Difference between revisions of "SSW Proposals"

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'''KS:''' I would like to propose an afternoon of reading / discussion session triggered by a chapter from George Youdice 'Expediency of culture', in which he analyzes the apparatus of a big international art festival InSITE, located in San Diego (USA) and Tichuana (Mexico). It is interesting for both SSW and Critical Practice as Youdice basically attributes agency not to the singular artistic activity, but to the working of the organizational / managerial apparatus backing up artists. We could use it as an opportunity to discuss with Nuno's his concepts of shadow curating and refresh our ideas related to CP's rejected BBW proposal. <br>
 
'''KS:''' I would like to propose an afternoon of reading / discussion session triggered by a chapter from George Youdice 'Expediency of culture', in which he analyzes the apparatus of a big international art festival InSITE, located in San Diego (USA) and Tichuana (Mexico). It is interesting for both SSW and Critical Practice as Youdice basically attributes agency not to the singular artistic activity, but to the working of the organizational / managerial apparatus backing up artists. We could use it as an opportunity to discuss with Nuno's his concepts of shadow curating and refresh our ideas related to CP's rejected BBW proposal. <br>
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'''MKB:''' There ''there'': I was up in Edinburgh over the weekend and was struck by how different it felt (the energy, the atmosphere, the interactions, the discourse and so on) from London, Graz, Vancouver or anywhere else I've been recently. What determines this difference--for better or for worse, etc.? And how to think about it in a multidimensional way--as a tourist "there" to enjoy the culture as well as a local "there" who is producing it? Questions around the regimes of valorization that organize and reproduce particular contexts are things I'd like to dig into at SSW.  I would propose doing a mapping activity where we identify various value ma(r)kers to better understand the forces that shape our respective cultures of creative production in Lumsden and/or London. The idea would be for us to leverage our touristic/first impressions and pitch them to Nuno as points of departure for our discussion re value regimes in SSW/Lumsden. We might invite him to do the same regarding CP/London. <br>   
 
'''MKB:''' There ''there'': I was up in Edinburgh over the weekend and was struck by how different it felt (the energy, the atmosphere, the interactions, the discourse and so on) from London, Graz, Vancouver or anywhere else I've been recently. What determines this difference--for better or for worse, etc.? And how to think about it in a multidimensional way--as a tourist "there" to enjoy the culture as well as a local "there" who is producing it? Questions around the regimes of valorization that organize and reproduce particular contexts are things I'd like to dig into at SSW.  I would propose doing a mapping activity where we identify various value ma(r)kers to better understand the forces that shape our respective cultures of creative production in Lumsden and/or London. The idea would be for us to leverage our touristic/first impressions and pitch them to Nuno as points of departure for our discussion re value regimes in SSW/Lumsden. We might invite him to do the same regarding CP/London. <br>   
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'''MB:''' I think trip to SSW should first and foremost bring more clarity and focus for our future work as a collective if we addressed several basic questions on work Critical Practice has been engaged in the last several months.  
 
'''MB:''' I think trip to SSW should first and foremost bring more clarity and focus for our future work as a collective if we addressed several basic questions on work Critical Practice has been engaged in the last several months.  
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:* What are the projected or desired outcomes (markets, publications, talks, guided walks, rasing awareness amongst cultural workers and others...)?  
 
:* What are the projected or desired outcomes (markets, publications, talks, guided walks, rasing awareness amongst cultural workers and others...)?  
 
I could not answer these question with clarity, nor with conviction. I believe we need to cover these basics first. Not only it would contribute to our better understanding why we are doing what we are doing – researching on value/values –, but also it would build relevant foundations on which we will create relevant formats, projects, events, etc. in the future. This should take at least several hours, preferably informally over a Walk&Talk in the bleak Grampian highlands as it is locally refereed to.
 
I could not answer these question with clarity, nor with conviction. I believe we need to cover these basics first. Not only it would contribute to our better understanding why we are doing what we are doing – researching on value/values –, but also it would build relevant foundations on which we will create relevant formats, projects, events, etc. in the future. This should take at least several hours, preferably informally over a Walk&Talk in the bleak Grampian highlands as it is locally refereed to.
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'''SS:''' How would you like to spend the time? Working as a team toward a deeper understanding of sculpture in the public space. Considering the differences between the urban and country environs in relation to sculpture and public space. Looking at specific works, the group of work and the work within the environment and critically discussing the thoughts, questions, and any affects these may raise. Mapping the ideas from discussion of what we see.  
 
'''SS:''' How would you like to spend the time? Working as a team toward a deeper understanding of sculpture in the public space. Considering the differences between the urban and country environs in relation to sculpture and public space. Looking at specific works, the group of work and the work within the environment and critically discussing the thoughts, questions, and any affects these may raise. Mapping the ideas from discussion of what we see.  
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:* Why are your proposals relevant to CP? I think the proposals made by members are relevant, mine inclusive. Some of the things I’d like to do at SSW are variations of CP ‘tools’ and others may gnereate knowledge and experience for myself and other CP members which we could apply there and in projects in London and elsewhere. I think as a group together we could focus more on the importance of the physical object and spaces and this trip might dispel that thought for me or take it another direction, either of which I would be intrigued to experience.
 
:* Why are your proposals relevant to CP? I think the proposals made by members are relevant, mine inclusive. Some of the things I’d like to do at SSW are variations of CP ‘tools’ and others may gnereate knowledge and experience for myself and other CP members which we could apply there and in projects in London and elsewhere. I think as a group together we could focus more on the importance of the physical object and spaces and this trip might dispel that thought for me or take it another direction, either of which I would be intrigued to experience.
 
:* Other thoughts: It may be interesting to identify on the first day an idea for a CP&SSW joint project. Two possibilities would be a sculpture trail and workshop in London or a sculptural piece. I’d propose the trail be opposite the Caledonian Road and Barnsbury train station and the piece be a boat. The planning of a sculpture trail in London might make use of the SSW CP weekend research trip and Lumsden Sculpture Walk as action research reference points. The experience and visualisation of the sculptures and SSW in its environs may be fruitful in inspiring ideas and commitment towards collaboratively making a boat.
 
:* Other thoughts: It may be interesting to identify on the first day an idea for a CP&SSW joint project. Two possibilities would be a sculpture trail and workshop in London or a sculptural piece. I’d propose the trail be opposite the Caledonian Road and Barnsbury train station and the piece be a boat. The planning of a sculpture trail in London might make use of the SSW CP weekend research trip and Lumsden Sculpture Walk as action research reference points. The experience and visualisation of the sculptures and SSW in its environs may be fruitful in inspiring ideas and commitment towards collaboratively making a boat.
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Revision as of 19:20, 15 October 2012

Please suggest possible areas of exploration while at SSW...

KS: I would like to propose an afternoon of reading / discussion session triggered by a chapter from George Youdice 'Expediency of culture', in which he analyzes the apparatus of a big international art festival InSITE, located in San Diego (USA) and Tichuana (Mexico). It is interesting for both SSW and Critical Practice as Youdice basically attributes agency not to the singular artistic activity, but to the working of the organizational / managerial apparatus backing up artists. We could use it as an opportunity to discuss with Nuno's his concepts of shadow curating and refresh our ideas related to CP's rejected BBW proposal.


MKB: There there: I was up in Edinburgh over the weekend and was struck by how different it felt (the energy, the atmosphere, the interactions, the discourse and so on) from London, Graz, Vancouver or anywhere else I've been recently. What determines this difference--for better or for worse, etc.? And how to think about it in a multidimensional way--as a tourist "there" to enjoy the culture as well as a local "there" who is producing it? Questions around the regimes of valorization that organize and reproduce particular contexts are things I'd like to dig into at SSW. I would propose doing a mapping activity where we identify various value ma(r)kers to better understand the forces that shape our respective cultures of creative production in Lumsden and/or London. The idea would be for us to leverage our touristic/first impressions and pitch them to Nuno as points of departure for our discussion re value regimes in SSW/Lumsden. We might invite him to do the same regarding CP/London.


MB: I think trip to SSW should first and foremost bring more clarity and focus for our future work as a collective if we addressed several basic questions on work Critical Practice has been engaged in the last several months.

  • What is the aim of the value/values research?
  • Why is it relevant for CP and in broader cultural context?
  • Who are we addressing with this topic and why?
  • What are the projected or desired outcomes (markets, publications, talks, guided walks, rasing awareness amongst cultural workers and others...)?

I could not answer these question with clarity, nor with conviction. I believe we need to cover these basics first. Not only it would contribute to our better understanding why we are doing what we are doing – researching on value/values –, but also it would build relevant foundations on which we will create relevant formats, projects, events, etc. in the future. This should take at least several hours, preferably informally over a Walk&Talk in the bleak Grampian highlands as it is locally refereed to.


SS: How would you like to spend the time? Working as a team toward a deeper understanding of sculpture in the public space. Considering the differences between the urban and country environs in relation to sculpture and public space. Looking at specific works, the group of work and the work within the environment and critically discussing the thoughts, questions, and any affects these may raise. Mapping the ideas from discussion of what we see.

  • Doing what? Walking, talking, thinking, drawing, discussing, assembling as a collective, reflecting, analysing, recording, synthesizing, analysing, questioning and making public what we do as well as what we may create and learn, including any new knowledge.
  • Why? I would like to gain an understanding of SSW and the sculpture trail,there through experience and action as well as looking at and discussing artists work that has contributed to this and more recent creators and curators there in order to inform how I might as part of CP apply these to questions of objects, actions, space, as well as value, markets, and the public. I’m also interested to consider how CP might collaborate with SSW.
  • How does this contribute to your on-going research into value? I don’t see this to be mainly a research into value trip personally. Research into value to me would seem tangential as would my other research interests. I wouldn’t go to SSW with CP primarily to research value.
  • Why are your proposals relevant to CP? I think the proposals made by members are relevant, mine inclusive. Some of the things I’d like to do at SSW are variations of CP ‘tools’ and others may gnereate knowledge and experience for myself and other CP members which we could apply there and in projects in London and elsewhere. I think as a group together we could focus more on the importance of the physical object and spaces and this trip might dispel that thought for me or take it another direction, either of which I would be intrigued to experience.
  • Other thoughts: It may be interesting to identify on the first day an idea for a CP&SSW joint project. Two possibilities would be a sculpture trail and workshop in London or a sculptural piece. I’d propose the trail be opposite the Caledonian Road and Barnsbury train station and the piece be a boat. The planning of a sculpture trail in London might make use of the SSW CP weekend research trip and Lumsden Sculpture Walk as action research reference points. The experience and visualisation of the sculptures and SSW in its environs may be fruitful in inspiring ideas and commitment towards collaboratively making a boat.


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