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From Critical Practice Chelsea
NEWSNext Meetings
To discuss the moving Image aspect of Parade Publication project
To discuss taking the Parade Publication legacy project forward PARADE documentation We have a longstanding interest in art, public goods, spaces, services and knowledge, and a track record of producing original, participatory events. So, an eighteen month research project resulted in PARADE Chelsea College of Art and Design has a large contemporary courtyard at its heart: the beautiful Rootstein Hopkins Parade Ground. We collaborated with Polish curator Kuba Szreder to develop a project to explore the diverse, contested and vital conceptions of being in public. In a bespoke, temporary structure designed by award-winning Polish architects Ola Wasilkowska and Michał Piasecki - assembled in public - we produced a landmark event in an amazing location with a host of international contributors. PARADE challenged the lazy, institutionalised model of knowledge transfer - in which amplified 'experts' speak at a passive audience. Our modes of assembly, our forms of address and the knowledge we shared was intimately bound.
The hashtag for Parade on digital platforms and beyond is #parade10 please make your online content locatable by including this tag. Take a look at BarCamp films from the Satellite Group About Critical PracticeCritical Practice is a cluster of artists, researchers, academics and others, supported by Chelsea College of Art & Design, London. Through our Aims we intend to support critical practice within art, the field of culture and organization. Log-in to contribute to this Wiki and join the mailing list We recognize dramatic transformations in creative practice. Transformations instigated by, and a reflection of wider social, political, technological and financial changes. One of the most obvious affects, is that as artists, curators, designers or theorists, our practices, or their interpretation, or how they are theorized, historicized or organized, are no longer separate concerns, or indeed the prerogative of different disciplines. Currently, we are concerned by the threat of the instrumentalisation of the artistic field through the internalisation of corporate values, methods and models. This can be seen everywhere, in funding agencies, at art schools and academies, in museums and galleries, and even in the studios of artists! Therefore, we seek to avoid the passive reproduction of art, and uncritical cultural production. Our research, projects, exhibitions, publications and funding, our very constitution and administration become legitimate subjects of critical enquiry. All art is organised, so we are trying to be sensitive to issues of organisation. Governance emerges whenever there is a deliberate organisation of interactions between people. We are striving to be an 'open' organization, and to make all decisions, processes and production, accessible and public. We will post agendas, minutes, budget and decision-making processes online for public scrutiny; as advised by open-organization.org The research elements pursued under the auspices of Critical Practice will engage with the various forces that are implicated in the making of art, and the increasingly devolved experience of art made available through art institutions to their audiences. We will explore new models for creative practice, and look to engage those models in appropriate public forums, both nationally and internationally; we envisage participation in exhibitions and the institutions of exhibition, seminar and conferences, film, concert and other event programmes. We will work with archives and collections, publication, broadcast and other distributive media and funders; while actively seeking to collaborate. We are always in the process of defining our aims and objectives. |
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