episode eleven of creative conversations. sees me talking too two artists, ivon oates and David Rogers, about a collaboration that involved them working with young people from Portland Rocks.
http://creativedialog.wordpress.com/2012/01/27/cre…
We hear about how their sound installation ‘Impossible Architexture’ came into being. And we talk around collaborations and authorship. Who was the ‘owner’ of this piece of work?
In a collaboration where you are commissioned to facilitate new work, who is the ‘author’ of these pieces? Is it just the young people, or is it the artists work, or some space in-between all these interested parties.
ivon feels that the joint authorship, the equal collaboration MUST be stated at the start of the process. For this work, it is the young peoples work, as this was the stated start point. It was an important aspect of the commission and if they commissioned had stated that they should ‘collaborate’ she would have made a very different piece of work.
While David felt that their artistic decisions makes them an important collaborator. That they installed the installation, that they formed the basis of the work, and that these decisions makes the work a more joint piece.
I have posted a new episode of my creative conversations. This week I have been chatting with James Kimber, a performer/Musician and Director of Weapons of Sound, a group of junk percussionists.
http://creativedialog.wordpress.com
James talks about his early educational experiences and about his formative experiences doing a exchange year in USA during his degree. He goes on to talk about how he came to form the Junk Band while working at a youth club in Plymouth.
We go onto chat about how the band has become more professional and how having an agent is a key part of his success. That he gets to play, to be creative, while his agent handles all the management and admin jobs.
Last year, 2011, proved to be a particular good year with James doing some interesting work and travelling around the world. One gig he got was in Tallinn, which he found out had been the site for the sailing for the 1980 Moscow Olympics. Here he was given a tour of Soviet architecture built for the occasion that was all derelict.
We talk a little about cultural Olympiad and the Olympic legacy. With James telling me how the Olympics are awarded to a city, which I had never thought of. That technically it had been awarded to London.
More about this episode and about the show in general can be found here: http://creativedialog.wordpress.com
episode nine of creative conversations features Alex Murdin, Creative Places Development Manager for Dorset Design and Heritage Forum. This is a part time position, where he works in a freelance capacity. http://creativedialog.wordpress.com
We start off by hearing about his role within the council, working with many stakeholders to benefit local people, funded by the arts council. Engaging people with place: art, design & local distinctiveness for housing.
Out of the four projects that have been commissioned Alex outlines two projects. One is ‘Rural Roads Protocol’ with artist: Michael Pinsky. The second working with artists: London Fieldworks to help design a new open space as part of a housing development on the edge of a Dorset village.
Along with Alec working within this role he also operates as an artist himself. He is very interested in low cost DIY interventions. Building culture into all areas of life. He tells us about a project in development he has been working on over the last year or two with Turn Lyme Green.
We talk over the difficult question of what effect the Cultural Olympiad might have on the region. Wrapping up our conversation, briefly talking about what will be left after the Olympics has left town and the last sweet wrapper is swept off the streets of Weymouth.
More about this episode and about the show in general can be found here: http://creativedialog.wordpress.com
