SPACE TIME AGENCY

10 Mar
AlistairGentry_ELGlasses

I’M FROM THE FUTURE, PROBABLY

(NB: Reposted from my main site, because I know there are lots of artists and arts people reading this blog who don’t follow that one or click through to it from here. YOU SHOULD.)

Dear friends, colleagues, and strangers,

Live art is mostly shit, isn’t it? Not that I am or should be the final arbiter of such things, but the point is there are arbiters of these things and there’s literally nothing I want to see right now or in the near future that those arbiters approve of. I know I’m not the only one. For the past two or three years I’ve been trying to get some new live projects launched but despite lots of meetings and being on various shortlists, very little has come of it. I know many other artists for whom this is true as well. So a while ago I just thought “Fine then, fuck it. I’ll do it myself.”

YES I’M BITTER, but out of that bitterness has come a beautifully sweet idea. I’m determined to find new ways of sharing live art that matter to normal people, outside of theatres, arts centres and galleries. Time to re-route around the blockages. Time for artists to support each other and seek their validation and their connections with people without the stuck-in-their-ways places and the no-sayers who work at them getting between us and the audience.

I don’t know what this thing will be, but it won’t exactly be an organisation or a commissioner. It definitely won’t be an attempt at a permanent space or venue; there are far too many of those being dragged along as dead weight in the arts funding net already. It might be a business of some sort, or a cooperative. It will certainly be shaped by the outsiders I want to find and help and show. You. I want you to tell me about your live art and why it isn’t getting the money and eyeballs it deserves. There’s a contact form you can use at the bottom of this page.

What will happen if I sign up?

This isn’t even a project yet, it’s a large but vague cloud of ideas for a project. For the time being you won’t be asked to do anything except be your very special self and not let the bastards grind you down before I can get it together. I will collate the names and contact details of all the people who get in touch with me over the next few months. I’ll keep you in the loop about any significant developments or opportunities that arise from my research and development process. The people who make themselves known to me and the things they want to do will obviously play a large part in how whatever-this-thing-is develops. There’s no money, performance opportunities or jobs going at the moment so don’t ask, but see What will happen later? below.

One favour you can do me, though, is to please share, forward and retweet links to this page as widely and as often as you can… within reason. You’re a live artist. You should be good at choosing your place and your moment.

What will happen later?

From the autumn of 2016 I will start working towards finding money, space and time for a first event or intervention or festival or mortal rupture to the British live art scene’s comfy conformity. Neither the project as a whole nor any individual event will ever go ahead unless it’s financially sustainable, a good and positive experience for everyone involved, and everybody is being paid fairly. As they should be for all performers and artists, the twin mantras for STA are:

  1. Professionally made, professionally paid. (Nod to Equity.)
  2. No day rate? No me, mate.

NB There may be more mantras later.

Who is it for? Two nos, many yeses.

Your work has to require your bodily presence in an actual place in real time; could be minutes, months, anything. You need to be permanently based in the UK because that’s where I am and I can’t take on the whole world.

YET.

NO

CatSharkRoomba

Not to downplay, dis or dismiss their craft but I’m not looking for musicians, DJs, VJs or technologists unless there’s a unique, unavoidable and holistic liveness to what they do beyond playing or mixing a track, running code or telling a machine to do its thing. There are numerous places, venues and festivals for these artists and forms already. But if your digital or technological work truly interacts with and acts upon people or places in real time and you need to be present to make it happen, get in touch. Performance lectures are my thing and I’d love to see more of them, but I’m not looking for playwrights, playwright-performers, standups, cabaret acts or conventional linear dramas that could be, would be or should be staged in a theatre.

NO

I’m not really interested in artists working through their body issues, or in basic drag acts with pretensions because

a) I’m just so incredibly bored by them all

but mainly because

b) I think this kind of live art is supported very well– if not excessively so in some cases– by the existing venues, opportunities and organisations. Both of these subgenres are MASSIVE clichés of live and performance art, i.e. once they were fresh and interesting but now nobody really even thinks them through. And I don’t believe anybody is clamouring for more of this stuff, except apparently the people who commission it all the time.

Maude

As with my previous no, there will be exceptions. If (for example) your gender-based performance transcends camp and all the isms, if your body-conscious or body horror show is genuinely like nothing else you or I have ever seen, I’d like to know about you.

YES

People from groups under represented in live arts, and all of the arts– those with disabilities or mental health problems (being an arsehole doesn’t count, there’s loads of them working in the arts already), the self-taught or retrained, people from working class or low income backgrounds, artists interested in all the subjects this planet has to offer and not just in themselves and their own angst, too young [sic], too old [sic], unfashionable, rural or suburban– are not only very, very welcome but exactly who I’m looking for. People to whom none of these things apply may also make themselves known, of course. We’re making a new thing that includes, not just yet another bloody thing that excludes. Apart from cutters and shitters. They’re not in our gang. Nobody wants to hang out with them.

Live artists who’ve lapsed or dropped out because you were demoralised or had other priorities or the money just wasn’t there should also join the list. Let’s try to get it right for you (and all of us) this time.

Work that’s funny or serious or frightening or comforting or sublimely stupid or too clever for most people or almost Lovecraftianly indescribable and no venue or commissioner will touch it? You’re the one for me, arty.

Please contact me if you’re at all interested in any of this, and share widely. That is all for now, carry on.

WHOSE VAG IS IT ANYWAY?

10 May
igarashi-2

Artist Megumi Igarashi outside court in Tokyo, demonstrating the correct attitude to being convicted and fined for distributing one’s own vagina. Photo by Kazuhiro Nogi for AFP.

I seem to be mainly posting about genitals recently, but whatever. Agence France-Presse reports that Japanese artist Megumi Igarashi has just been fined ¥400,000 (about £2,500, €3.200 or $3,700) for crowdfunding a project to make a kayak based on a 3D scan of her vagina, said scan being made available to supporters as a perk. Yes, really. The only thing more (unwittingly) absurd than her (knowingly absurd) project? She was arrested for it, and the Japanese authorities have wasted taxpayers’ money in prosecuting her, then arrested her again for making plaster models and giving away vagina-data CDs. She’s going to appeal the sentence.

Maude

“My art has been commended as being strongly vaginal, which bothers some men. The word itself makes some men uncomfortable. Vagina… Yes, they don’t like hearing it and find it difficult to say whereas without batting an eye a man will refer to his dick or his rod or his Johnson.”

It’s hard to avoid the suspicion that somebody has it in for her, or at least that she got somebody in particular’s knickers in a twist, because although depictions of genitalia are technically (and stupidly) illegal in Japan the country is absolutely awash in traditional images of genitalia, not to mention good, bad and ugly pornography addressing every sexual subject known to humanity and few unknown to pretty much everybody apart from the Japanese. Why the authorities are picking on Igarashi in particular is a mystery… Especially when meanwhile in Kawasaki, among other places, this is happening:

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かなまら祭り Kanamara Matsuri, ‘Festival of the Steel Penis’, Kawasaki, Japan.

Kanamara Matsuri, like Igarashi’s project, seems about as close to clean, good-natured fun as you can get provided you’re not freaked out by completely normal things like human genitals.

Peniscandy

FUNDEE

25 Apr

SOME NOTES AND CONCLUSIONS

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I’m seriously tardy because the event in question was several months ago, but SEVERAL MONTHS AGO I was invited to the artist-run Generator Projects in Dundee to talk about a-n’s Paying Artists campaign, which I have worked on over the past year or so. Generator paid me, by the way. Not very much, but proportionately more than some places have paid me when they could afford to do better. QED. In keeping with my observations about this subject over the course of many years finally, at long last, being on the agenda of artists and the organisations that work with them, the room was completely full and it didn’t take long for almost everybody to have something (often many things) to say on the subject. The conversation also bore out the same things that I and other people advocating for fair pay– or in some cases, any pay at all– have heard repeatedly when it comes to artists describing their experiences of publicly funded or otherwise not short of money institutions forming relationships with them. Generator itself is an example of how much artist-led, mostly volunteer, low-to-no-budget groups do and how important they are to the arts ecosystem in Britain, and with no prompting from me whatsoever conclusion one was:

Exactly… look how much artist-led, low-to-no-budget groups do without funding, FFS. There’s no excuse for larger and better funded galleries, museums or commissioners with full-time employees not to do at least as well in providing opportunities and support for large numbers of artists. Most of them don’t. Alongside this we should also remember, though, that just because most artists don’t do it for the money it doesn’t mean they should do it without any money. There’s a huge value in grassroots peer support (and in fact I’m putting together an experiment along those lines now) but the discussion in Dundee and a-n’s other national consultations have revealed a fairly firm consensus that small, self-organised and artist-led groups should not be held to the same standards as a formal organisation, nor should they be expected to compete with these organisations for funding and other resources. They also shouldn’t be pressured to take up the slack left by locally and nationally funded organisations not facing up to their responsibilities.

On the contrary, a number of people voiced another widely held view among artists: the large flagship institutions that grew up around the UK over the past fifteen years or so– often as Millennium projects, or as part of a regeneration agenda– could and should be acting as umbrellas for smaller organisations (and non-organisations). Self-organised groups of artists, and grassroots projects trying to revive dead buildings or moribund high streets don’t have PR people, administrators or technicians sitting around flicking themselves off in brand new custom-built offices, but the capital and regional flagship galleries do. I know from firsthand experience that people who work for small and barely funded non-building-based arts organisations all work their arses off, just as I also know from firsthand experience that some of their overpaid counterparts in the largest and most prestigious organisations wouldn’t know what hard work was if it hit them in the face. This is particularly galling when some of them offer “free publicity” or something similar as if it’s a fair substitute for not being paid. Why can’t they offer this PR and admin support unconditionally, say one day a week, since everyone knows it’s spare capacity anyway? And why don’t the likes of the Arts Council or Creative Scotland make it a condition of their funding that they do? This is, after all, the ostensible logic behind these big, purpose built arts hubs being built and supported in the first place: that they act as beacons for art going and art making in their vicinity. Again, they mostly don’t. This is especially cogent now, because to get Grants for the Arts funding, individual artists, Community Interest Companies and unincorporated arts groups are all now having to compete (unpaid, of course) not only with libraries and museums but also with huge commissioners or public galleries, all of whom have full-time staff.

At this point we started getting utopian and discussing the notion of artists just fucking it all off and simply seeking their validation and their connections with people outside of all these institutions. Cooperatives, mutuals, free love communes, etc. Actually we didn’t talk about free love communes, but I think we probably would have done if we’d been there longer.

Then we went back to misery a bit when we talked about unions and the remarkable fact that after many years of existence the Scottish Artists Union currently rejoices in having about a thousand members. I was a member when I lived in Scotland, and good for SAU, but that’s a shockingly low number of artists for a nation of 5 million people or so. Obviously they’re not all artists, but it’s still not a great number of members and therefore one major benefit of unionisation– collective bargaining– is hardly a factor. I likewise wish the newly formed artists’ union in England all the best in their endeavours, but it doesn’t bode well that they seem to be having so much trouble with recruitment. I can’t help thinking that old school unions have probably had their day anyway, because we need much more nimble, responsive and unignorable means of organising resistance and change if we really want it. Less Jeremy Corbyn, more Anonymous or Occupy.

COLUMNIST ((((;゜Д゜)))

22 Apr

Alistair Gentry

ManetCatSweaterLarge2

I’ve started writing a regular column for Sluice magazine. My first one is about the toffs’ reconquest of the visual arts after a brief interlude of social mobility. OBVIOUSLY.

The London launch for the magazine is on Saturday 30th April at IMT Gallery, 210 Cambridge Heath Road, E2, 6-9pm. Please come along.

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“ARTIFICIAL, ESPERANTO ART” AND ITS DISCONTENTS

22 Apr
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Costumes by Vahad Poladian. Photo by Hiroko Masuike, The New York Times

Some gems from Raw Creation: Outsider Art and Beyond by John Maizels. Regular readers of this blog will know that I like a bit of O/outsider attitude.

“What country doesn’t have its small sector of cultural art, its brigade of career intellectuals? It’s obligatory. From one capital to another they perfectly ape one another, practising an artificial, esperanto art, which is indefatigably recopied everywhere. But can we really call this art? Does it have anything to do with art?” Jean Dubuffet in L’Art brut préferé aux arts culturels, 1946.

This was in 1946 and it’s still just as true seventy years later. Very, very depressing. This tale of masterful gallery fucking-uppery is much more comforting:

“Scottie Wilson (1888-1972)… had been a junk dealer, making a living by salvaging what he could from the bits and pieces that fell into his hands. To this end he collected the old nibs from gold fountain pens. One day he found in his possession a particuarly fine pen, large and free-flowing, so good to handle that he was somehow led to use it playfully to draw outlines and forms…

Signed simply ‘Scottie’, the drawings became a source of livelihood for Wilson, who held his own exhibitions in music halls and pier booths around Britain. He was even taken up by a London gallery, Gimpel Fils, who were forced to rescind their agreement when he set up his own stall outside the gallery, selling his work for a fraction of the price of those exhibited within.”

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SAVE £40 ON FRIEZE TICKETS

20 Apr

21.-ops.-Scrooge-McDuck.-Azizonomics

… every single year, guaranteed… BY NOT GOING.

I’m severely late on this one, because Frieze Art Fair [sic] was last October and at the time I was far too fucking busy touring Japan and having an amazing, inspiring time in the midst of the most staggering beauty to even think about paying £40 to be milked by a loathsome trade fair for oligarchs, blood money gold diggers and other moneyed Eurotrash, even if I’d been in London at the time. However, this is an excellent– and dare I say even Career Suicidesque– response rant by Morgan Quaintance to Frieze’s jaw-droppingly unironic and egregious discussion panel entitled Off Centre: Can Artists Still Afford to Live in London? During a ticketed fair where a person earning minimum wage would have to work for nearly six hours to afford the admission price, and putting your coat or bag in the cloakroom costs a fiver. Not to mention that most people who work in the arts already know the answer, which can be found in the thousands of artists and other creative people, and key workers like teachers, who have been forced to leave the capital to stand any chance of making ends meet.

This talk is also evidence of what I mentioned in a recent post with regard to artist livelihoods being a taboo and unfashionable subject when I started talking about it seven or eight years ago. People who ran art galleries or arts organisations were often absolutely baffled and speechless at any suggestion they talk about how money flows through the system– and particularly how it doesn’t often flow to artists in any significant quantities– but now even the likes of Frieze see benefits (undoubtedly self-serving ones, as Quaintance also points out) in talking about the subject, or at least being seen to talk about it.

It’s well documented that I despise Frieze magazine and their trade (not art) fair, both of which are festering sores on the face of genuine art and an affront to everything I hold dear, and I know I’m very well accompanied in that, but it’s nice to have a co-pilot who says things like this:

[The talk] tipped the uneasy balance between finance and art to a position that felt entirely more exploitative, offensive and grotesque. Put simply, the instrumentalisation and commodification of hardship took things a step too far.”

And:

“Is there something base about using the human fallout that comes from the pursuit of capital to excuse and make the pursuit of capital more attractive?”

McDuck

He also torpedoes the infuriating, traitorous and intellectually lazy response of many apologists for the toxic sea of Panama-flavoured money in which some directors of public galleries, commercial gallerists and artists float their rotten boats, the “all money is dirty” brigade who generally only say so because they never earned or received a penny in their lives that didn’t come from dodgy sources and at the cost of somebody else’s suffering, oppression or exploitation.

“… the relentless spread of alienating neoliberal practices throughout the capital are what makes this all difficult to stomach. But the fact that it is easy for others to swallow makes me think that there are, at present, two consciousnesses operating in the British art world: one that is happy to ignore the art world’s possible complicity with the wretched socio-cultural, economic and political state of things and another that finds it distressing, disturbing and debilitating to do so.”

Distressed, disturbed and debilitated here, in case you were still in any doubt.

Frieze Art Fair: the monetization of your misery?

ArtWorldDickheadsE_Hughes

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