I have spent the weekend scan reading this book, lent to me by Zoe Li,  from back to front – anti academy edited by alice maude roxby and published by john hansard gallery

I am thinking :

so making space in time is utopian, outrageously so in fact.

people are asking about money and being paid, of course, or not?

if you pay me for my time my time feels like it is no time anymore and there is a transaction, deal or exchange going on. And there’s a yearning for a time and space free of these transactions, deals and exchanges

How can we acheive a state where/when  time is liberated, not so tied down, so parcelled out, maybe when it is not worth something – watch how animals waste time, they sleep so much of the time.

did we invent time to get stressed? we all seem trapped. It all comes back to money, professionalism, how has that enhanced being an artist? has it ?

What of our socio economic political cultural specifics right now? What are we reacting to and against?

for me it is complex and fascinating to be mainly women in a rural place, between 20 and 70 years old-ish we span decades – we are not art students escaping from large fees to pay, nor are we art teachers in existing schools. Our existences and practices are the result of the widening of the university student body over the past years, we are the many artists who have come through a system since the 70s, each of us from a different generation of art school culture? and we are now foundering in our atomisation. We are makers, we are conceptual, we are dancers, performers, but what are we not?  we are not entertainers. Or have we become so, endorsed and co opted subtly and not so subtly over the past 5 decades by the professionalisation, the need to have impact, be employable, to share and share again etc as artists. We are sharing the question, are we? of what can art be / for? we are unsure of making art for ourselves, to self discover, we are unsure of producing nice art to sell, unsure of making social art, we will be put to use by a great agenda we disagree with, we are paid by someone to do it, for who, of what? to tick a box that allows a new park to be made that costs to get in of the public ( speak for myself) ? We are marginalised and there are many of us/ some of us are not youth and partly envied and partly in disgust of, because we are not rare or special, we are peripheral and out of the city, not in the heart of culture, where is the pulse? We are it,  we want to find our pulse, a collective pulse, will we find it on the journeys on A roads through the beautiful land that is england right here right now?

these are my notes + quotes. they don’t do the book justice, it’s great.

japan  – Bigakko

doing what is unfashionable – tewaza and anti modernism

radical, root, a primeval energy  from which revolutionary creation can be born

working with hands, making, is a way of embodying , a tool for acquiring embodiment,  “an understanding and realisation of ideas through rigorous disciplined physical experience”

an antithesis

to modernisation, rapid technological change, sanitisation. this is 60s japan,

we can relate to that in this context,

anachronism, against the times,

sur-chronism, surrealism, transcend the time like transcend the real

“fundamental conflict between the collective of the school and the autonomy of the individual artist”

making a space where people can relax and be embodied

more time, more space

– the “Law for Temporary Measures Concerning University Management” encouraged uni authorities to take a harder line against protesting students. 8500 riot police took on tokyo radical student protests and won.

in context of japan as early successful capitalist corporatist economy

“ishii (had been involved in school of autonomy 62-64) …tried to challenge the post 68 stagnation by reintroducing art as a tool for quiet reflection on the internal , and for changes from within. … Ishii considered bigakko not just as an art institution but also as movement where political and artistic activism, thoughts and philosophy were discussed, practiced and realised, at the time… when everything seemed to be sliding into a bottomless void we at bigakko dared to dig our heels in, to stop and think inwardly.” 9

denmark – experimental art school  – ex art school

they did not have the authority of a teacher to play up against, or they seemingly did not have this, so they had to arrive at something through interrelating between them/ It didn’t mean that individual creation was out of the question, but it was relative so to speak to the other individual”

“to me it is clear now that the post war period was an icy period

positions were frozen simply and hardened into ideology and became unbearable”

troels anderson

idea of anonymity was part of Poul Gerne’s idea of “collective responsibility”

“we have nothing. if you want to come to us we have plenty of nothing”

lev lunts

all the women left, the male domination problem, how this has changed?

Iowa – Intermedia Programehans breder + ana mendieta

intermedia was concerned with liminality, being or acting between media

site specificity, outside institution, mexico

mary beth edelson

elaine summers – dance and film

vito acconci’s parting address to iowa students 76

“I wish, I wish ….. if I really believed the need for a group, really believed the value of the group, then I should have to believe that whatever is worth saying, whatever should be said will be said anyway. Will be said by someone in the group. So I don’t have to worry, don’t have to worry about talking”

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