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Issue 24 July 2010

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Contents GET IN TOUCH 4 welcomE... 5 COVER ARTist 6 blankverse 10 spotlight 12 FICTION 14 THIS MONTH’S MP3 20 Feature 22 Blankpicks 26 Blank Media rECCOmMENDS 28 CREDITS 30

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blankpages copyright Š2006-2010 Blank Media Collective unless otherwise noted. Copyright of all artworks remains with artist. 4


Welcome... Welcome to July’s blankpages. This month we’ve expanded the Blank Media Recommends... section, in order to highlight even more of the vibrant emerging arts events that appear on our collective radar. If you’ve got an event; an exhibition, a performance, a film screening or anything artisic you’d like to promote, send us an email and we’ll include it in next month’s recommends...

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Kevin Bradshaw “I consider myself to be an illustrator primarily and a painter second. Although I often work in acrylic on canvas, I more usually work in ink, marker pen, wax crayon and pencil. I am an avid keeper of sketchbooks, and have even made my own from scratch; pressing and binding pages made from found paper. I collect all sorts of paper ephemera for inspiration and use in my art – playing cards, envelopes, postcards, stickers, fliers, wrapping paper, etc, which all sit piled up in old shoe boxes, awaiting rediscovery.” “Artists that inspire me include Cy Twombly, Paper Rad, Jon Burgerman, Hokusai, R. Crumb, Jan Pienkowski and Urs Fischer. My life is full of books, music and paper, and through my art I hope to be able to connect all of my disparate interests. Particular areas of interest are evolutionary biology, secular democracy, octopuses, electronic music, heavy metal and food; anything else is a bonus.”

“In my painting I use the contrast between the swirling colourful back-ground/ environment and the stark mono- or dichromatic colouring of the subject to express the interlocking, co-dependant quality of nature.” “All the Kingdoms of life affect and rely upon their environments. Scientists call these phenomena extended phenotype and symbiosis. New Agers and some ecologists call it the Gaia hypothesis.” “When one looks to observe an individual it becomes impossible to see clearly without also observing its back-ground, its environment, and its history. This is true universally across all walks of human endeavour, from biology to physics to art and philosophy.” “I take my inspiration for my animal paintings from books like Climbing Mount Improbable and The Selfish Gene by Richard 7

Dawkins and On the Origin of the Species by Charles Darwin, and the documentaries by David Attenborough. My aspirations in life are to create many more paintings and exhibit them, to publish a few children’s books, finish my novel, make my t-shirt business profitable, learn Japanese, go into politics, gain a science qualification, buy a big house, and to have the time and energy to do all these things. Kevin completed his degree in Contemporary Arts (Visual Arts and Creative Writing) at MMU with a 2:1 in 2006, then spent most of 2007 teaching English in Osaka, Japan. After returning to England he endured some hideous retail jobs, but has recently regained his sanity and creativity. He is currently working on expanding his portfolio, and has recently completed a commission for Amelia’s Magazine. For more information go to kevin-bradshaw.blogspot.com


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Tom Harding

Tom Harding currently lives in Northampton. His work has appeared in various places including Identity Theory, Unlikely Stories and Nth Position. He also maintains a website at www.tomarianne. net

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Monica Metsers

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Monica Metsers was born in Wellington, New Zealand in 1980, but has lived in the English Lake District for the majority of her life. Monica graduated from the University of Dundee with a Masters Degree in Fine Art in 2005 and has been steadily exhibiting and selling her work since then. In 2007 she was short-listed for the Celeste Art Prize and has participated in exhibitions in London, Sheffield, Newcastle, Cumbria and Swansea among others.

Email: mmetsers@hotmail.com Phone: 07974340278 Website:www.myspace.com/monicametsers

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Through her practice Monica aims to explore ways in which subconscious fantastical experiences may be visually manifested. Her work reflects a lifelong love of fantasy and escapism. Primarily she make objects, which are quick to realise, using existing objects as a basis upon which to intuitively build with various materials, in the hope of achieving interesting and unpredictable results. These are all painted white and then photographed with different colours cast onto them, depending on the effects she wants in a particular painting. Paintings are based on these arranged photographed compositions of the objects. Monica works in layers of oil paint, building up different thicknesses to create a sculptural effect. Her intention is to create dreamscapes or mindscapes that are subtly suggestive of imaginative and fantastical experience.


A Typical Argument by Sam Byers

over it and reading it would be sort of like eating

expectations to the point where disappointment

a chocolate cookie someone had been holding in

was the only foreseeable outcome. However, if

Daniel read a book and passed it on to Katherine,

their hand until it went soft and slimy.

Katherine actually used this metaphor. She had an uncanny ability to

urging her to read it, telling her the ending was just

It would still probably taste good,

insert metaphors and similes into her speech, particularly when arguing,

great and he’d loved it. Katherine became angry,

but it would definitely be tainted.

and the effect was surprising and faintly unsettling, giving as it did the

saying the book was ruined, saying Daniel always

Daniel then speculated out loud as

did that. Daniel pointed out that he hadn’t told

to when the idea of him enjoying

her anything about the ending, about what might

something, or admiring it or thinking it was good

he calmly, and usually quite reasonably, predicted

happen, or even really given any hints. He’d just

in some way, had become so repellent that it then

she’d hate something, she’d shoot him down for

said he liked it, and he’d said it with the intention of

prevented Katherine from enjoying it herself, as if

being negative. He said he felt pretty much like he

encouraging her to read the whole book. Katherine

appreciation was finite and he’d used it up ahead of

was damned if he did and damned if he didn’t.

said she didn’t care what actually happened, the

her. It was more like, he said, someone leaving you

Katherine said that was his whole problem, and

simple fact of him saying he liked the ending gave

a cookie in the packet, and offering it to you, and

the fact that he couldn’t see what a problem it was

it a certain promise which it would now, almost

you then refusing it because you’d already seen the

was itself part of the problem. She said why did

certainly, fail to keep. She said she resented the idea

person enjoying their cookie too much. He said

he have to make a prediction either way? Why did

that she needed to be told the ending of a book was

he felt this whole attitude, this difficulty Katherine

he have to throw his opinion into the ring before

good in order to encourage her to get all the way

had with other people’s enjoyment, went right to

she’d asked for it? It was like receiving a running

through it as this implied she had a tendency not to

the heart of their relationship and constituted a

commentary on things that hadn’t happened yet

get all the way through books. Now, she said, the

major flaw, since it seemed to prevent them ever

and left her with the feeling that she didn’t know

whole book was going to feel like a chore because

enjoying the same thing at the same time. He cited

if something was happening as it appeared to be

she’d have to finish it no matter what just to show

other incidents. He said it seemed like if he told

happening or if it was in fact only appearing to happen

him she was capable of finishing it, and when she

Katherine she’d enjoy something she was bound to

in the way he’d already told her it would happen

got to the end it would have Daniel’s smug face all

hate it, and to practically crucify him for building her

because he’d filled her head so full of predictions

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impression that Katherine

had

scripted

some

of her exchanges in

advance. Which, of course, she often had.


Yes, he said hell-bent too, and yes, Katherine sneered

she couldn’t tell reality from prophecy any more.

because he couldn’t remember the last time he’d

was so hell-bent on being overwhelmingly original

She said she got the feeling that actually it wasn’t

actually seen her enjoying anything, or not openly

and unpredictable that she’d somehow managed

about her enjoying or not enjoying anything at all.

admitting to enjoyment anyway, because she was

to completely divorce the things she genuinely

It was actually, when you looked at it, about Daniel

too busy trying not to enjoy things he’d suggested

felt from the things she wanted to feel or thought

being right. He had to get his prediction in so he

she might enjoy. She said he didn’t know her at all.

it would be cool or interesting to feel. The end

could enjoy the feeling of being right, because being

He agreed, but added that he got the feeling she

result, as far as he saw it, was that she didn’t feel

right after the fact wasn’t being right at all it was

liked it that way because she was still in thrall to

anything at all but just responded in a calculated

just stating the obvious. Daniel said she was right,

the ridiculous idea that being unpredictable and

to fashion to given situations and stimuli. If she

failing to admit to the most

wanted to be unpredictable, he said, she should try

this was all about him being right

Daniel was less inventive with

but what it was really about was her

his imagery than Katherine, par-

common of human emotions

actually feeling things rather than thinking about

total inability to accept the times he

ticularly when mid-argument, so

made her somehow more

them and then artificially constructing her feelings

was right, so she’d cut off her nose

he actually said cutting your nose

interesting

mysterious

as a response to what she’d thought. Katherine

whereas it actually just made

then said that she couldn’t actually believe that he,

to spite her face and waste precious

off to spite your face. The sneer it elicited from Katherine only served

and

time and energy proving him wrong.

to anger him even further and,

her even more

What was it, he wanted to know,

ironically, to bolster the very feelings

predictable

‘The Real Problem.’ It was a recurring theme and they had come to think of

about him being right that was so

of inadequacy and emasculation that

because whatever

it as being capitalised and possibly italicised. Once, Daniel had had a dream

the majority of

where he was drinking in a bar called The Real Problem, and the name was

difficult to take, and didn’t she think

drove him to prove himself right all the time in the first place.

there was something malignant

people liked or

Both Katherine and Daniel argued by continually defining and re-defining

written in neon above the door. Whenever either of them said it they gave it heavy stress. Katherine sometimes waggled the first and middle fingers

going on in their relationship if she couldn’t bear

felt or held to be true it was pretty

of each hand in the air to indicate quotation marks, but only when Daniel

him either to enjoy anything or be right about

much guaranteed that Katherine was

had just said it. The Real Problem was never something that was clearly

anything, because what, really, did that leave him

going to go haring off in entirely the

defined, but was a flexible, shifting term that took on different character-

with? Then Katherine asked him how he felt when

opposite direction. He said the real

she enjoyed something and he said he didn’t know

problem was that she, Katherine,

istics depending on the nature of the disagreement and stood in for the actual, genuine Real Problem which was that they no longer agreed about anything and were making each other miserable to the point where they actually resented each other for systematically siphoning the joy out of each

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other’s lives.


Daniel, had the audacity to accuse her, Katherine,

going into some spiral of concern and doubt every

was just to leave her alone and let her be unhappy

of not having adequate feelings. She said what he

time she appeared to be unhappy or expressed

or happy or whatever the fuck she wanted to be

couldn’t understand was that he regarded her

unhappiness in any way then clearly everything was

without his needy and emotionally domineering

feelings and responses as odd and inappropriate

going to fall apart because the very pressure of

and, when you got right down to it, actually pretty

only because he was so bound up in his stupid

being happy was in itself making her unhappy, just

pathetic ongoing-attempt to control her every

ideas of what most people normally did and was so keen to keep his

Big finger-waggling here, for this point.

as the very pressure of building towards the

thought and fucking feeling. Daniel then said that,

ending of a book which was supposed to be

OK, yes, that was as maybe, but what about his

own responses and reactions in line with these

great would in itself not only ruin the

broad and basically quite mis-guided notions of

book because she’d be overly-hasty

Katherine was highly skilled at bringing arguments back to their original

normality and conformity that the minute anyone

in rushing through it to get to the

frame of reference, primarily because she was much better at arguing than

had any sort of genuine, from-the-gut response to

supposedly great ending but would

anything he rejected it out of hand. Furthermore,

also utterly ruin the ending because it

she suggested, Daniel’s whole concept of what she

could only ever be a disappointment.

because they were often arguing about something he didn’t want to argue

should or shouldn’t be feeling was itself bound up in

So, she said, if Daniel wanted her to

about and so had usually spent much of the argument steering it towards

what she saw as his apparently relentless insecurity,

be happy and, in turn, wanted them to

meaning that her happiness, or the appearance of

be happy or at least wanted them to

her happiness, was of concern to him not because

appear to be happy the simplest thing

he cared about her happiness but because of the way her happiness reflected and impacted on him.

Daniel. It was a useful tactic because it not only made her sequence of logic seem utterly unbroken and without flaw, but also implied that Daniel, who rarely referred back to the originating kernel of the dispute, primarily

something he did want to argue about and had forgotten what they were actually arguing about and thereby had constructed a position that made no sense and was untenable.

Katherine had suggested more than once that Daniel didn’t actually care about whether or not they were happy as a couple, he just cared very deeply about the idea of anyone looking at them and thinking they were unhappy. Happiness, she’d once suggested, was, to

He needed her to be happy, was the basic gist,

Daniel, a way of showing off. Because this had been argued about several times in its own right, Katherine now didn’t need to go into it

because that way everything, namely them, was

here, but could simply insert it as a suggestion, thereby both strengthening her current argument with further evidence and also subtly

OK, and this was, she said, a pretty oppressive pressure to live with, this dictatorial approach to

weakening Daniel’s resolve as she knew it was an issue he hadn’t entirely gotten to grips with. Note that although Katherine used this point in much the same way as they both used the idea of The Real Problem, it was dissimilar in the fact that Daniel never threw it back, meaning it was not bounced around and dissected and recycled in the same way as the concept of The Real Problem. It was therefore

her happiness. Sometimes she couldn’t be happy, it

a big weapon for Katherine and a safe concept to deploy at any time because she knew Daniel would not follow it up, so it was an easy

was as simple as that, and if he was going to start

point with no risk of being steered off course.

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happiness? Wasn’t it perfectly natural that if you loved someone you wanted them to happy and that in consequence a big part of

Because Daniel knew that a great part of Katherine’s self-image was founded on her idea that she was different from (meaning better than) everyone else, he was keen to use words like predictable and dull as often as possible when arguing with her, particularly when implying her “unpredictability” [Daniel himself used the finger-waggling technique for this word] might be forced and fake and basically completely

your ability to be happy and relaxed was tied

predictable. He had, in previous arguments, extended this to imply that Katherine’s whole effort to portray his, as she put it, “obsession” with

up in their happiness? It seemed to him, he

normality as somehow in itself abnormal or philosophically misguided was in itself an old and tired argument used primarily by people who

said, that this was in fact perfectly normal

knew they were just like everyone else but deeply wished they were not, but also, of course, deeply wished they were more like everyone

and not something he had to justify in order

else. External eccentricity, he said, was frequently a mask for a deep-seated internal conservatism that the individual found repellent and which caused much self-hatred and self-denial. Knowing Katherine as well as he did, Daniel knew that for all her arguments about hating the

to answer her frankly fairly predictable

idea of normality, part of what drove her was a desire to be more like everyone else, whose lives she regarded as simple, uncluttered by the

arguments about normality. Moreover, he

thoughts and feelings she was convinced that only she experienced. By questioning the way she questioned normality, Daniel could needle

said, did she have any idea how selfish her

away at Katherine’s secret fear she was weird and isolated and had something wrong with her. Because he’d played this line of argument

argument sounded? What if he was happy,

out several times, and had explicitly implied there was Something Wrong with Katherine, he could now insert it in much the same way as Katherine inserted the Daniel-Caring-About-People-Seeing-Them-As-Happy argument. In some ways it was a stronger weapon, but also,

and enjoying something, and either wanted to

Daniel knew, a considerably crueller one too, because Katherine’s feelings of isolation could at times spill over into something dangerous

share that with her or didn’t, whichever, and

and genuinely sad-making, and using this knowledge to win an argument felt to Daniel, morally, pretty dubious. In the heat of the argument,

her non-enjoyment or general unhappiness

however, he could never resist.

impeded on his enjoyment and happiness? Because A common accusation from Daniel, and a carefully constructed question. Daniel had, over time, accused Katherine of selfishness a great many times and knew that it hurt her. It had, however, become a somewhat over-used weapon in that Katherine had built up considerable defences against it and had even, once she was well-versed in the argument, begun to turn

that was, he said, how he felt, every day, all the time. Like the minute he was happy about anything

it back on him. Daniel had therefore started to insert it into arguments not as a direct question regarding selfishness as such,

she’d go and suck the joy out of it until it was just

but as a question that questioned her ability to diagnose selfishness in herself, usually with a face that implied, as far as Daniel’s

a dry husk, and it was making him miserable, all

not-particularly expressive face would allow, utter, disbelieving incredulousness. This was effective because it simultaneously

the time, every day; and she wanted to talk about

implied that Katherine’s selfishness was so advanced she was unable to stand back and look at it objectively and also palpated another of Katherine’s deep and not-often-discussed fears: that her self-awareness was completely misguided and she was not at

him being megalomaniacal about HIS feelings? This

all the person she thought she was. This was usually expressed by Katherine suddenly breaking the silence and looking up from

coming from the person who whenever she was

a book or magazine with a profoundly concerned ‘have-I-just-left-the-gas-on’ expression and saying something like ‘oh my God,

pissed off had to make sure everyone else was

am I actually just completely self-obsessed and awful and impossible to be around?’

pissed off too, preferably more than she was? Who found, when she was unhappy, not only no

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relief being around people who were happy and

and told him in her most cutting and bile-filled yet

trying to make her happy, but actually just found

still oddly calm and polite voice that not everyone

it irritating and nauseating? And if she wanted to

was able, or willing, as he seemed to be, of

go back to the book and the ending of the bloody

going through the whole of their lives constantly

book if she really wanted to be pedantic about

selecting the appropriate emotion from a fucking

it, her near-vitriolic dismissal of everything he’d

drop-down menu. Then she walked away, as she

enjoyed about the book and the fact that it had

always did, while Daniel just stood still and hoped

been his very enjoyment of something so simple as

there was dignity in silence.

a good ending to a book which had started such a

Then Katherine went quiet, and stared at him

sprawling argument in the first place, actually made

coldly, and gave her thin smile and cock of the head

him think he didn’t like the book so much after

and told him in her most cutting and bile-filled yet

all, or that he was stupid for liking it. At the very

still oddly calm and polite voice that not everyone

least, his enjoyment of it was now counterbalanced

was able, or willing, as he seemed to be, of going

by the associations it had taken on with a lot of

through the whole of their lives constantly selecting

very negative feelings and reminders. And honestly,

the appropriate emotion from a fucking drop-down

he said, even if you accepted that they were both

menu. Then she walked away, as she always did,

somehow tyrannical about their emotions and

while Daniel just stood still and hoped there was

both wanted other people, particularly each other,

dignity in silence.

to feel what they individually were feeling, wasn’t the fact that he wanted her to be happy far more

Which of course there wasn’t, because just as their

defensible and in many ways admirable than the fact

arguments were all about happiness, their silences were

that she just seemed to want him and everyone

all about sex, which was another story entirely.

else to be as miserable and fucked up as she was? Then Katherine went quiet, and stared at him coldly, and gave her thin smile and cock of the head

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Sam Byers was born in Durham in 1979. He is a graduate of the UEA masters course in Creative Writing, and is now studying for his PHD. He is currently at work on a novel, entitled Idiopathy, which will be published by 4th Estate. 19


“Add, Stir, Cover and Bake...

(THIS MONTH’S MP3)

BLACK JACK BARNET Blood & Brine Illustration by Jimmy Blakeley Poet-singer and storytelling songwriter BLACK JACK BARNET performs self-penned wittyditty’s, naughty nursery rhymes, torrid tales, tongue-twisters and verses of vice and villainy sung to a suitcase stompin’, tambourine tappin’, banjo pluckin’, uke strummin’ soundtrack. Bringing to life a cartoon world of prostitutes, pirates, perverts, strippers, witches, and various other comical unsavoury characters, Black Jack Barnet casts his whimsical eye upon society and makes light of its many ills. Black Jack Barnet’s unique performances are uplifting, laugh out loud, sing-a-long’s for grown up boys and girls of all ages to enjoy.

“You may be amused, you may be moved, but you won’t be bored” - Manchester Art Gallery

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is ready to serve”

Jimmy Blakeley is an Illustrator based in Chorlton, South Manchester. His style is a mixture of block colour and found images creating a certain 1960s graphic look while retaining a contemporary feel. He has created a range of products such as celebration cards, posters and limited edition prints which are sold in a brilliant little independent shop in Chorlton called “WOWIE ZOWIE!” Jimmy is currently creating a series of surreal little stories and accompanying Illustrations from a world called Inkkland a land full of strange creatures and characters.


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What is Centrepoint Collective? Centrepoint is a platform for photographers to showcase their work. We are a group motivated by similar objectives and goals, such as to promote and exhibit the work of emerging photographers as well as our own. We look for exhibition spaces, curate other people’s work and carry out activities for the endorsement of photography as an art form here in the UK and abroad. How did it begin? Five graduates from different universities and backgrounds got together to initially develop a project that would work as a platform to launch our practice. Living in the UK for several years left us rootless. Not belonging here nor to our countries of origin. We started exploring concepts such as identity, cultural loss and

adaptation. Then we came with the name Centrepoint Collective as a meeting point. Being from different places and trying to fit in the melting pot of cultures that UK’s big cities are made of, cultural identity became the gravestone of the project. We aim to support the photographic exchange between cultural identities, leading to subsequent exhibitions in each member’s country of origin and beyond and also to create a platform that enables emerging photographers to share ideas and develop collective/individual projects. On our blog we showcase emerging photographers’ work periodically and also some well-known photographers such as Boogie (NY/Belgrade) and Juan Antonio Sanchez Rull (Mexico) from time to time. Although the blog is quite recent, it is growing very quickly. More and more up and coming photographers want to be on it and this makes us feel like we are on the right path. 22


EATUR

Where are you based? We are predominantly based in the UK – London and Manchester. We are looking forward to having more members in the near future, especially photographers with mixed cultural backgrounds and from other places around the world.   Why a blog? Blogs are a feasible way to have presence on the net. Many photography magazines, galleries and websites such as 1000Words, The F Blog, HOST and Lens Culture to mention just a few, have blogs where photographers submit their work. We realised that this was the new way of showcasing photography and we decided to go for it. We are aware of the difficulties that emerging photographers face when finding places where to display their work, so we started out our blog with the intention of giving other photographers, as well as ourselves, another space to show their projects. Blogs are much more dynamic than websites, and statistics show a much higher rate of re-visits than other forms of web content.  

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Do you show your work? We do show our own work, but we also include the work of guest photographers in most of our exhibitions. As practitioners, we use different tools available to promote our work. We have had exhibitions in very diverse locations, from regular exhibiting spaces to more atypical ones. Venues have responded very positively to our proposals and the spaces have been free of charge. We are very pleased by the enthusiastic response to our projects to date.

ball (3rdJuly) and on the ‘Festival of Culture’, Euston (10thJuly) and also at the MIRIAD foyer at MMU, Manchester in September and on East London’s Photomonth Festival in October/November. For more information go to www.centrepointcollective.blogspot.com

Our first exhibition as Centrepoint Collective was at the wonderful and most beloved Foundry, which has unfortunately been forced to close down a very short while ago. The following shows have been put on at one-off events such as the ‘Latinamerican Identity Conference’ at the School of Oriental and African Studies, London and ‘Granville Hospital’ in Normandy, France. If so, where can we see it and when? We are currently at an exciting moment, with four forthcoming exhibitions. We will be exhibiting shortly at King’s College Micro 24


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BLANKP 26


BLANKPICKS Phil Craggs

As anyone who read my obituary of him will know, I am something of a fan of J.G. Ballard. A giant of 20th century literature, his work began as science fiction, moved through a controversially explicit stage of disturbing experimental novels, before finding commercial success with the semiautobiographical Empire Of The Sun. Hello America was published in 1981, between the latter of these initial phases and is not generally one of his more celebrated novels. This is a shame as, while it might not quite reach the heights of his best work, it is a highly effective, imaginative and amusing book. Ballard’s sense of fun is often overlooked but it comes to the fore here in what is by his standards almost a comedy. Set in a future when America has been abandoned following the disaster of the oil reserves running out, an expedition arrives to explore and discover what has happened to the legendary country. They find it not as deserted as they first thought, and soon the dreams of what America has meant and can mean drive individuals to desperate measures. Doesn’t sound like there’s lots of room for laughs but Ballard has a sly wit which

sneaks humour in at the most unlikely moment. Effectively the whole book is a satire on America (although a very affectionate one) which focuses on the idea of the ‘American Dream’ and how it can be, and has been, perverted and brought to its knees. That said, the book concludes that even a near apocalypse can’t lessen the impact of the kind of thinking that made America such a super-power and caught the hearts and minds of millions the world over. I’m always in two minds about the concept of the ‘Reader’ – a book which collates extracts from a writer’s work and puts them together in one volume. The plus side is that it acts as a literary ‘Greatest Hits’ and so could be seen as a perfect introduction to a writer for the novice. On the flip side, taking extracts out of their context can alter their meaning and disrupt the writer’s original flow of ideas. Perhaps this kind of book makes more sense when dealing with philosophers rather than novelists. After all, novelists usually have plots in each book that need following, and taking an extract from such a plot can render it almost meaningless. A philosopher in contrast have ideas that need following, and these ideas can sometimes be summed up in an extract, or put next to an 27

extract from another book that develops the idea further. The latter is certainly the approach taken in The Nietzsche Reader which is split into areas of his thought, and then extracts are selected to make a coherent argument. My previous Nietzsche experience amounts to one book (On The Genealogy Of Morality) and this book is offering a good crash course in the wider areas of his thought. No substitute for reading the complete texts of course, but perhaps not the worst way in. It also reminded me of how comparatively easy Nietzsche is to read compared to other philosophers, and indeed how immensely quotable. Recommended for anyone wanting to dip their toes into Nietzsche’s world but unsure where to start.


obsessional mark making, issues of time, the fight

LIBERATION

Cube Gallery, Manchester

to cover or not to cover the entire working surface

Chinese Art Centre, Manchester

runs till 12th July

and the impermanence of the image. He investigates

runs till 14th August

CUBE is delighted to be hosting a series of regional

the thought that we leave a residue everywhere we

Liberation is an exhibition growing out of an ongoing

graduate showcases ‘4°’ highlighting fresh creative

go, in our actions and in our thoughts. Guest rigidly

discussion with Carol Yinghua Lu and Liu Ding following

talent from the region, including Blackpool and The

sets aside uninterrupted 10 hourly drawing sessions

the blocked use of a selection of social-networking and

Fylde College, Stockport College, Northern School of

throughout the night in a compulsive process that

self-publishing websites such as Twitter, Facebook, and

Design (UCLAN) and the University of Chester. Recent

draws comparisons with Horror Vacui - an obsession

Youtube in China. This exhibition takes the form of a

graduates will be showcasing a broad range of creative

to completely cover and remove any “voids”.

visual art exhibition as well as a series of events and a

skills from ten differing degree courses.

http://www.cornerhouse.org/

http://www.cube.org.uk/ info@cube.org.uk

blog discussion among the curators of the exhibition and invited guests. It proposes a close look into the

THE VIEW FROM HERE

openness and potential of the Internet world as well

NEXUS ART CAFE, MANCHESTER

as its susceptibility to power and political manipulation

A HORSE WALKS INTO A BAR

2nd July - 15th August

and ideological controls.

Castlefield Gallery, Manchester

Key themes of the exhibition include urbanization,

http://www.chinese-arts-centre.org/

runs till 8th August

environmental utopias and childhood imagination. The

Castlefield Gallery is pleased to present a group

body of work as a whole draws inspiration from both

Manchester Jazz Festival

exhibition A Horse walks into a Bar including work

the past and present with visible influences from art

Various Locations

by Corey Arnold, Richard Billingham, Andrew Bracey,

movements such as Romanticism, Futurism and Cubism.

23rd - 31st July

Lorraine Burrell, Maddi Nicholson, Dan Staincliffe, Chiz

The focus lies in the creation of imaginary landscapes

Highlights this year will include Gwilym Simcock/Mike

Turnross, UHC and Mark Wallinger. Using a range of

with their own emotive connotations and sense of place.

Walker/Steve Swallow/Adam Nussbaum (RNCM, 27

media such as video, painting, photography, sculpture

theviewfromhere2010@gmail.com

July), Phil Bancroft’s “Home - as Small as the World”

and performance, the artists playfully examine the

http://www.nexusartcafe.com/

(RNCM, 28 July), Stu Brown’s Raymond Scott Project

parameters of human and animal characteristics and question the evolution of the human race.

(RNCM, 29 July), a live broadcast of BBC Radio 3’s Jazz UNREALISED POTENTIAL

on 3 (26 July), a jazz film season at The Printworks,

Cornerhouse, Manchester

a young bands showcase series in collaboration with

17th July - 12th September

Wigan International Jazz Festival, plenty of free gigs in

Unrealised Potential is a collaborative group exhibition

St Ann’s Square and at the Festival Pavilion in Albert

Cornerhouse, Manchester

instigated by artist/curator Mike Chavez-Dawson. The

Square, as well as gigs at Band on the Wall, Bridgewater

6th July - 15th August

show aims to explore the creative potential of artists’

Hall, Matt & Phred’s...

Christopher Guest is exhibiting a series of original

unrealised projects, blurring the lines between artist,

www.castlefieldgallery.co.uk FRAGMENTS

works from recent black-and-white drawings. These large scale ‘doodles’ demonstrate his concern with

curator, visitor and producer. http://www.cornerhouse.org/

28

http://www.manchesterjazz.com/


THE DECISION Theatre Royal, Manchester, 26th - 29th July

Mia Darlone launches her first clean production as the first

in 2008, utilising a space which is currently not typically

theatre production at Manchester Theatre Royal since 1921.

used for theatre production will hopefully attract a new

Featuring a cast of professional actors, a stand up comedian

crowd of people to come and see theatre, in addition to

and Pizza Hut waitress, Mia is showcasing a new toned down

traditional theatre-goers.

style of writing this year, in hope of repeating her sell out

Up until 2010, Mia was gigging regularly on the stand-up

success following her production of Below the Below in 2009.

comedy and poetry circuits, performing at Edinburgh and

The play, The Decision, is a dramatic comedy about a

Jongleurs in 2009, before hanging up the microphone to

Busker, who relocates from Middlesbrough to Manchester,

concentrate on chasing a script writing career. She has

and follows the relationship with his ex-girlfriend. “The rest

been writing, producing and performing in her spare time

of the storyline is under-wraps, in hope that it’ll spur a few

for the last four years whilst holding down a full time job

goosebumps when it’s revealed.”

in the NHS working with neurologically impaired patients

Mia Darlone, Writer and Producer.

in North Manchester.

The Decision cast are lead by fast emerging Theatre

This production is currently unfunded and is being done

Director Charlie Mortimer, and is made up of Paul Brandreth,

voluntarily by all members of the cast and production team.

HAZARD MMX

Rebecca Andrews, Parisa Nikkhah-eshghi, Sharon Heywood,

They would like to thank the Coliseum for the venue and

Manchester City Centre

Mark Rigby, Jennifer Edwards and Beth Cooper (who is also

the boys at Rock Bottom for their help with promotion,

17th July

Assistant Producer of the production). The production is at

The Palace Hotel for the loan of the seating, fastprintuk

Cheeky, thought-provoking and sometimes raunchy

the hands of Darlone, praised in the Metro last year for her

for the posters, Vicki Smith for the flyer design and Andy.

sprees of eccentricity… HAZARD is a biennial festival

previous production’s “deft comic touch” and described as “a

The Decision is being shown at the Theatre Royal

of intervention and sited performance offering strange

performance which captivated, mesmerized and more than

(currently run as Club Coliseum) from 26th-29th July,

occurrences in unexpected places.

fulfilled the definition of the word ‘entertain’” by Write Out

6.30pm doors / bar 7.30pm start. Tickets £5 from www.

Loud.

quaytickets.com | 0843 208 0500.

So far, we’ve wrapped Cathedral Gardens in fluttering yellow and black tape, brought shop-dummies to life on

As with last year, Mia has worked her poetry into the

Market St, unleashed dancing traffic cones and attempted

writing of the play, this year by writing the lyrics to the

to circumnavigate the city by canoe. This year also

original music, written by acoustic artist Andy Needham.

promises an outbreak of flashmobs and pervasive gaming courtesy of Larkin’ About — so come out and play! http://www.myspace.com/hazardmcr

To include your event in next month’s issue email

The aim of the production is to showcase the work of the

• Not all tickets are seated so please arrive early if you do not wish to stand. • The venue can currently only allow over 18 in.

production team and cast, in the hope of gaining further

For interviews, comment pictures and/or information

opportunities within the industry. It is also an aim to make

please contact Mia Darlone at miadarlone@hotmail.co.uk.

the production accessible to a wide audience and therefore

Website www.miadarlone.weebly.co.uk

the ticket prices have been kept low to facilitate this. As with

Event on Facebook.

the use of the Deaf Institute last year and the Waldorf pub

editor@blankmediacollective.org with your event title, location, date and time and a short description (100 words).

Please note:

29


Blank Media Collective Team: Director: Mark Devereux Financial Administrator: Martin Dale Development Coordinators: Dwight Clarke & Annette Cookson Information Manager: Sylvia Coates Website designer: Simon Mills Exhibition Coordinators: Jamie Hyde, Marcelle Holt, Claire Curtin, Rachael Farmer & Taneesha Ahmed Special Projects Coordinator: Victoria Jones Live Music Coordinator: Iain Goodyear Official Photographer: Gareth Hacking

blankpages Team: Editor: John Leyland Fiction Editor: Phil Craggs Poetry Editor: Baiba Auria Music Editor: Dan Bridgwood-Hill Visual Editors / Designers: Henry Roberts & Michael Thorp

Blank Media is kindly supported by Lazy Daises

&

blankpages Issue 24  

Kevin Bradshaw / Tom Harding / Monica Metsers / Sam Byers / Jimmy Blakeley / Black Jack Barnet / Centrepoint Collective This month we're sh...

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