 - 4.30pm
Tracy Mackenna and Edwin Janssen
In collaboration with The Highland Hospice
Public Studio: Monday - Friday, 12 - 4.30pm
Public Seminar: 22 November, 2pm (booking essential: email@example.com)
With Dr Paul O’Neill (curator, artist and writer) and Prof Arnd Schneider (social anthropologist) exploring notions of duration and context specificity in The Museum of Loss and Renewal project.
Public Seminar: 25 November, 10.30am (booking essential: firstname.lastname@example.org)
With Dr David Reilly (doctor, educator and researcher) focusing on the relationship between art practice, creative change and human healing.
The Museum of Loss and Renewal focuses on the interrelationships between death, memory, material culture and recycling. Through a period of engagement with The Highland Hospice charity shops Tracy Mackenna and Edwin Janssen are investigating issues recurrent in their work; the value and significance of objects, life and death, and artist-led curatorial practice. By re-using and re-presenting material as still-life they invite reflection on the value we place on the ‘things’ with which we surround ourselves.
The project will feature another in Tracy Mackenna and Edwin Janssen’s ongoing series of public studios, enabling the making of artwork in a live situation with direct engagement by a range of publics, arising out of conversation and participation in public discursive events.
Forces of Attraction and Repulsion, The Museum of Loss and Renewal, 2011,
Tracy Mackenna and Edwin Janssen
More info and connections:
Visit the artists' own website...
Review of Loss become Object at HICA...
More about this project...
Tracy and Edwin on Facebook...
Tracy and Edwin on Twitter...
Daily updates from the Public Studio:
Tracy will be updating on the progress of conversations and research happening in their Public Studio (12 - 4.30pm Monday - Friday, Centrespace, VRC). Everyone is welcome to drop in and strike up a conversation and there is an excellent selection of reference books on display as well as the exhibition.
WEDNESDAY 16 NOVEMBER
The temporary public studio for the fusion of exhibition, production, education and research is up and running. Conversation raging on the interrelationships between death, memory, material culture and recycling. Sessions with students well under way, prodding and provoking issues including the value of stuff and curatorial positions. Blue-skies thrash with GSA's Dr Ken Neil on the impact on art education, by situating it at the heart of our practice. All welcome to hold discussions on related talks in The Museum of Loss and Renewal at Centrespace.
THURSDAY 17 NOVEMBER
Day of student sessions, considering 'ephemeral practices' and 'art, science & visual thinking'. Discussed the merging of art, research and education – the need for a radical shift in the function of learning towards a central position for art within collaborative approaches, the fostering of networks, partnerships and play – opening up and daring to fail.
FRIDAY 18 NOVEMBER
Day of conversation about art's ability to enable us to access grief; by showing publicly how creativity comes out of the chaos of life. Grappling with the materiality of language by making the blanket through translation of conversations into written words.
SATURDAY 19 NOVEMBER
Different pace to conversations today; people more relaxed as stories slowly unfolded, ideas exchanged, notes made and words cut for blanket. Creative Scotland talking about possible meanings of 'place' for Scotland, referring to DJCAD-PAR+RS 2010 'Mapping the Future: Public Art in Scotland'; picked up and repositioned when the University's Architecture students dropped in, looking to stimulate the rub of disciplines through closer connection with art at DJCAD.
MONDAY 21 NOVEMBER
Talking to a wide range of visitors every day emphasises the place of 'dialogical aesthetics', and the central position that listening to others occupies. A reminder by Murdo too, about the artist's role as someone who can highlight a community's issues; as Collingwood wrote in Principles of Art in 1938, 'uttering their secrets'.
TUESDAY 22 NOVEMBER
Seminar 1 oversubscribed! Fantastic amount of interest before, during and since the event, in Arnd Schneider's propositions on how to 'engage art and anthropology', and Paul O'Neill's question of 'how to produce the unplanned?' within the context of durational approaches to public art. Siting the seminar within the space of 'The Museum of Loss and Renewal: Object becomes Subject' brought together people with wide range of expertise whose comments, questions and conversation feed the project's future – a huge thank you to all for your contributions.
WEDNESDAY 23 NOVEMBER
Yesterday's seminar already impacting on the way we're thinking about 'The Museum of Loss and Renewal' – expanding thoughts about the Highlands as the site of 'The Museum of Loss and Renewal', and the Highland Hospice shops as The Museum's rooms - we work with objects from the shops' collections to curate an ongoing set of displays that focus on a range of subjects. And re-thinking artistic processes of investigation in relation to anthropology's critique of fieldwork – possible points of convergence?. This relates strongly to Paul O'Neill's proposition that there is a case to be made for the consideration of 'public time' rather than space – favouring an evolving process and being prepared to embrace the unexpected.
Monday, 21 November 2011
Herein lays the ever churning concern, the creation of an art identifiable to everyone. Consider the agents of the work, the thoughtfully balanced headlining artists and their carefully contrived plans. In their words the work was designed for ‘unintentional intentionality’ and deployed it seems, in the spirit of non-hierarchical inclusiveness. Designer, Curator, Janitor, Sculptor, Musician, Actor, Agent, Viewer; what is the difference anyway? The choir know, but equally they are not sure either. Their enjoyment in the previous rehearsals was evident, as I have mentioned in my previous blog, particularly in the Botanic Gardens event. Their interaction was moving, integral to the beauty of the work, occurring in that place which was belonging to them as Dundonian’s. In the culminating performance they appear uncomfortable, however the lines are blurred between where the discomfort lies. Is it the choir that is feeling uneasy because of their positioning in the gallery space or that they become an art object in the gallery, or even that they are inside that place at all? Is it the viewer (more so, viewer-spectator in the case of the culminating performance) uneasy at the choir’s presence in the gallery? A feeling of spectacle ensues. Yet another oddity when we consider the communally inclusive nature of a choir and of art ideally, one would expect us all to identify with each other more easily.
Monday, 31 October 2011
In response to Tracy's post, I do feel that out of most graduates from DJCAD I have a more well-rounded experience of curation and what it can mean in contemporary visual culture. I worked as an Information Assistant to Karla Black's Venice show for the 54th Biennale and in this time I met a collector of Black's work and Arte Povera historian and curator who asked me many questions about the direction my life and my involvement in the arts was taking. When we got onto the subject of my interest in curation, he said;
Saturday, 29 October 2011
MFA students who participated in A CUT … and An Action … have subsequently proposed staging a collaborative exhibition as part of the MFA PGCert assessment – students, what are your thoughts on the questions here?
Friday, 28 October 2011
My introduction to the musical, sculptural, performative, theatrical, dialogical process of the efforts of Belinfante, Barnett, McLean, Bourrett and Lixenberg has been truly inspiring and often perplexing when people come together to create something unique.
Belinfante's and Lixenberg's input has reaffirmed my personal interest in the notion of musicality in contemporary art and the versatility of the voice as an instrument, as a way of engaging with the public and as an identifiable form between artist and participator - whether as performer or audience member.
Margaret Mather's and The Free Voice Choir practicing before the Open Rehearsal in the Botanics Greenhouse.
Friday, 21 October 2011
The artists didn’t turn up to the salon last night in the interests of continuing their own work. This heightened the sense of them and us, which added to the week’s constant contradiction of the term collaboration. They may not turn up for tonight’s exhibition, but we should accept that, right?
I’m not going. Is that acceptable? Why can’t I help but feel that I should go after being so involved in the week’s events?
Darian Leader says that 'what one sees with one’s own eyes is mixed up with the question of what someone else sees.’ (Stealing the Mona Lisa, 2002, pg 15) My ‘someone else’ would be disappointed in me not going tonight, but that ‘someone else’ has been the person I’ve been performing for all week as I’ve participated in, A cut. A scratch. A score. My ‘someone else’ has forced me to push past an initial personal reaction and cause me to be critical, resulting in me to having to connect with something I would perhaps not have chosen to engage with. When are we completely experiencing something for ourselves?
To me, this whole week has been a performance, the very thing the artists seem to be trying to avoid, in the sense that everyone seems to have been playing a role and mixing up what they see with the question of what their ‘someone else’ sees.
It was interested in last night’s salon dialogue between those who had been to the rehearsals and the individual who hadn’t. She was experiencing the rehearsals only through what was talked about as she attended the salon discussions. I feel the barrier she presented herself with by not seeing the rehearsals were not dissimilar to the barriers viewer’s faced who did attend. Boundaries, that I thought would be broken through performance in a public place, were present in each location.
Tonight’s culminating performance is not to be seen as a conclusion yet we have been viewing events called rehearsals, which suggest the anticipation of a finished outcome. I am not going tonight because I didn’t book a ticket. Surely the booking system contradicts the intent of tonight not being final performance.
Thursday, 20 October 2011
Able only to join you at tomorrow night’s Culminating Performance, my comment is an observation on your postings and a continuation of my perpetual thoughts about the ‘note’ as a site for the crucial place of failure in art.
I am reading the current Metropolis M (NL) magazine Survival, and thinking about what Chus Martinez says about Documenta (13)’s reasons for publishing the series of notebooks 100 Notes – 100 Thoughts: that notes and notebooks …”move between drawing and writing, and between the collecting of ideas and the naming of them. But they are also about the search, the arguments in their raw form, about the temporary rupture with the discursive form they represent. Notes and notebooks point up the way that writing and reading are bound to one’s self, and thus say something about the relationship between the private and the public.” (my translation from Dutch).