Tomorrow at 47 Lewisham Way (Overground: New Cross Gate) 10 – 6
Anna -Maria Amato
The workshop will involve people sharing their experiences of collaboration and examples of collaborated pieces. Then I will explain the methods of collaborating which I have designed:
1) The Fibonacci Code- a group collaborating, discovering the process of creating artwork as elements being combined, by getting into an order and doing the sequence with the entities of the artwork
2) When we rule the world- each group organises their collaboration in the style of a political movement: eg building on history, analysing present problems and contributing solutions, having elements which belong to the entire artwork and emit elements which belong to the whole piece.
The Knitted Jungle Collective
We are the Knitted Jungle Collective and would like to propose a workshop. We propose to run a skillshare, knitting circle and discussion group. The Knitted Jungle Collective is a loose collective of artists who are knitting a jungle. Using knitting and crochet as the impetus for coming together and talking about the world.
Macho Versus the Feminine
· – How does gender affect the way creative outcomes are valued?
· – How is this manifested and reinforced by the pedagogy and structure at art institutions?
We will create a space for people to learn/share how to knit and crochet whilst discussing relationship between craft, art and gender.
As the Knitted Jungle Collective there are lots of different things people can make, from trees and plants to animals and insects. We make up many of our own patterns and we would like to share and give people the confidence to do this for themselves. We encourage people to draw pictures of jungles and their inhabitants from which to make their own knitting patterns.
We would facilitate for all abilities. If someone has never knitted before, we will make sure that they know how by the end of the session and hopefully leave with a completed project. If they can’t finish it in the session we will endeavor to ensure they have all the skills and confidence they need to finish it at home. More experienced knitters can come and share their skills and give us tips while taking up the challenge of designing and knitting a piece of jungle.
Knitting and crochet circles create wonderful spaces for people to get together and talk. We use this space created as a platform to encourage people to explore political and social ideas together. Starting from the basis that everyone gains knowledge from experience and all knowledge is equal and valuable. Crafts such as knitting and crochet seem innately feminine and are traditionally female pursuits. We would aim to start a dialogue about how these crafts are culturally valued and what role Art institutions play in reinforcing this potential perpetuation of patriarchy.
Rebecca and Kate propose workshops that will teach Post First World War International Relations Theory (this was when the field started in America) in a prohibition-themed party (because of the link with early theory and America).
At the entrance to the room, students of IR will be asked to dress up in 1920s attire from the fancy dress box and partner one of our dancers. The dancers will know authentic dances of the 20s – such as the Waltz and the Lindy Hop – and whist partnered will talk about the current international state of affairs.
“We are living through a long anti-1960’s, the various anti-capitalist experiments in communal living and collective existence that defined that extraordinary decade, seem to us either quaintly passé, laughably unrealistic or dangerously misguided. Having grown up and cast off such seemingly childish ways we now think we know better than to try and bring heaven crashing down to earth and construct concrete utopias. To that extent despite our occasional and transient enthusiasms we are all political realists. Indeed most of us are passive nihilists and cynics.” Simon Cricthley, 2009
The passé nature of the 50 year old experiments in communal living and non-hierarchical education, of the counter-culture movement, is being radically challenged. If there is any hope in bringing about social change, these ideas and forms should be developed further. It is not enough to question and critique the way in which our society is organised, we must dive deeper into or criticisms, and bring back these radical environments for learning and growth. Beginning with the utopian ideals of the past, particularly ones accompanying the commune movement, we have a starting point for a physical re-imagination of the site of pedagogical practice. With the recent explosions of high profile communal living, non-hierarchical organisation and anti-capitalist sentiment, around the occupy movement, these forms have been given a new life. The presence of the aesthetic language of the counter-culture within the 21st century urban landscape is a cause for celebration. And as this visual language is being constantly repeated, the only hope is it will continue to grow.
University as territory: an exploratory mapping workshop into the terrain of education. – Joel Colover, Vicky Habermehl & Andre Pusey
People connected to the recently disbanded group The Really Open University propose to run a workshop reflecting on various interventions and projects in and around the University. Through collectively constructing maps and layouts of the university and then overlaying with our points of interaction, we hope to assess the current terrain of education, whilst critically reflecting on our position in Leeds and experiences with the ROU as well as those of other participants in the workshop; we aim to discuss and create new methods, knowledge and tactics. Taking inspiration from similar groups attempts to map the university we want to invent new symbols to help us find the points of rupture, routes we have taken and lines of flight we wish to follow, moving beyond a position of simply wanting to save the university.
The third of 8 posts to introduce Education as Experiment. http://educationasexperiment.wordpress.com/
ART VS ART EDUCATION
Three years ago I was on my final disciplinary at a college I was Head of Department, Fine Art, just as I was hauled into the office early one morning to be quizzed regarding the work of my notorious year two degree students. As I approached their studio spaces (on the third floor) I could see day light gleaming in through the hole they had smashed through the exterior wall and drawn a bank machine around it. Previously they had set a boat on fire in a near by mere, probably instigated by my throwing a harp from the window during a seminar. Nicolas Bourriaud, in his book, Relational Aesthetics suggets in relation to contemporary art, that it is a ‘demonstration, for everyone to come, of the possibility of creating significance by inhabiting the edge of the abysss.’ Im pained daily by the notion, what actually is the significance, today for students of art to inhabit this abyss? In my opinion and indeed experience, art education has been plunged into a standardisation in a way that allows art to create a false sense of place. We are graduating mechanical professionals that have experienced art education and not art.
Through a series of non standardised, non institutional actions (pedagogic event scores) I propose to demonstrate an active archive of tools for unteaching art education in order to bring back a sense of real place. Armed with evidence and catalyst reproductions that will nuture and encourage brief dialogues between anyone who has been engaged with art school institutions, either marginalised, protagonistic or pragmatic there wil be something for everyone to look fondly upon, take back to the learning site or totally ignor because you are fundementally in agreement with my armoury of disciplinaries, warnings, dismissals, constructive dismissals, legal battles and more recently, gagging restraint.
Should art students construct a bonfire instead of a degree show?
The second of 8 posts to introduce Education as Experiment. http://educationasexperiment.wordpress.com/
John Plowman is an international artist who, in his practice encompasses both studio and curatorial activity to explore his interest in the production of art, its site(s) of production and exhibition. Since 2004,with Nicola Streeten, they established the curatorial project, Beacon, which engages critically with urban cultural values within the context of presenting contemporary art in non-gallery spaces offering a new perspective on art practice through collaboration between artist, audience and institution.
The aim is to adapt and re-enact a performance I did in 2008 as part of my show entitled ‘The Reading Room’ with Handel Street projects in London. This will create an AAC reading group who will collaborate with me in reading selected texts from books arranged on three tables. each table having a separate discipline, Arts, Humanities and Science. As each page is read it is torn from the book and returned. The previous incarnation of this work resulted in a growing cacophony of sound, conflicting facts. Participants were able to join and leave at their own discretion.