The Black Swan Collective: February 2012

Jeremy Deller: Middle Class Hero

The Culture show had a special episode on Jeremy Deller and his art Practice, this week. Its brilliant fun and insightful and maybe a bit more of an enjoyable experience then Romancing the stone...

Check it out! It will only be avaliable to watch until 19:59 on the 2nd of March so don't miss out!

Also here's his webiste.

Our Hobby is Depeche Mode.

Kit

Seeing Power

"Seeing Power: Art and Activism in the Age of Cultural Production," is a new book by Creative Time chief curator Nato Thompson. It sounds like it could be quite an interesting read. Here's a little Q&A session between Nato (That's a pretty bad ass name) and Daniel Kunitz of Modern Painters Magazine on Art Info.

Kit

New Work. It's getting tropical!

'Palm Tree' 2012, pencil and masking tape, dimensions variable

'Palm Tree' 2012, pencil and masking tape, dimensions variable

Kit

The work of Robert Montgomery

Robert Montgomery states that he works "in a poetic and melancholic Post-Situationist tradition". The use of text to deliver messages of what it feels like to live now is at the heart of his practise and he is specifically known for plastering - more often then not illegally - Billboards with his poems in Cities. The text is always white on a black background with no other visuals, divorcing it from the expected spectacle of advertisement for consumerist goods that you would usually be bombarded with. This puts his highly politicised art works into an immediate setting, out of the context of the gallery and into the domain of the commuter and general public. Studying at Edinburgh College of Art he has exhibited in many a location around the world including the Embassy, Talbot Rice and Transmission Gallery. He says that his utter ambition is to pay the rent and make billboards.

Here's his website and here's a little article and chat by him on the Independent's arts section.

Kit

The hidden noise

Here's an interesting project I recently discovered on my doorstep, a gallery called The Hidden Noise.

It's a short term project in a tenement house just up from Partick station, currently showing Objects to an Empty Mind. What an encouraging find, and certainly worth a look-see.

Michael

Symposium for emerging practice Tramway

Kind of wish I was free Friday...

The writer at home in Berlin. Ian White

Kit

REPOST** DEADLINE 1ST OF MARCH 2012

Manifesto #8 - Death of an Artisan!

The 8th issue of the occasional non-digital artist 'zine Manifesto is set to go into production and there is an open call for submissions for new works of art to appear in this edition.

Returning back to basics and the unmonumental ethos of the 'zine, this issue will explore the original concept of a do it yourself publication in which all entries have not been created digitally. Through an investigation of de-skilling or re-skilling we can create a way to move the discussion from Duchamp's avant-garde idea of the ready made in order to challenge the desire for value within culture, towards the realm of artistic and productive labour that displaces the identity of the artist. Manifesto #8 is dedicated to communicating ways in which ability and authorship can be challenged by showcasing povera works that differentiate from the general de-skilling of productive labour under capitalism. As a result of this investigation, all works are required to be cost effective and have a lower investment in human capital, there is no restriction on who can enter.

Requirements for work;

One piece of A5 Size paper, preferably black and white image or text, per contributor.

All work must be created without the use of the internet or computers, non digitised images and especially no binary codes. Any of a digital orientation will not be considered for entry.

Word Processing is prohibited, all written work should be hand written.

To coincide with the concept of de-skilling in productive labour, Manifesto #8 will be printed and published only through a photocopier, this is the only form of digitalisation allowed!

Deadline for Submissions - 1st of March 2012.

Artwork should be sent to,

Email Craig at callan693@gmail.com for enquiries and address for sending enteries.

Telfer Art Gallery Glasgow Call for proposals

Just seen this on Creative Scotland could be a good space to use although the deadline for submitting is the Sunday after next...

Here's the website. Its the Gallery Space in Ironbbratz which is centrally located and a short walk away from GOMA

Call for Proposals

Deadline
Sunday 19 February 2012 at 18:00

We are currently seeking proposals for work to be considered for The Telfer Gallery's 2012 programme. Residencies/exhibitions will run from March until December. Applicants from all creative disciplines are welcome to apply. The Telfer Gallery provides a platform for focused experimentation as well as a space for artists to explore and expand their practice while questioning conventions. In the past, our residents have included practitioners of music performance and production and critical art practices.

The Telfer Gallery will provide the following:
•A 60 square meter gallery space
•24-hour access to gallery space
•A support network encompassing two project managers, gallery committee, and the surrounding 31 artist studios placed within the building
•Marketing and promotion of events including printed materials
•Optional discussion groups and critical development workshops
•Technical and installation support
•Tea and often delectable delights such as blueberry and almond cake

Please send a detailed proposal outlining your project to gallery@the-telfer.com by Sunday 19 Feb 2012. Applicants should include a summery of the project and any relevant images or video clips.

More information on The Telfer Gallery and our previous events is available on this website.
Facebook: www.facebook.com/thetelfergallery
Twitter: @the_telfer

The Telfer Gallery
3rd Floor
84 Miller Street
Glasgow
G1 1DT

Kit

Some recent thoughts in correspondence, and the trickling matriculation of a tickly conundrum

I notice more and more, on my daily walks through the city, that many people seem absorbed in fascination of their shoes as they walk, so much so that my presence to them is unbeknownst, entirely absent. Young and old alike are inclined, these days, to stare at their feet or phones or ipods and whatnot, rather than to meet ones gaze, let alone offer some acknowledgement – preferring to short-sightedly mind their step instead of their surroundings. What is this about? My thought goes along the lines, that if you’re looking at your feet you won’t step in any dog shit.

This situations inverts abruptly however when one veers off the street and onto a greener path; pretty much anywhere with something of the country about it, to include some parks but only the larger, more remote ones, people begin to see you suddenly. They look ahead, acknowledge you, offer greetings and occasional pleasantries. But why, when there is infinitely more dog shit and things upon which to trip or stumble on these paths, do people feel able to look up now? The only conclusion I can see is that this inner-city foot-staring is not an attempt to mind ones step, but in fact, an isolation and self-absorption derived from a fear of other people. It isn’t so much the physical dog shit they are wary to avoid, but the metaphorical.

Thinking about how this has come to be, leads up from the habitual mundane, to far higher areas. In a lecture at the University of Oxford in 1958, Isaiah Berlin delivered a thesis called Two Concepts of Liberty, later published in his book Four Essay on Liberty. In it he described a dichotomy of societal freedom, between Positive liberty and Negative liberty. Positive liberty is the freedom which strives toward a goal, the freedom that comes with the knowledge that you are right, virtuous and good. In societies of this kind, Berlin says, atrocities will inevitably be committed, because they are seen to serve the greater good and can therefore be justified.

Negative liberty on the other hand, is the freedom which is derived from not stepping on one another’s toes. In it, you are free to behave as you like as long as it doesn’t prevent another from behaving as they like, but it is ultimately without purpose, without a goal. This is the type of liberty we westerners have – at least theoretically. The problem with this is that there is nothing at all to promote moral or ethical behaviour, and so we see a rise of superficiality, selfishness and disregard for wider concerns.

In America, it was Leo Strauss who theorised that the prevention of this moral decay lay in the creation of a great, overarching purpose, in which the people could believe and regain their solidarity, whether it was true or not. The Neo-~~nazi~~-Conservatives saw this too and acted on Strauss’ ideas by deliberately falsifying, and grossly enlarging, the offensive capabilities of first communists during the cold war, then terrorists more currently. They turned these groups into demonic enemies, incredibly powerful inhuman images of badness, once described as ‘sick little dwarf people,' who must be stopped at any cost. In this way they created the mythology that they sought, that America had a unique destiny, and duty, to battle evil across the globe. Undoubtedly this has instilled some sense of commonality, if not community, in

America

ns, but in doing so many atrocities have been committed, and there is still a vast abundance of selfishness and amorality; the worst of both concepts, perhaps.

It is uniquely shameful this endemic fear, that people are so cocooned in, of thinking and acting in new and divergent ways – ways which come in so naturally and easily to the mind of man. This suppressive, solitary and amoral, Negative liberty of free-market capitalism is widely criticised and debased, but there have been no genuinely new alternatives offered to it. So it seems that Truth has been usurped, Value taken to the pawnshop, and the Self has culled the collective – none of which is particularly encouraging or useful. Yet somehow I don’t believe that we’re really that hopeless.

There is an apparently uncomplicated way out, for me, through the simple act of quality control on a personal level. To act with excellence and impunity, to behave morally and with didactic dexterity, is eminently worthy of it’s continued struggle. And with it comes an opportunity to export and expound these values.

Anyway, and before I ossify too swiftly, I wanted to raise a question. I wanted to discuss how this individualistic mentality relates to our Black Swan Collective and it’s working ethos. What is the profitability of such a thing? Although ostensibly a group, it’s works appear only through individuals (even in proposed group exhibition,) and therefore fragmentary, jigsaw-like and much disputed. So what is it that binds us professionally? Is it really just safety in numbers? Or similarities in assimilating ideas? Or perhaps, dare I say it, some mutual purpose?

There are many things which I long to work on, and toward, with you all - because I truly respect and admire each of you, in your own fashion. But without common ground this is a pure fiction, and just a group of friends talking, while working for themselves and staring at their feet.

Pardon me for such a long essay, but I felt it necessary. Please, please, give me your thoughts.

In hope,

Your friend,

(Guess who)

P.S. Now I promise that’s my last blog cock.

Cock-a-doodle-doo!

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by Michael, Aged 22 and quite a bit.

Romancing the Shite: a quick capsule review

The recent BBC 4 series, Romancing the Stone, which supposed to document the stages and developments in the history of sculpture – thankfully I only saw the last episode, which was on 20^th century British sculpture, running chronologically from around Epstein to Hurst et al.

Throughout the show I couldn’t shake this rising feeling in my guts, and the thought, I really despise art!

It was a whistle-stop ride along a fanciful line of ‘progression’ in sculpture, from turn of the century interests in primitive, non-european sculpture, into some war memorials, Epstein’s rock drill, then the omnipresent Moore, and on into Hepworth, Paolozzi, Whiteread, Hurst, Gormley etc.

This discussion was handled in terms of form – the move from the analytic to the abstract to the anything goes of the now. And of course running beside this was the rising chart of ‘expression’ – from pictorial representation, to symbolism and intuition. In the course however, there was this subtext which went unstated, unquestioned, that self-expression – the artist’s ability to portray, or imbue his/her own feels visually, hermeneutically, in things – was somehow in advance of the ability to create beauty or aid peoples lives or simply add something, anything, even just a tiny thing, to the sum of human achievement.

Consequently, or perhaps owing to this, all of the artists interviewed for the programme sounded self-absorbed, shallow, and utterly conceited – often coming out with flippant and cringing one liners such as Whiteread’s, "I’m interested in forgotten spaces," or Hurst’s, "I access people's worst fears." Oh dear god, is this all there is?

Having said all that though, I should also point out that there were a few redeeming moments too, like when the presenter accidentally pisses Anthony Gormley off by comparing him to Moore, or when Damien Hurst pretty much calls the presenter an idiot – which although it pains me to, I must agree with. (He is an amazingly irritating man!)

Oh well, maybe modernism is just old hat now, or maybe presenting a complex interconnected history of ideological and methodological approaches to sculpture as a linear arrow of progress is misguided and harmfully constrained.

Anyway, I was only watching in the off chance of gleaning some insight into the great genre of, mystifying yet inescapable, lumpy sculpture. Alas, barely even a credit.

All the best,

Michael

Another one for data base cinema

One for a quick flick and a little contemplation.......

http://eye-contact.tumblr.com/ (a few are a little off and the promotional posters I feel are beside the point)
found through....
http://flavorwire.com/255501/on-ferris-bueller-advertising-and-the-fourth-wall

Nathan

Cock Pie

Some images from an intimate night of cock-pie and wine, shared by Sam and myself. I felt someone should be told.

Sam smears the egg liberally over the pastry with his skillful two fingers.

Cock-pie post baking, note how the shaft girth has shrunk under heat!

Bon ah-peh-cock!

Top 10 artist websites

Here's Art Info's top ten Artists websites full of fun, interesting, clever, awesome, neat, addictive, bizarre and stunning ways and ideas of making an art website to show who and what you are and do.

Image taken from Olaf Breuning's website intro

Kit