25/01/19 HOA Lecture. Site Visit, Bridewell Studios & Bluecoat
HOA notes
LOVE this lecturer.
Globalisation
Cities of culture
Away from European and north American art, South America, Africa, far east.
Political, edgy and exciting.
14th Feb Tate Lpool
Open Eye gallery
Globalisation and emerging cities of Art
Room 134
Globalisation process by which businesses or other organisations develop and international influence or start operating on international scale.
Integration of economies around the world particularly through trade and movements of good serves and capital across the borders. It implies that goods and knowledge is shared.
Cultural sector is an important part of this. Positive influence.
UAE, Lagos, Moscow
KOREA and SHANGHAI
Dubai; was London, Paris and New York. New cities emerging and important players. Trans national flows cultural backgrounds, continual renewal, creative energy.
Competition is great, intensified based in consumption, construction of mega hall mark events like biennial. Development of cultural industry sector. Essential strategy of building global city. Sets a hallmark.
Guggenheim marks Bilbao. Dancing water fountains Dubai, looking for new revenues from trade and auctions, art and financial services. Locating city into memorable. World trade and expos. 2020 connecting minds and creating the future. Hunfreds of coutries sending things over. 35mil expos. ‘Art Dubai’. Bringing in money and tourism, not just the work. AH, huge money. Vibrant city, high status work force. Live and travel.
The Louvre Abu Dhabi. Jean Nouvel 2017.
Guggenheim Abu Dhabi, 1, 400 concrete piles that have sat untouched. work force not protected. WHOLE CITY IS BUILT BY BLOOD.
Shanghai
Uni developing links with shanghai, links with their. Opportunities. Students aren’t applying. Policy cultural contruction government policy.
shanghART and ‘Power Station of Art’. Tv docus on TV. Over 90 from rural art. 2.5mil dream centre development..
40% pop internal migration. Centre of commerce and business. Doing well, why do they need art and culture? Foreign investment. Highly skilled work force.
Education, library, art, news and tv . participation, enthusiasm. Rapid development.
The Silo of 80, 000 tonnes.
Moscow
MMOMA
Oligarth, rich people. Money and bad reputations. Crime, coercion, mafia, drugs, shady. Same as America end of 19th century, million in railroads and steel industry, terrible work.
Using art, Abramovich says married to a curator and I am a person of culture, I own a football and a gallery.
Frick gallery in new York, exactly as he left it there. Reputation, ivolved in steel industry, sent mercineries to bbeat strikers. Rehabilitating reputations. Carnegie from Carnegie hall.
State owned gallery. End of 19th century, imteresting. People travelled openly and freely.
GES2 going to be built, bankrolled by richest man in Russia, owner of Novatech. He bought a state owned industry. Funded own organisation. Daugther given curatpr role.
Obramovich, Garage’. ‘long on bling, short on emotional heft’.
Auction houses are there now.
FIND ARTICLE ON CANVAS AND PLACE IN.
Placemaking. Collaborative process by which we can shape our realm in order to maximise shared value. More than just promoting better urban design, placemaking facilities creative patterns of use, paying particular attention ro the physical, cultural and social identities that define a place and support it’s ongoing evolution.
A sort of rebellion to globalisation MARK AUGE NON PLACES???? NO
Liverpool galleries don’t focus on local artists. Placemaking would make sure that we had to include that local art. What is relevant to where it is. Putting local art in with international and great art deems it ‘worthy’.
Placemaking gaining relevance.
Ghana think Tank, disrupts the narrative.
Ghanathinktank.org
First world problems and solve them.
Find the video regarding Tel aviv and refugees.
Shared home idea, really interesting.
‘Westerners aim for individualism’
Open a uni think tank with another country from another culture.
Youtube, solution, global.
Don’t unestimate a small project no one will ever see.
Africa, Lagos.
Sokai douglas Camp.
People send money bank to Nigeria after studying and working in London.
Government sees value in cultural.
HARAM.
Polly Alakiki Oluwarantim local art.
Check our Sokari Douglas Camp BLOG
Botticelli, Primavera
JULIE MEHRETU Stadia 1 2011. MAD DEPTH
Dynamic, light, movement, city. Mapping. Placemaking. City in her work. Futurism. Sbstract expressionism. Bauhaus. New York 40s.
Zanele Muholi, Bakhambile ‘z’. photographs black lesbian now trans. South Africa.
Photographing people as they are, confidence in who they are. People who are victimised.
Zinzi and Tozama, ppl get beaten and attacked for this.
Billie Zangewa FABRIC.
Hollandaise, fabric from Holland to Africa, she uses it because it’s post colonialism, the frabric isn’t of African at all.
Ted Noten
Global Tactile series 2. Brought global objects into jewellery.
Thiago Rocha Pitta, Ocean/Atlas polyptych 2 2015.
Boat lifting up the seas.
Lagos.
Street art, informal. FORME
Awambe parties. Artists under bridges. Thriving culture. Lagos fiesta.
Centre of Nollywood. Afrobeat’s.
HARAM, in the north.
Bridewell Stuio Tour
As I am part of the exhibition in the Bridewell Studios in March I went to view the building. I was left with a decision. Do I make something wonderous and stand out. Something that would surely stand apart from its surroundings. Or do I produce something that is sympathetic, a love letter to the building and its history? I'm aware it used to be a police station with holding cells. Horses were kept in the courtyard. One angle to explore is the 'haunted house' narrative which the building holds thanks to silly people being there at night or alone and not being familiar with old structures and the sounds they make as they settle and adjust with the drops and increases in temperature.
I realise during the meeting with Fiona that I am taking an active role. I asked her about support from the studios in relation to advertising and relevant literature. She assured us she would give us support but it takes a long time so to supply that soon as possible. I would like us to promise something than worry about how we will deliver it. I am inspired and reminded by the power of that by the talk yesterday with James and also with Chris. Of course, Chris' work has actual value. I also asked about house rules, as I know a few people were bitten by the Walker and their stringent policies.
I have sent photos online of the space, I have passed on information and I am adamant about a theme. There is some who would prefer there not to be a theme but I think it is essential. I wrote a quick email to Adam as to his thoughts. I would like to have his input on this so I bring them to our next meeting. It is important to me that people can navigate the space.
Fiona says that people do not visit as it is a little too far out of town. If we can make it easier and in any way more accessible and user-friendly then I think we should do it. I spoke to Rory about it as he was passing and one option is to subscribe to an even more open theme, he mentioned one he'd seen called 'I (heart) YW', which translates to 'I love your work'. The only theme was that the curator loved the work he saw. This loose theme is still a theme and converts into literature and advertising.
If I continue to give people the opportunity to tell me to shut up, I should be alright taking an active role.
This whole thing has made me want to organise more shows. I pay for space and I will fill it. Then I can set the parameters. I can arrange an illustrator/ graphic designer and I can write the blurby stuff myself. I can set a theme then leave the rest open to others. Their work would be my work. I already spoke to the street guy but I'd have to pay for a whole day worth and I think he'd probably cost about 200 pounds? I have no idea.
I am interested in busking, street performance. Taking back public spaces, turning a transitional space into one where people gather. Perhaps I could apply for a busking license then I could have an outdoor studio, selling art with others.
I didn't hear back from Adam, we went with the loose theme of 'Territory', which I was glad about. I stopped being so in control of the show as I felt it was the best thing to do. People just wanted to try their stuff for the first time in the real world and they didn't want any one voice leading things. It was very frustrating personally but I can wait and organise something in the future myself. Perhaps something more fo the public and less about the uni.
Bluecoat
I went into the bluecoat and the toilets were really dirty. This made me think about a painting I'd seeb at Bridewell of a
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