steve and i have now selected all the artwrks from artemis, and have some linkage photos left to get, but we need to write a statement for the entrance way, i have started this and steve suggested blogging it, so here it is, we would like comments please. or additions. cheers
LINKAGE
This exhibition includes 35 examples of artwork from the collection at Artemis, interlinked with images Kate and Steve have taken on their mobile phones.
The mobile phone is omnipresent in contemporary life and used to record: passing moments; significant discoveries or random stumblings. These digital files are often never downloaded, forwarded, or printed out, remaining within the device, building into an archive of captured moments. We accumulate this temporary collection, often discarding it as we change phones, all without significant consideration.
As artists, Kate and Steve are interested in collections and as such have utilised their mobile phones to enable a journey through the Artemis collection and provide an insight into their practice. Like a game of Chinese whispers, we can move from one image to the next observing the lateral ponderings.
Artists Art and Artefacts sees artists Steve Pool and Kate Genever working on a year long, Arts Council England funded, project at Artemis: Education Leeds artefact loan service. Working both individually and collaboratively the artists are researching, exploring and responding to Artemis’ collection of over 10,000 artefacts.
Friday, 8 February 2008
Wednesday, 6 February 2008
Abstract
I like this abstract bit because it concerns what our collabertion is really about which seems to be exploring a theme in different ways and how each of our approaches if valued in the correct context helps everybody to progress thinking. This is slightly different from the original bid where Kate P and Lou are written in more to support the artists CPD and reflection on practise. So for me it's become far more collaberative which makes the AAA conference thing seem more relevant. Perhaps we could unpick some of this and use it as narrative entry points to our paper - Also I'd like to suggest that we make the trip to Boston part of the work (Artististic concept based) which gives us licence to shake things up a bit.
So I think I've written about this before but on our first trip to Artermis for the very first meeting Kate Pahl started to tell me how she really didn't want to steer the artists and wanted to position herself with enough distance from the project so she wouldn't influence the ideas too much. It seems to me that this is her constant personal battle to find a position in relation to the field which allows her to activly engage with people , reflect, and observe without impacting. Due to excessive enthusiasm Kate is very bad at this but perhaps this is why we want to work with her.
So after deciding on her epistomology she suggests that the project is about canoes and Cargo. This comes from nowhere and is supported by a story of the change in british ethonography over thge last 50 years. I brush this off don't think about it much and suddenly find myself 6 months later asking if an object is a canou or Cargo and strangly understanding what this means. So Kate provides another lens to veiw the work/world through and I get a lot from this - she also provides a different context for ideas. as Artists we try and grow all our ideas ourselves - Like my disfuntional allotment my ideas are all strange shapes don't really look like what they are supposed to but taste really nice as long as you don't try and keep them too long. I don't want to grow veg for a supermarket but sometimes I like to know how it's done. This is a strange metaphor but the phones ringing and I need to go - it reminds me of that film Being there with Peter Sellers in it.
So I think I've written about this before but on our first trip to Artermis for the very first meeting Kate Pahl started to tell me how she really didn't want to steer the artists and wanted to position herself with enough distance from the project so she wouldn't influence the ideas too much. It seems to me that this is her constant personal battle to find a position in relation to the field which allows her to activly engage with people , reflect, and observe without impacting. Due to excessive enthusiasm Kate is very bad at this but perhaps this is why we want to work with her.
So after deciding on her epistomology she suggests that the project is about canoes and Cargo. This comes from nowhere and is supported by a story of the change in british ethonography over thge last 50 years. I brush this off don't think about it much and suddenly find myself 6 months later asking if an object is a canou or Cargo and strangly understanding what this means. So Kate provides another lens to veiw the work/world through and I get a lot from this - she also provides a different context for ideas. as Artists we try and grow all our ideas ourselves - Like my disfuntional allotment my ideas are all strange shapes don't really look like what they are supposed to but taste really nice as long as you don't try and keep them too long. I don't want to grow veg for a supermarket but sometimes I like to know how it's done. This is a strange metaphor but the phones ringing and I need to go - it reminds me of that film Being there with Peter Sellers in it.
Thursday, 31 January 2008
It is me Lou the Pants Blogger making a posting to kick off a discussion about the Boston paper. Ideas so far include exploring collaboration between artists and academics incl. the blurring of roles and how the work has fed into our individual practices - am I right in thinking this? Do we need to revisit the stuff in the abstract if this has been submitted (as abstract text block may already have been sent to print). So here we go:
How do objects get transformed by narratives and how do they become divested of narratives? This presentation will interrogate what we call ‘the systems around the object’ drawing on a year-long research project, funded by the Arts Council UK, involving 2 artists and 2 researchers, and a collection of artefacts for schools in Leeds. It aims to develop theory around how objects can sit within systems, stories and places. Drawing on auto-ethnographic discussion about the relationship between artefacts and their context, this paper seeks to uncover and unsettle this relationship. In particular it will ask the following questions:How do objects move in meaning, or move from function to meaning?Does it matter if an object has no provenance?What happens if there is a narrative and no object (the case of the disappearing object)Are objects merely taking their menaing from their form and function or do they acquire new identities as new resonsances and echoes take hold of them?
what the hell does this mean again?
Lou
How do objects get transformed by narratives and how do they become divested of narratives? This presentation will interrogate what we call ‘the systems around the object’ drawing on a year-long research project, funded by the Arts Council UK, involving 2 artists and 2 researchers, and a collection of artefacts for schools in Leeds. It aims to develop theory around how objects can sit within systems, stories and places. Drawing on auto-ethnographic discussion about the relationship between artefacts and their context, this paper seeks to uncover and unsettle this relationship. In particular it will ask the following questions:How do objects move in meaning, or move from function to meaning?Does it matter if an object has no provenance?What happens if there is a narrative and no object (the case of the disappearing object)Are objects merely taking their menaing from their form and function or do they acquire new identities as new resonsances and echoes take hold of them?
what the hell does this mean again?
Lou
Sunday, 27 January 2008
im still with it
yes i have been absent but have returned, i do read this, but do not always want to comment or have something to say
i am planning in my next visit to artemis to begin to explore the relationship between objects when displayed - juxtaposed etc. But also currently thinking and trying to work out displaying my work , my archive as it were. Im intrested in the relation of the index to the bulk of work, the potential of selection and choice it offers , does it make us too removed or just offer false possibitly. I am trying to write my index, and will post up picture of it later in the week.
Also have introduced the aura scorer pro forma to college, were upon i was laughed at and told it was a travisty to do that to a benjamin text - i said, bollocks lets not get caught up in the heirarchy of a 'revered' text over a functional practical way to understand. I now have to demonstrate it at a seminar!!!!!!!! im thinking i will borrow the box of things steve and i scored one afternoon.
i am planning in my next visit to artemis to begin to explore the relationship between objects when displayed - juxtaposed etc. But also currently thinking and trying to work out displaying my work , my archive as it were. Im intrested in the relation of the index to the bulk of work, the potential of selection and choice it offers , does it make us too removed or just offer false possibitly. I am trying to write my index, and will post up picture of it later in the week.
Also have introduced the aura scorer pro forma to college, were upon i was laughed at and told it was a travisty to do that to a benjamin text - i said, bollocks lets not get caught up in the heirarchy of a 'revered' text over a functional practical way to understand. I now have to demonstrate it at a seminar!!!!!!!! im thinking i will borrow the box of things steve and i scored one afternoon.
Monday, 21 January 2008
Doorstops and Heidegger
Well I made it out into my workshop to make Kate a Birthday present. I stole a doorstop from somewhere last week and I'm wondering if it's art or just grand theft doorstop. Thing is I like doorstops as they are handmade often for a specific purpose and their funtion is only really noticed in their absence. Had a big row with Kim as I found her using my Ethno doorstop to prop open the door the other day - I don't know and with her museum background and all. So taking a made real thing out of the world and making it just "in the world" and not "at hand in the world" and then replacing the made thing with a replica or fake of the real thing is why I mentioned Heidegger I wonder if he had doorstops - the danger with this little mini project as we can now call them is people will read lots of metaphors into the actual function of a doorstop rather than get the point about function fake and the real world.
Rolling on
We have an event at the Burngreave community learning campaign, Forum House on the 17th March - do all please come it is a mini project with MLA Yorkshire and 2 family learning practitioners called Every object tells a Story from 10 - 12 and a free lunch after.
The reason I am excited is that I am beginning to see patterns and shapes in my work working with you lot and also doing this project and maybe not getting Translating Objects was good as now I have time to work on all the other things.
I am worried I am not doing my Function to Meaning quotes for Kate - Kate can you tell me what I should do as I tend to work on your project in Dorset and I want to start getting the quotes and ideas together?
I plan to work on it in Dorset over half term which is the 18th Feb week, I intend to be using Malinowski Cargoes and Durkheim and Mauss and Mary Douglas Implicit Meanings.
I am a bit scared as it is raining again and Zahir couldn't come to the meeting we had today because of floods in Mexborough.
Nothing to Say
Funny thing Blogs when you have nothing to say. They are a bit like Kate P vanishing objects a bit lacking in function. I've had a busy distracted couple of weeks and it doesn't seem to be getting much better. It's supposed to be the most depressing day of the year with the worst reported rates of illness at work. It is a bit grey and as my workshop is very cold and large drips of water tend to drop onto the back of my head through gaps between broken floorboards and dislodged slates I think it's ok to catch up with the paperwork.
I have this time now which is real rather than imagined I really am going to clear my dairey for a month and make work for Artemis. To do this I'm trying to earn some money to have in the bank which is why I'm busy. The thing I like about this is it will give me chance to reflect on what work is and through discussion with Kate I think we have both decided that all our work when we are commisioned as artists (apart from some bits) is proper work but it is clearly different and this project is driven by more personal goals and aspirations rather than a direct relationship with a specific audience.
I have this time now which is real rather than imagined I really am going to clear my dairey for a month and make work for Artemis. To do this I'm trying to earn some money to have in the bank which is why I'm busy. The thing I like about this is it will give me chance to reflect on what work is and through discussion with Kate I think we have both decided that all our work when we are commisioned as artists (apart from some bits) is proper work but it is clearly different and this project is driven by more personal goals and aspirations rather than a direct relationship with a specific audience.
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