am just starting out in a bit of a new art group coming out of some of the people in crystal palace artists group that was.
linda duffy from the group sent me this; and to pass onto those that might be interested (are you a site/space/place artist that's interested? email at bottom)
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Point of Departure (Working Title)A zine (an abbreviation of the word fanzine, or magazine; pronounced [
zi_n], "
zeen") is most commonly a small circulation, non-commercial publication of original or appropriated texts and images. More broadly, the term encompasses any self-published work of minority interest usually reproduced via photocopier on a variety of colored paper stock.
WikipediaMarket
Emerging and mid career artists, writers,
placemakers,
urbanists. The publication will offer a platform for developing and sharing creative perceptions, critical contexts and projects responding to or departing from places, spaces and sites.
Content
Articles, graphic novelettes, photo essays, briefs for conceptual projects, discussion, further reading.
Production and Distribution
A series of 10 free, no-budget mini-zines, produced as 3-4 double-sided A4, black and white photocopies, also made available as
downloadable pdfs via website.
The project builds towards a compiled version produced to commercial standard, distributed through specialist arts outlets and sold at a not for profit price point. Additional funding will be sought toward this stage of production.
Remuneration
Unfortunately we are not currently able to offer remuneration to contributors, as this is currently an unfunded, non-commercial project. We intend to seek funding to cover the costs of production, promotion and distribution of the first compiled version.
Critical Context
At a time of growing interest in work that is site-specific or responding to sites/places/spaces, it is useful to ask 'what is driving such work?'
In what ways is such work different to what has come before? How easy/difficult is it for emerging artists working in this way to find opportunities and situate their work within a broader critical context? What are the appropriate audiences for such work? Perhaps this zine could speak to such questions...
Furthermore, we ask how we value this kind of work. How do we create economic value for it? What value does it add to society (assuming it does)? How can the value added be remunerated? How might we consider these discourses and practices in the context of regeneration?
For further information contact:
John Hartley -
johntonta@googlemail.com; Linda Duffy -
lm_duffy@yahoo.com---------------------------------------------------------------------------------------------------------------
some initial thoughts from the top of my head.......i particularly like "briefs for conceptual projects" as
i'm really into my new toy of using scores for my work that others follow, it started with my
Duckie show
laura took part in. So, for me, perhaps a series of scores using sites, e.g. starting with 'find a closet and make it
lightight' then going through a series of actions, with direct instructions and some parts more open to interpretation. when i did
shed, i really liked the way that my one single instruction was
ambiguous, " Pick a flower that mean something to you." Some chose a flower and picked it up still in its pot, others literally, picked it from the stem.this reinforced the mortality nature of my work, death of flower more immediate in the latter action mirrored in the death of the photographic image in the exchange.
I also really like
www.learningtoloveyoumore.com where briefs are given and people submit responses, i have been using that a lot with my students. perhaps the zine for me could be an entry on a score and the responses OR just an offer of artistic scores, where i exist as the author, is there a way for dialogue post the zine, maybe i should try the zine way as well as a
learningtoloveyoumore way
hmmmmmmm......this could also be a way to create some kind of documentation for my work, the old
chesnut that continues to stump me as i don't document the personal encounters.....
ahhhh.....
the question, "how we value this kind of work" to me also asks
why we value this kind of work. i like making the familiar unfamiliar as well as a different of familiarity, an ordinary closet of mops and tools into a den of secrecy...its the same site but not as we once thought we knew it.
we'll meet up again next week, hope to thrash out some ideas, i think i should investigate others' artistic scores, back to
tino sehgal et al......
moved to edge of room near entrance
considering how to use the top surface- artist's paraphernalia- postcards, portfolio, comments book, built into the experience
now getting inside, looking out
light leaks- needs eliminating- gaffer ahoy....
nasty nails made safe
how to sit, side on to each other? try this out in different body postures and proximities. i remember jordan mckenzie once saying to me in a tutorial i should try decreasing proximity to increase intimacy, i have found people saying that could be intimidating....how will this extreme physical closeness affect my work, will people actually let down their guard, be private in a private view?
making it den like- duvet and cushion inside found in the studio, although like the idea of using old duvet my parents gave me- 70s floral, fits with the stepping back into the nostalgic, memory lane ideas
local hardware shop came up trumps with this cute pocket fan one pound bargain:)
presenting the relics
