Project Me

There are times when there is so much going on that it is tricky to maintain any kind of distance – this is one of those time. It is great that so many things are happening but I am aware that there is little if any time for the reflection and consideration that I like to give ideas, plans, and processes.

On Saturday we had the first group meeting about establishing a collective studio here in town. It was a good meeting and I was delighted at how enthusiastic and energetic everyone was. We were four artists and one dancer and our requirements were quite different however everyone was excited by the idea of working together towards a place where we not only had studios but could also run workshops and course, collaborate with other artists and groups, have temporary exhibitions, sell pieces, and generally be engaged with both the local community and the wider (international?!) artistic community.

Yesterday I sent off my application for an artist’s award. Each year the county makes a number of awards across the art forms including visual art, music, film, dance, literature, even theory and art history. It was a good exercise to get me thinking about why I should receive such a grant, and how I would use it to develop my own work. There did not appear to be any restrictions on how one can use the grant, it seems that the most important thing was to present ten images with a clear and simple description of what I do. Reading thorough the summaries of previous years’ recipients it was interesting, and reassuring, to see that most used the ward to ‘simply’ continue with their practice, and that seeking a grant to do that was enough. There was no need to propose a project, nor to submit a budget or time plan. It is as if the people making the award understand that artists sometimes simply need financial support. As simple as that! The simplicity of the form implicitly stated that there are things (the arts) that are essential and that should be supported without having to seek justification in terms of things that do not necessarily belong to the arts: providing entertainment, tacking social problems, engaging new audiences, or increasing tourism. I hope that my application demonstrates the artistic qualities of my work -those qualities that are hard to express in words since I am not a wordsmith. Even if I am not successful I am pleased that by submission will be judged on its visual and aesthetic merits rather than anything else. I have argued elsewhere about the shift from artists being asked for images of their work and a supporting statement, to being asked for a project proposal and supporting visual material. To me the former is far more appropriate than the later. I wrote my supporting statement in Swedish and had it proofread by a friend, I am delighted to say that there was not too much red ink required! It was the first time that I tried to write in Swedish from the outset – rather than thinking about a sentence in English and then attempting to translate it. A somewhat surprising, and potentially very useful, result of this was that I was forced to keep it simple and straightforward. I simply cannot construct convoluted sentences in Swedish in the way that I can in English – I am not even sure that Swedes can, as the language works in a very different way.

In the light of both the EU referendum in the UK and the US election a friend sent out a link to an article about how mankind has survived previous times when it seems that we also hit the self-destruct button. In the pre-amble the academic author made a remark about the requirements for something to be considered research. Reading that sentence was something of a eureka moment for me – it encapsulated precisely the difficulty that I have with the concept artistic research – or perhaps more accurately the difficulty that I have pairing artistic and research practices:

Taking one telling of events as gospel doesn’t wash in the comparative analytical method of research that forms the core of British academia.

There it is in black and white! I have been schooled in the UK and am therefore predisposed to thinking of research in “comparative analytical” terms. Art is of course “one telling of events” and that is what I want it to be – when I look at an artwork I want to, I hope to, have something of that artist’s experience conveyed to me. Of course I see that artist in the context of their era, their culture, their world, but I want to see their singular telling of events. It is always personal with art, be it Caravaggio, Van Gogh, or Felix Gonzales-Torres.

I feel validated in my resistance to art being judged against criteria used in other research disciplines. And I feel strengthened in my determination to widen the understanding of what constitutes research.

The version of Go-Go that will be in Enköping is different to the original installation for the M2 Gallery. There is neither the time nor resources to make an alternator that would enable the piece to run on solar power here, nor is the time of year ideal for that. The relation between charging during the day and discharging during the night was a strong component in original concept. Go-Go Enköping focuses much more on the visual impact of the piece and the capacity that it has for animating the dormant local environment. I think that it is fine that this new versions is adapted to suit the particular requirements of the location. Is this me being pragmatic? I am reminded (once more) of sage advice given to me by a tutor at the Slade – ‘don’t get it right, get it done.’

Only very occasionally have I had to think about what a piece of my work might be worth – usually for insurance values, rarely for setting a price. However a question about how much Go-Go would cost if I were to sell it has raised some very interesting questions for me. The first question is what I am actually selling? By that I mean is the artwork the physical objects that make up the installation – the mirror balls, glitter, and spotlights, or is the artwork the concept – it being in a window, it coming on at dusk, it splattering light across adjacent and local surfaces, it inviting interaction.

I wondered if it is just a question of ‘marking up and selling on’ all the bits that anyone would need to make the piece. If I put them in a nice box and made an edition of three then they could almost be a type of ‘kit’. But there would be nothing in the kit that could not be bought elsewhere, and it feels more than a little egotistic and cynical to add value just because things have passed through my hands.

My mind then began to consider how it might be to sell the Go-Go concept rather than the Go-Go object. That way there would be the opportunity for it to be purchased and to be in a collection, and at the same time I could continue to show it elsewhere using identical components sourced locally. Obviously if the ‘concept’ were bought then any versions installed elsewhere would have to clearly state that the piece belongs to a collection.

The complexities and possibilities of selling a concept, or a type of contract, rather than the physical materials (though there might well be a ‘kit’ included with the concept) lead me to think about how an institutions owns one of Felix Gonzales-Torres’ stack give aways or candy spill pieces. I have read enough about his work (which I adore) to know that the institution or collector buys some kind of contract. I would love to see one of these contracts and to better understand how it works.

I wonder if there are any Swedish artists who work in a similar way -it would be great to be able to speak with them. Or perhaps speak with a museum or commercial gallery about it.

In the midst of finalising my grant application, rescheduling a meeting because a journalist friend was attacked while photographing a neo-Nazi rally (she’s okay but badly shaken), and replying to facebook messages about the next studio meeting two large parcels arrived.  40kg of glitter from the wonderful Flint’s in south London – a lot of black for Go-Go, and a fair amount of blue for making new work ….

On Tuesday I met Klas for lunch to discuss a possible studio that he has found. We met at the vegetarian, organic, local produce cafe here in town – I was surprised and pleased to meet some people from the gym there also enjoying their ‘buffet lunch’, it has been quite a while since I lived somewhere where I just bump into people to pass the time of day with. As the studio is not really part of Klas’ work for the council a chat over lunch was a good way to get together. It was great to hear a little more about the potential studio, and to hear more about Klas’ own work!

The studio, which I cycled out to last Sunday, would be part of the first floor of a barn that is a couple of kilometers out of town. And although I could only see the exterior of the building it certainly is a good size and not too far away. The owner has said that he will insulate 50 square meters and that we could have a simple short-term contract. It is not quite what I imagined as a studio but it could work. After speaking with Klas and looking at his website again I think it could be very good, and inspiring, for me to share with him!

We also spoke about some other seemingly vacant properties in town – nearer to the station than the waterfront. In the light of possibly taking on one of these larger spaces I put out an announcement on a general Enköping facebook group to see if there were others who might like to get involved. So far I have had eight people express positive interest which is great. A larger studio premises would probably take longer to arrange but in the long run it could be more sustainable and potentially more significant in terms of establishing a collective studio here.

The almost tangible prospect of having a proper studio again is very exciting. And by ‘proper’ I mean somewhere outside of my own apartment. I am not going to analyse why I find it so hard to make art at home, I am just going to accept that it does not work for me. Part of my excitement is also the anticipation of having a proper bedroom – the living room more than adequately accommodates my bed but it will be so much nicer to have more defined rooms – systems and structures!

It really seems as though I moved to Enköping at just the right time: not only is it fantastic that Klas (another recent resident) is here, but the whole arts department is working on a new long-term cultural policy and they have re-introduced a couple of (modest) arts grants that were cut by the previous centre-right council. I am going to apply for two grants: one for my own practice, and one for a pilot ‘community project’. I think that I stand a better chance with the project application as I think that I might be seen as too established/professional for the individual award which, reading between the lines, seems to favour young/new artists. Though I would argue that I am still an ’emerging artist’ (is that expression still used, or does it date me?).

After a day in town, or rather the city, I am feeling inspired to get on with making things – things that I have already begun to dream of, and some new things inspired by visiting the Royal Armoury museum and the opening night of a fashion design retrospective. I found/find myself having an internal discussion about these new ideas, or perhaps ‘internal argument’ is a more fitting description! Over lunch with Klas we spoke about making and intuition, about how an artists’ role is to make without necessarily being too concerned with the meaning of a piece – or rather to allow the meaning to come though the making. Our conversation touched on many of my concerns about the imperative for artists to be researchers – to be consciously seeking solutions, resolutions, to be too knowing in and of their practice*. And yet as these wonderful new ideas and images swirl and fill my mind I find myself wondering what they mean and how they sit with my previous work, how they fit with my own understanding of what my practice is concerned with, and how other people will read them. I find myself virtually censoring my ideas, dismissing them or trying to corral them into some neat and tidy enclosure, and when they resist – as surely they must – then I wonder if they are worthwhile at all. How foolish I can be! Of course they are worthwhile, they are things that need to be made simply to see what happens when they are material.

*I do not think that artistic research necessarily demands this, however the over academisisation of the subject, and the seemingly universally complicit understanding that the arts need to come up to ‘scientific standards’ has created what I see as overly wordy, theoretical, tedious, and homogeneous practices that are all too often devoid of the wonder and delight that art can furnish the world with.

I need to be strong in my belief in art as offers for discussion, contemplation, and wonder – it is important for me to be reminded to make things that invite new and different ways to experience and imagine the world. I need to dare to do things that I do not yet understand, I need to dare to dream, and to trust myself unreservedly.

….

Yesterday was All Saints – a day of remembrance and lighting candles for loved ones.  It is hard for me to describe the atmosphere of the early winter evening as people make their way to churchyards, there is a kind of quietude that is unlike anything else.  There is a shared and silent understanding of our purpose, a quiet respect for the stranger’s loss, an almost palpable sense of compassion.  I lit a candle for John and another for Grandma, and placed them amongst the others in the memorial garden.  Both John and Grandma where incredibly social and loved to be at the centre of things, it seemed only fitting that their flames should shine amid a party of lights.  I spent a little time in the dark chill thinking about these two, their lust for life, their charisma, their dark eyes and cheeky smiles, their flirtatious ways, and reminded myself that sometimes I could be a little more like them and perhaps a little less myself!  I took out my hip-flask and raised a toast to two much loved and much missed souls.

It was an absolute pleasure to meet with Klas and Lovisa this morning. Lovisa actually invited me to meet with them after I briefly mentioned an idea that I had when we bumped in to each other outside of the library a week or so ago.

We discussed two projects as well as my thoughts on how best to develop and strengthen an artists’ network in the borough. The idea (which I had already spoken about with Lovisa) is perfectly timed as it requires only modest economic investment and the Swedish financial year runs the same as the calendar year – which means that there is not much left but what is left has to be spent!

The idea, which is two-fold, is inspired not least by the Meter Square Gallery in south London. Ken Taylor and Julia Manheim created a meter square street-facing window on the ground floor of their home/studio/architectural practice and programme temporary exhibitions and events there. I showed with them during London Open House in 2009 and it is actually that piece that I proposed to Lovisa and Klas this morning. There is a large and unused window on the left-hand side of the library and cinema complex and I thought that it would make a great exhibition space, so my idea was that Go-Go should be installed there and launch it as a kind of ‘project window’.

Go-Go is perfect for the space and time of year, or perhaps the space and time of year are perfect for Go-Go. I am certain that the “light splatter” will play across the vast white wall of the cinema building opposite, and as the hours of daylight become shorter and shorter an art work that lights up the dark seems very fitting indeed. It is very unfortunate that the condition of the buildings around the defunct fountain has been allowed to deteriorate while the council engage in prolonged discussions about renovation, demolition, and everything between these extremes. One of my ambitions is, of course, to draw attention to the stylish (if not exactly radical or daring) architecture of these 1960s buildings. I would hate to see these fantastic and functional buildings torn down for no reason. So one aspect of my project that goes beyond showing my own work is an attempt to re-activate the space and to engage people with it and the possibilities that it offers.

The project window will give artists the possibility to show work on a modest scale, and hopefully it will appeal to those looking for experimental or ‘alternative’ ways of thinking about an exhibition. The window’s accessibility is great – anything showing there is visible all day every day, this significantly increases the public’s opportunity to see art and avoids any issue of having to cross thresholds or open gallery doors to see art. We even discussed inviting artists to show there and using the window as another way of putting Enköping on the artistic map.

It is all very exciting, and I am delighted that Lovisa and Klas are so keen on the idea. I suddenly have quite a lot of work to do as we have agreed that Go-Go and the project window will be launched in conjunction with other first advent celebrations on Sunday 27th November.

The meeting re-confirmed for me that the social aspect of my practice is essential to me, and that although I might like the idea of having a commercial gallery I really want my work to engage with a wide audience and for it to be a part of the discussion of how we experience our everyday world … in other words I am simply continuing with what I started just about 30 years ago – Art and Social Context.

Go-Go

M2/ Meter Square Gallery

After being at the launch / vernissage on Thursday I am both inspired and envious! Why? Because he gets on and does what he does, he makes it happen – if there is one thing that I never quite seem to have grasped it is how to make things happen. I do not mean the small things that I can alone can make happen, I mean the big things that I need help and support with – though while writing this I realise that perhaps even the small things are beyond me, or out of my reach. I simply do not know how to function in the professional art and museum worlds, and for this reason Benny and Patrik Steorn’s (short) presentation of the project and how they came to know each other was very interesting and inspiring. Their ‘getting to know each other’ took several years, and resulted in what I think Nicholas Logsdail (Lisson Gallery) referred to many years ago as a ‘professional friendship’. Sitting here now, it is interesting for me to recall how each of their accounts told of them each doing what they do – a curator curating, and an artist making art – and reaching a fantastically creative meeting place where their collaboration is evidenced in a wonderful new art work. The piece itself, an artistic audio-guide to several works in the museum’s collection, resonates with many discussions that Kim and I have had over the years.

Interludes / Mellanspel

Because of my own interest in Eugène Jansson, my looking at Neil Bartlett’s performance work, and even thinking about Michael Petry’s use of myth, I am beginning to wonder about the way in which gay male artists engage with history. I cannot quite put my finger on it (and perhaps that is not what I should be attempting to do) but there is a certain tone, attitude, language that exists in these works. It is something that I want to explore further and might well do as part of developing and extending Following Eugène.

At a few minutes before 3:22pm (central European time) yesterday I put my British passport along with the printed and signed copy of my online application for Swedish citizenship in to the post.

Yesterday marked five years, to the day, since the Swedish Immigration office granted me on-going permission to live and work in Sweden based on my coming from another European Union country. Since the UK’s EU membership referendum result was announced I have been waiting for October 13 in order to make my citizenship application. My British passport will be returned to me (it is simply needed as part of the process) and unless there is a truly unforeseen problem I should be granted Swedish citizenship sometime in the next couple of months.

The immigration services here have not yet said what they are going to do about UK citizens living here once Article 50 is invoked. However the immigration service is well known for sticking to the letter of the law (even if they acknowledge that the law may be clumsy or plain wrong – they argue in such cases that it is the legislation that needs to be amended rather than them who should bend the rules. They are very clear that it would be wrong for them to take the law into their own hands). As I have read that as soon as the UK invokes Article 50 the country will no longer be a full and regular member of the European Union, I therefore assume (though have not been able to have it confirmed) that my permission to live and work here would be ‘questionable’ at best (and could be immediately revoked at worst).

I encourage all UK artists who are already (permanently) living in other European countries and who do not already have dual citizenship to investigate their options sooner rather than later. I believe that Sweden is like many other European countries in that it recognises dual nationality, as does Britain. However I am also aware that Sweden has one of the shorter qualifying period – some countries require that citizens from other lands have been resident for eight years.

While it might be somewhat re-assuring to try and believe UK politicians who propound Britain’s negotiating power and their abilities to secure the best of both worlds (being outside of the EU but retaining all the benefits), from here it seems that many European counties and EU leaders are less than enamoured with the UK and are taking a hard line – out means out. (Donald Tusk’s Brussels speech must make uncomfortable listening for those expecting something close to business as usual.)

No matter the precise details of future movement of people and/or goods between Britain and the European countries I think that it is fair to assume that it will be considerably different from that which we have gotten used to. Unlike large global corporations and established cultural/educational institutions who have personnel and HR offices geared up for assisting with appropriate visas and permissions, and finance departments that are already well versed in dealing with trade with non-EU countries, I can imagine that smaller arts organisations (and individual artists) are going to endure a long period re-adjustment and learning. I am of course concerned about how this will impact on their work and programmes as they (and we artists) are not in positions to recruit additional staff, so all of the hours spent coming to terms new ways of working will have to be drawn from existing schedules.

On a very personal note it struck me that I will most likely need to find a new European glitter supplier (rather than the wonderful Flint’s just off the Walworth Road in south London) to avoid very complicated and time consuming paperwork and tax declarations. And that I might also be forced to stop working with my friends David and Lucy for my website – which will be a very sad day indeed.

Hopefully some of my anxieties will be allayed over the coming months. No matter what happens having Sweden citizenship will enable me to vote in general elections – which considering that this is where I live, work, and pay my taxes makes good sense!

And now … it is time to go and do something practical – what a perfect way to spend the later half of a Friday afternoon!