This summer while on my research trip in Osaka, Japan I went to an Ikebana demonstration. It gave me an idea, to research ikebana while I was on my mountain residency at Headspace in Nara.
SAGE (Sow And Grow Everywhere) project.
On my return to UK the AirSpace studio artists went to Low Parkamoor - Grizedale for a retreat, which I used as an opportunity to practice my ikebana skills.
The AirSpace studio show opened on Friday, where I presented my new work - Brownfield Ikebana - the week before the ikebana's I made on 3 Brownfield sites were presented in the AirSpace window. The three sites chosen are interesting, as they are at different stages of non-development. The Abbatoir was only demolished about a year ago, and yet is surprisingly diverse in terms of the wildflower species to be found there, then the ANC site is a few years older, and the old greyhound track even older still. I hadn't planned to show the ikebana arrangements in the window - I was making them in order to create a new 'works instruction' for the studio show - and then it turned out the window was empty for a week, so we put them in to fill the slot.
The statement accompanying read:
In Brownfield Ikebana Anna presents part of a new series of works, which aim to draw attention to some of the brownfield sites that can be found throughout the city, in the wake of various now defunct or collapsed regeneration programmes. The schemes saw the demolition of buildings and homes all over the city, but with the funding to rebuild seemingly swallowed up with the changing political climate, the interim period between demolition and development seems set to grow.
Empty spaces are now populated by wildflowers and other wildlife, and in some places citizen activism has seen the local population scattering wildflower seeds, improving the environment in the intervening period. Brownfield Ikebanacelebrates these impromptu wildlife havens, using the Japanese art of flower arranging, but replacing the vase with items of rubbish salvaged from 3 brownfield sites close to the gallery replacing the flowers with 'weeds.'
Perhaps Brownfield Ikebana can act as a call for the council to nurture these sites, and see their potential in the short-term, rather than allowing them to become fly-tipping zones.
Then on Friday for the studio show I presented my new works instruction, and revisited the ABC site to create a Brownfield Ikebana live during the private view.
It was a very different thing to do the ikebana in front of people, and was not such an enjoyable experience as previously. I was quite pleased with the vessel which I found this time, which was an empty scotch egg packet.
I think the ABC site is particularly awful, as the cinema was knocked down to build TESCO - and this bit of land in between the gallery and Tesco has been in limbo. Shoppers sit on the wall which has been built around the site, and throw their rubbish over the wall - so there is plenty of choice for ikebana - and also plenty for the local rat population to eat. Such a big company as Tesco should do something about making the site better - potentially becoming a community asset.
On the last weekend of the studio show (06/10/12 from 2 - 4pm) I will be running a Brownfield Ikebana workshop - showing the participants some of the techniques I have picked up - but mainly as an opportunity to explore the Brownfield Sites of our city, and talk about their interim potential.
Sunday, September 23, 2012
Saturday, September 22, 2012
Sideways Festival of Art and Walking
A while back I joined the (WAN) Walking Artists Network: a network for artists who walk, or walking artists or other practitioners who consider walking a creative act.
I was really pleased when, through my connection to the network, I was offered a travel bursary to go to the Sideways Festival of Art and Walking in Belgium. I had seen the call for the festival months back, and had wanted to apply, but didn't in the end, as it would have been difficult with my already scheduled Japan and Lake District residencies in place.
Sideways involved a 4 week expedition of artists, anthropologists, sociologists and other practitioners walking together - 360 KM across Belgium. The walking was punctuated by Festival Weekends, where the walkers would stop for the weekend for a series of events and symposiums, culminating in the final festival weekend and symposium in Zutendaal (the bit that I went to.)
Members of the network met up at St Pancras station to take the Eurostar, our journey to Zutendaal was set to coincide with the arrival of the Walkers - who would be coming to the end of their journey. We were excited to meet them and hear all about it...We arrived at Zutendaal Mooi, a strange log cabin camp, which would be our home for the weekend.
On reflection, it may not have been the best timing; very weary travellers needing to bathe feet, regroup with those that had shared the experience colliding with the Walking Artists Network, who had taken a train, and then a bus to get there, and who were keen to ask questions and find out about the experience. The Walkers did not know who we were, or what we were there for.
The first night we found ourselves whipped off to a beautiful farm, to share food together, and the next morning the Sideways Walkers had a debrief.
While that was happening Clare and Mark from WAN organised an Open Space workshop - something I have never come across before. This created a space for the WAN members to get to know each other, and then make some work around walking and the Sideways Experience.
It started with introductions, and one that struck me the most was Katie Etheridge, discussing a project she had just completed with Wrights and Sites, involving the Pendle Witch trials, Katie brought along some tiny wax and plaster feet, like talismans or relics which she requested people could hide/bury or take away to become future archaeology. I brought one back to put in my reliquary (above) I like to collect something for the reliquary wherever I go. Once introductions were over everyone posted up their ideas for what to do in the workshop on the window - then people would elect to do something, and then 'vote with your feet' and do it.
This resulted in myself, Glen Stoker and Phil Smith from Wrights and Sites going on a perimeter walk - exploring the boundary of the camp, picking up on signs and rhythms. The holiday camp had a strange, clinical atmosphere I felt, I think producing a feeling of 'cabin fever' surprisingly quickly. The perimeter walk took 3 and a quarter hours, and helped in exorcising the feeling. While walking the perimeter, I made a piece of documentary writing, as well as photographing the route. (See Bottom of post.)
The symposium talks were being illustrated/documented on camera - a man (unfortunately I did not find out who) was making notes/diagrams and using objects to track the points and conversations made.
We talked a lot over the weekend with various walking practitioners about the difference in walking with a purpose (to get from a to b) and walking with a desire to understand a place - we discussed drifting and getting lost techniques - and that for many of the practitioners the Sideways Journey meant that their usual methodologies had to be quite violently interrupted. This was uncomfortable for many, who felt their original ideas had been compromised. It would be interesting to discover if, on reflection in a few weeks time, something new might have emerged from this new way of operating.
Stalker Walking School lead walks in Rome and other places, taking participants into usually forbidden/barred areas of the city - exploring and trespassing as a political act. It was a great way to explore the forest, and have some great and interesting conversations.
We explored a forest populated by what sounded like dinosaurs, and discovered a lone stone mason, carving out a letter A. It went on, a silent procession of strangers, traipsing through the darkness of the woods - no torches allowed, senses prickled.
Reg Carremans had strapped canvas to his feet, physically documenting the connection between his feet and the earth. Then at the end of the journey, the canvasses were put together.
Walking Library's Reading session, which gave the Librarians a chance to talk about their project, and also read from some of the fabulous books in the collection.
Over the weekend, the way that the participants described the experience of Sideways changed. At first, tiredness and sore feet saw people being very critical of the organisation of the festival - of the conditions which they had to walk under, but by the time we left we were being told about an amazing, once in a lifetime, not to be missed experience. And on the Sunday a sense of melancholy, and dread of morning seemed to be in the air - people were ready to return to their lives, but with a feeling that something important had taken place - a pilgrimage completed.
Saje Project - exploring walking as a conversational tool. I cannot even get down here all that I saw - but there is one project which really stood out for me: and that was Peter Ankh's Donkijote project. Peter walked Sideways with Beagle, a local (and very beautiful) donkey. The donkey had a lot of high tech equipment strapped to him, which took a photograph every few minutes, measured pollution, as well as recording lots of other information on the journey.
A description of the project from the Sideways Website: 'The donkey will function as a living and walking browser that will produce information, geo-tagging knowledge, mapping route, collecting things, asking questions, searching for answers and share this content, bringing the Sideways journey online 'in real time'. The project aims to be a cocktail of ethical, tactical, educational and psychogeographical meaning; while walking at human speed new methods are explored to map the complex assemblages of humans, plants, animals, artifacts, technologies and physical landscape features.'
Peter talked about his experience, and described how the donkey is a fantastic way to connect the public and create a space for conversation. He said that people are not able to mediate their reaction to the donkey, before they have meant to they are putting out their hand to make a connection, the donkey is an interruption in our modern lives.
Sideways - I am do glad to have been able to come and hear about the experience - but I wish I had gone on the walk. Thanks so much to WAN for the travel bursary. I hope that we will be able to work on something together with some of the fantastic walking artists in the network.
Posted by Anna Francis at 3:51 PM 1 comment:
Thursday, September 20, 2012
The Art of Survival
Conjunction 2012 - a partnership project between AirSpace Gallery, The Potteries Museum and Art Gallery, Stoke-on-Trent Council, Staffordshire University and Jelly Arts. Conjunction is a contemporary art biennial for the city and this year's theme is 'The Art of Survival.' The exhibitions and projects kick off on November 2nd 2012 - and we currently have some exciting Calls to Artists for the exhibition, public realm projects and a residency (see web link above). I am really looking forward to seeing what comes in.
Posted by Anna Francis at 11:47 AM No comments:
Monday, September 3, 2012
TROVE: 3rd Birthday
It was a lovely handwritten letter, thanking me for my contributions to the Trove exhibitions and projects over the 3 years that they have been going, and asking me to send a birthday card, and perhaps a present for an exhibition they will be holding to celebrate the anniversary.
I have been involved in a few of Trove's projects: POST at Trove in 2010 Paris Correspondence School in 2011 and then the Allotments project at MAC 2011-12.
They have always been really enjoyable projects to get involved in, usually connect artists in innovative and enjoyable ways - and although there has never been any funding attached to these shows (in terms of being paid as an artist to be involved) neither has Charlie Levine the curator of Trove ever asked me to pay to be involved. I like what they do, and that is why I am happy to submit my work under those conditions.
Artist led activity like this is, I think, important for artist development, but also development of the arts in the West Midlands, I think Trove have been giving emerging artists great opportunities to exhibit over the 3 years that they have been running, and so in the studio today I thought I would make a birthday badge which sets out exactly what I think of Trove. So, Trove: YOU ARE GREAT.
Posted by Anna Francis at 7:04 PM No comments:
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