Public Sphere: process and practices
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Public Sphere: process and practices
Practices as an Intersection in a Fragile Environment
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Index pag. 7 /9
Contribution · Federica Candelaresi
pag. 11 / 13
Contribution · Skinder Hundal
pag. 15 / 59
The process 14 February / 07 April
pag. 63 / 69
Meeting places · Claudio Zecchi | Spotlights · Giorgia Noto
pag. 72 / 81
Graphic project · Roberto Memoli
pag.
The game 07 April
pag. 133 / 153
KETTLEmountain · C. Brazier with J. Williams CHAMELEON · C. Brazier with J. Williams Italiafusball · C. Brazier with J. Williams
pag. 136 - 157
Colophon
pag. 160 / 175
Note
82 / 131
Public Sphere: process and practices
Index Index Index Index Index Index Index
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Federica Candelaresi
General Secretery of the BJCEM
Contribution
Federica Candelaresi
Public Sphere: process and practices
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BJCEM
General Secretery
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BJCEM, Biennale des jeunes créateurs de l’Europe et de la Méditerranée, is an international network founded in Sarajevo on July 2001, with a registered office in Brussels and an executive one in Turin. Nowadays, 56 members from 20 countries, gathering together cultural institutions as well as independent organizations, compose the Network. BJCEM has established collaborations with partners all over Europe, Middle East, Africa and more widely with organizations and projects focused on the Mediterranean Diaspora. Our network is present in the following countries: Albania, Bosnia and Herzegovina, Cyprus, Egypt, France, Greece, Italy, Lebanon, Malta, Montenegro, Palestine, Portugal, Republic of San Marino, Serbia, Slovenia, Spain and Turkey. We cooperate with external partners in Austria, Croatia, Israel, Kosovo and UK with a special attention also toward Morocco, Tunisia and Algeria. The aim of BJCEM is to create opportunities for the young creators of training, mobility, exchange, mutual understanding, intercultural dialogue and collaboration. BJCEM has been supporting the project Practices as an Intersection in a Fragile Environment since its first step in Milan at Fabbrica del Vapore, backing up the work of the curator Claudio Zecchi in the different contexts he has been operating. We firmly believe in the importance of constructing relations and synergies towards the territories and the local communities, as we consider it the right way to promote an idea of artistic practice, in a wider sense, which is not an abstract entity, separate from society, but is instead strongly involved in it, bearing a social role, being an instrument to foster respect and understanding for diversity, to discover and learn the values of different cultures and enriching their own.
Public Sphere: process and practices
For these reasons, BJCEM believes that a project like Practices as an Intersection in a Fragile Environment represents an effective and innovative method to investigate the relations between art and the public sphere as well as to re-discover the actual role of artists, curators, institutions and the public within the contemporary society at large. As General Secretary of BJCEM I’ve had the opportunity to attend the final event organised at New Art Exchange in Nottingham on April 7th 2016. It has been a very profitable and amazing experience to see how the different audiences involved in the final part of the project, structured as an interactive game, reacted and expressed themselves on the basis of the questions posed. This action permitted the people to confront themselves, to exchange experiences and knowledge. Therefore the very good results obtained by the project in terms of involvement of local communities, as well as of audience engagement, demonstrate that this kind of interdisciplinary research could represent a good practice that is able to easily adapt to different backgrounds, cultures, social scenes. BJCEM will keep on supporting this project as well as other activities and projects aimed at supporting young creativity and developing intercultural dialogue, exchange, mobility and learning opportunities for artists coming from Europe and the Mediterranean basin; raising awareness on the young artistic production among the general public; generating opportunities for training and career development.
Contribution
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Federica Candelaresi
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Contribution
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Skinder Hundal
Chief Executive, New Art Exchange
Public Sphere: process and practices
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Skinder Hundal
New Art Exchange
Chief Executive
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Public Sphere: process and practices
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Contribution
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Supporting a residency where the parameters and outcomes are unknown with only a principle means there is a risk that a project can simply wander, fall flat on its face or remain theoretical or an unfulfilled concept. Key in such a moment is to have belief and be open to the idea that actually falling flat on one’s face is ok as long as we learn. Without the experiment and a framework for failure how can we enter brave new territories and take our processes forwards. If we fear failure we remain stagnant. Here at New Art Exchange I believe in creating an environment that allows experimental encounters to take place and as long as the principle behind the project is genuine and with clear intent the experiment must happen…
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Skinder Hundal
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14 · February
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07 · April
Public Sphere: process and practices
The process
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14 February / 07 April
The process 15
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The publication is the final result of the two months project that took place in Nottingham at the New Art Exchange from February to April 2016. The project was mainly split into two parts. The first, that we can call The process and the second that we can call The game. The whole process has been documented during the two months on the blog performativepractices as a sort of ongoing diary. The photos published here are those I took during my conversations or downloaded and already posted on the blog itself or on the other social network (facebook, twitter, G+). For this reason, as a precise choice, they have never been edited and the quality is low. Although it looks like a paradox, The process ends up with another process: The game. In its open and porous structure, The game, open to different possibilities instead of only one. In this case the aim was to instigate an immediate reaction from the players who attended – anyone could participate – on the three words I deliberately selected as the most relevant coming out from the entire process. The result is indeed a sort of performative vocabulary where the language can always be re-negotiated in favour of a new and radical immagination.
Public Sphere: process and practices
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Practices as an Intersection in a Fragile Environment
Nottingham
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#00
Contemporary arts space Stimulating new perspectives on the value of diversity in art & society, Nottingham
Public Sphere: process and practices
NEW ART EXCHANGE
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#01
BEN HARRIOT
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Beyond The Barber’s Blade, 2014
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Courtesy the Artist and New Art Exchange
The barbershop, Nottingham
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#01
BEN HARRIOT
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#02
BAHBAK HASHEMI-NEZHAD
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The Hyson Green Workshops, citizen design action, 2016
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Courtesy the Artist and New Art Exchange
Primary, Nottingham
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#02
SMALL FOOD BAKERY
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#02
SMALL FOOD BAKERY
Primary, Nottingham
Primary, Nottingham
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#02
SMALL FOOD BAKERY
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#03
DOUG FISHBONE
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Doug Fishbone’s Leisure Land Golf, 2015-2016
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Courtesy the Artist and New Art Exchange, photo credits by Bartosz Kali
■ Nottingham
Courtesy Backlit
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#03
BACKLIT
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#03
BACKLIT
■ Nottingham
Courtesy Backlit
■ Nottingham
Courtesy Backlit
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#03
BACKLIT
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#04
DAVID STICKMAN HIGGINS
The studio
The studio
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#04
DAVID STICKMAN HIGGINS
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#05
New Art Exchange (YARD programme – Youth Arts Research and Development)
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Nottingham
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Courtesy New Art Exchange
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New Art Exchange (YARD programme – Youth Arts Research and Development)
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Nottingham
Courtesy New Art Exchange
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#05
15 · Post / 41 · Pictures
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#06
TRACE PROGRAMME
A project curated by Ruth Angel Edwards
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#06
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A project curated by Ruth Angel Edwards, Poster
Courtesy Communitas
Public Sphere: process and practices
TRACE PROGRAMME
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#06
TRACE PROGRAMME
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A project curated by Ruth Angel Edwards, Exploring Positioning, Publication
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#06
A project curated by Ruth Angel Edwards, Jake Kent in his studio at Backlit
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TRACE PROGRAMME
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#07
TRACEY MCMASTER
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Between the Devil and the Deep Blue Sea, Video frame, Commissioned by Backlit
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Courtesy the Artist
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#07
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Between the Devil and the Deep Blue Sea, Video frame, Commissioned by Backlit
Courtesy the Artist
Public Sphere: process and practices
TRACEY MCMASTER
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#08
LAURA JADE KLEE AND JOANNA DACOMBE
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Sidelong, 2013 Participants discovering “relics”
Courtesy Laura Jade Klee and Joanna Dacombe
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Sidelong, 2013 Participants discovering “relics”
Courtesy Laura Jade Klee and Joanna Dacombe
Public Sphere: process and practices
#08
LAURA JADE KLEE AND JOANNA DACOMBE
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#09
BO OLAWOYE
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Get Up Stand Up, 2014-15 Leaders of the civil rights movement march on Washington, credit archives foundation
Courtesy Bo Olawoye
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#09
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Get Up Stand Up, 2014-15 Leaders of the civil rights movement march on Washington, credit archives foundation
Courtesy Bo Olawoye
Public Sphere: process and practices
BO OLAWOYE
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#09
BO OLAWOYE
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Get Up Stand Up, 2014-15 Leaders of the civil rights movement march on Washington, credit archives foundation
Courtesy Bo Olawoye
■ Whistling Orchestra, February 2016
Courtesy Primary
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#10
PRIMARY
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#10
PRIMARY
Workshop setting up, 2016
Workshop setting up, 2016
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#10
PRIMARY
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#11
FRANÇOIS MATARASSO (Freelance writer, researcher and consultant)
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Ligeti quartet absent, 2013
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Courtesy Regular Marvels
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FRANÇOIS MATARASSO (Freelance writer, researcher and consultant)
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Nicole and Martin Caravan
Courtesy Regular Marvels
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#11
15 · Post / 41 · Pictures
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#12
DOMINIC WATSON
■ Significant Culture
Courtesy the Artist and Hutt Collective
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#12
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Untouched By Man, 2015 Installation of objects with royalty free HD stock footage
Courtesy the Artist
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CONNOR BRAZIER
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#13
ONE THOREBY STREET
■ The building
Courtesy One Thoresby Street
Artist’s studio
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#13
ONE THOREBY STREET
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#14
NOTTINGHAM TRENT UNIVERSITY
Newtoon Building
Inside Newton Building
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#14
NOTTINGHAM TRENT UNIVERSITY
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#15
JEFF BAKER
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Common Meadow, Images were taken during the seeding event in Oct 2013 and in spring 2014. However the flowers will not fully establish until 2015
Courtesy the Artist
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#15
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Common Meadow, Images were taken during the seeding event in Oct 2013 and in spring 2014. However the flowers will not fully establish until 2015
Courtesy the Artist
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JEFF BAKER
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#15
JEFF BAKER
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Buried Monuments, a project made in collaboration with artist Alexander Stevenson
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Courtesy the Artist
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#15
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Buried Monuments, a project made in collaboration with artist Alexander Stevenson
Courtesy the Artist
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JEFF BAKER
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Meeting places ■
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Claudio Zecchi
Claudio Zecchi
Spotlights • Giorgia Noto Independent Curator
Not a conventional text but short interventions. I deliberately choose some words from the text trying to enlarge their meaning towards a series of thoughts and suggestions. Words as links. Short spotlights.
Public Sphere: process and practices
Meeting places
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Independent Curator
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Conceived as a long-term discursive project, Practices as an Intersection in a Fragile Environment come to Nottingham for its third chapter. Launched in Milan at the end of 2014, it continued in New York in 2015. Both the two previous chapters, had a different shape compared to the latest one. Thus, what makes this project peculiar is its capacity to reveal itself in different shapes. In its intention to write a different narrative, the project aims to be somehow dysfunctional. Although it is prompted to investigate the relationship between the Art and the Public Sphere with a precise focus on the local resources, the project is usually the culmination of months of conversations with local artists, curators, institutions and communities across the city. Seeking to explore the fragile relationship between these two entities, these conversations aim to unearth how art engages with the local area and community, and the legacy of these relationships. The project it is not oriented to be necessairily productive or, for that matter, to show a final tangible product. In this case the process and the outcome coincide for most of its duration, and the outcome could be the final result itself, or not. The strength is paradoxically in its fagile side: in its ambition to be ephemeral (at least in this phase of investigation). As Gordon Matta-Clark used to punch holes in abandoned buildings in order to create a continuity between the inside and the outside, the project, in its performative position aims to unearth and incentivize the presence of alternative spaces generated by the discourse itself. This attitude clearly forces the Institutions to move towards the public sphere and think of a different public which is no longer passive. The speaker becomes a performer [1]. In its formal structure, Practices as an Intersection in a Fragile Environment continuously challanges the language in its capacity to be unstable never fixed, always reacting in a different way to the territories, the environment and on the people it crossed paths with. In other words saying the project tries to challange the status-quo and reacts on the different possible situations it faces each time it is on the ground.
Spotlights | Giorgia Noto
S H A P E The word “shape” reminds me to the work by Yona Friedman. Going through his website, I caught up with a short and interesting text about the concept of tensegrity re-wrote in his own words. Starting from the concept of tensegrity, Friedman drives in fact his interest into what is not predetermined as an attitude against the convention of using geometry. He introduced indeed the irregular forms as a way to convert the rigid structure of a geometric form into an open sculpture. Something that is possibile to re-shape. Irregular Shapes — Yona Friedman Reference: http://www.yonafriedman.nl/?page_id=632
1 — S. Sheikh, Talk value: culture industry and knowledge economy, in On Knowledge Production in Contemporary Art 2 — S.Sheikh, In the Place of the Public Sphere? Or, the world in Fragments, in http://republicart.net/disc/publicum/ sheikh03_en.pdf, June 2004 3 — S.Sheikh, Public Spheres and the Functions of Progressive Art Institutions, in http://www. republicart.net/disc/institution/ sheikh01_en.pdf, February 2004
Meeting places
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Claudio Zecchi
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Public Sphere: process and practices
That means it generates a dynamic that nurtures a different performing attitude by constantly re-negotiating its language in a trajectory that aimes to think of a different imaginary in discontinuity with the previous ones. Moreover, we cannot consider the public sphere and its relationship with the Art, the macro-topic this project focuses on as only one entity, as only one location, but as a fragmented place «consisting of a number of spaces and/or formations that sometimes connect, sometime close-off and that are in conflictual and contradictory relation to each other» [2]. Hence, the public can be considered as a platform of subjectivities, of politics, and different economies. An arena, a battleground (P. Bourdieau; H. Haake) where the Art field is only one of these spaces with its own language, its own identity, interconnected with the others and absolutely not independent. Even more, if we consider the interdisciplinary approach that many of the practices have nurtured in the last twenty years: expanded practices that interact with different fields (architecture, urban planning, sociology, philosophy etc.) «the field of art has become a field of possibilities, of exchange and comparative analysis» [3]. A field able to connect with other fields. A vector able to create a new language based on any pre-determined forms or thoughts. Able to think to a new imaginary and a new symbology. That means the project is not only about the content but also about how is narrate it. The result produced is indeed totally unpredictable and grows organically with its journey. It can’t guarantee a final answer, but a rainbow of possibilities. Still remaining on the formal side of the project, another reading is possible in terms of practice: as a process the project tries, in fact, to find a fil rouge on the fragmented public sphere by bridging attitudes, approches, process and practices. So, if the project can measure in its long-term trajectory on the same shared-methodology (the methodology never changes in each chapter), what definitely changes is the attitudes which necessarily respond to what the territories ask to be narrated. This actually makes
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the difference among each chapters. In this specific case, as soon as I shared with the New Art Exchange (the Institution that hosted the project) my intention to generate a wider, open and inclusive process involving people that were not necessarily part of the art world, they invited me to re-think the title. So, what was supposed to be presented with the same title – Practices as an Intersection in a Fragile Environment – has changed into Public Sphere: Process and Practices as the result of a dialectical process. The title is not a tiny insignificant detail, but indeed, a critical point. It is the starting point of the project itself. A point that somehow forced me to re-imagine and re-shape the project in a different way. Given this as a scenario, the places surveyed in Nottingham – starting from the New Art Exchange itself, passing through the otwher spaces, mainly considered independent but to some extent real Institutions (One Thoresby Street, Backlit and Primary) – as well as the artists I talked with and the projects I experienced, to different degrees and portions, all respond to the need to open a dialectical tension with the territory and the local communities, whatever that community is, on the basis of visual art projects. This is the case of The Hyson Green Workshops: citizen design action, a project by the designer Bahbak Hashemi-Nezhad, which explores an ambitious citizen-led project that emerged in NAE’s local neighbourhood, Hyson Green, in the 1970s. «Faced with ill-considered planning and architectural flaws of mass social housing, the active citizens of the flats, spearheaded by the Hyson Green Development Tenants’ Association, reacted by co-designing alternative solutions in their environment. Together, the group fought to transform the disused and problematic garages, situated underneath the flats, into spaces for cultural expression, community activity, and economic growth» [4]. It is also the case of Doug Fishbone’s Leisure Land Golf, a project designed and made by ten artists. «The installation uses the fun and accessible game of minigolf as a powerful tool for questioning the leisure industry and society’s compulsion for consumption whilst also addressing other important cultural topics from migration to global warming and globalisation»[5].
Spotlights | Giorgia Noto
P E O P LE I love the word “people”. It actually talks only about people. Nothing else. There are no expectations or anticipations about a possible role. It’s only about us. We can start to use this word instead of using the word “Public”? If yes, we can get rid off the idea of something that has to be consumed and, in the best of the cases, achieve a stronger and lasting relationship between People and Art.
4 — The Hyson Green Workshops: citizen design action in http://www.nae.org. uk/exhibition/hyson-greenworkshops-citizen-design/97 5 — Doug Fishbone’s Leisure Land Golf in http://www.nae.org. uk/exhibition/dougfishbones-leisureland-golf/99
MON U ME NT “Sitting on the floor, I’d replay the past in my head. Funny, that’s all I did, day after day after day for half a year, and I never tired of it. What I’d been through seemed so vast, with so many facets. Vast, but real, very real, which was why the experience persisted in towering before me, like a monument lit up at night. And the thing was, it was a monument to me.” Dance Dance Dance — Haruki Murakami Reference: https://www.goodreads.com/quotes/209121-sitting-on-the-floori-d-replay-the-past-in-my
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Claudio Zecchi
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Moving from the New Art Exchange, another interesting project is the Small Food Bakery at Primary, a place that instigates the doubt of its own nature: an art project, a social convivial place or simply a bakery? A project in its initial phase which definitely aims to create a sense of familiarity imagining a different way to produce and consume, to create an economy and, in the long-term, to affect the local diet on the basis of a different ethical choice. A bakery in an art venue that moves to blur the boundaries in an effort to facilitate the access of people that do not necessarily work in the art field. Primary itself is thus a porous place which engaged with the territory, and the local communities (artists and people from the neighbourhood) on different levels. Starting from a public program – Interaction – based on crossover’s practices which goal is to encourage and nurture the dialogue among different people investigating the and undermining the self-referential art language. Nevertheless in the specific case of Backlit, the engagement with the local area is mainly determined by Samuel Morley’s legacy (Morley Program). Samuel Morely is, in fact, a crucial character in the local history – a sort of forgotten hero – mainly described as a philanthropist, a Member of Parliament, a social reformer and an ardent abolitionist with a radical approach to the social activism and human rights. The activities fostered by Backlit – exhibitions, critical sessions, production and the commission of artworks, workshops, lectures i.e. – are hence the keys to explore, re-read and re-interpret the story of the building becoming a resource to reconnect the community and the territory with the place itself. The potential result is contribution to create a mutual identification between the local community and the building itself making this become a sort of monument. Possibly a symbol. As mentioned above, the Morley Program also determines the terms of the visual art and in some cases, the commission of an artwork. This is the case of Between the Devil and the Deep Blue Sea, a video by Tracey McMaster. The video formally revisited the Samuel Morely’s figure in the spirit of Twin Peaks, the cult series of the Nineties. The title refers to a line said by the main character of the film. Here, in
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a minimal but at the same time deliberately campy environment, a real psychic, talks about Samuel Morley revisiting his personality, his desires, his ambitions without script. Formally built on the basis of the opposition between fiction and reality, the movie was shot in real time. It does not matter if what the psychic says is true or not, what actually really matters is that he makes us believe in it. T H E O U T C O M E As already mentioned, the title determined the entire narration and what at the beginning was supposed to be presented as a traditional panel discussion slightly shifted into a game. A game concerning three of the most relevant keywords I interacted with during the process of dialogues: long term vs short term; language; sharing. What is actually interesting, and to some extent paradoxical, is the fact that the project, was mainly based on a process and ends up with another process which aims to instigate a different perspective by “writing” a, sort of, performative vocabulary based on three words. People who attended the game reacted to the exercises proposed, experimenting with the language in its totality by writing, drawing or even performing each questions using the performance space (the space where the game took place) as well as the space of the grid printed on the paper in their totality. As well as the performance space, the grid is extremely significant. It is a metaphor of the public sphere, a field of action, drawn by the Italian graphic designer, Roberto Memoli, as a result of a long conversation between he and myself on the project. Finally, people who attended the game, have also experienced the atmosphere being provoked by three video projections made by the local artist Connor Brazier, as the result of a one to one studio visit/workshop. Connor, who produced the video with his peer, Jade Williams, visually reacted to my instigations giving his interpretation of the three words.
Spotlights | Giorgia Noto
G A M E “I had no systematic way of learning but proceeded like a quilt maker, a patch of knowledge here a patch there but lovingly knitted. I would hungrily devour the intellectual scraps and leftovers of the learned.” Mumbo Jumbo — Ishmael Reed Reference: https://www.goodreads.com/work/quotes/18658-mumbo-jumbo The process of learning by Ishmael Reed - about the knowledge as a sort of mosaic of different fragments - brought me to the game’s dimension. How the idea of the game can improve our knowledge?
I M A G I N A RY Whatever the context is, the word Imaginary reminds me to Gianni Rodari. His capacity to build up an Imaginary and the use of Fantasy as a real and strong tool of introspection. The strength of our personal imaginary is a constant potential in our hands. It is a resource. Gianni Rodari was an important Italian intellectual and the complexity of his thought is the same of this word: both of them own so many aspects. A good practice for the future could be writing a little story starting from the words that grab us.
Claudio Zecchi Public Sphere: process and practices
Meeting places
6 — S. Sheikh, Talk value: culture industry and knowledge economy, in On Knowledge Production in Contemporary Art
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T H E I N S T I T U T I O N The New Art Exchange, that shared with the BJCEM (Association Biennale des Jeunes Créateurs de l’Europe et de la Méditerranée) the risk of supporting this project, in its public role, has definitely fostered a performative project that aims, in the Nottingham chapter, to be a bridge across different disciplines, touching fields that go even beyond the field of the art itself. It is an expanded practice that tried to connect unexplored dots and people around the city. A project that aims to share tools, thoughts, and knowledge; writing its (self) narration on a trajectory that contributes to create different signs, and a different imaginary. A thought that could even be unproductive instead of profitable and productive [6].
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The game is a section of the book dedicated to the outcome of the project. This has been documented by a collage of official (New Art Exchange) and unofficial photos, the work made by the participants, and the frame from video made by Connor Brazier and Jade Williams.
Desig studio — Long term vs Short term
a result of a long conversation
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Graphic project
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Roberto Memoli
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Desig studio — Language
a result of a long conversation
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Roberto Memoli
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Desig studio — Sharing
a result of a long conversation
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3 grids / type elements / 3D forms
a result of a long conversation
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3 grids / type elements / 3D forms
a result of a long conversation
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Documentation _ slide
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Documentation _ slide
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Nottingham based artist
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C. Brazier / J. Williams —
Connor Brazier
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Works
KETTLEmountain CHAMELEON Italiafusball ■
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Jade Williams
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a result of a one to one studio visit/workshop
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The three videos are made by the Nottingham based artist Connor Brazier. They are the result of a one to one studio visit/workshop. Connor, who produced the video with his peer Jade Williams, visually reacted to my instigations giving his interpretation on the three words – Long term vs Short term (KETTLEmountain), Language (CHAMELEON) and Sharing (Italiafusball) – which I deliberately selected to focus on for “the Game”.
Works
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KETTLEmountain (Long term vs Short term) https://www.youtube.com/watch?v=jvZLFtRxNd8
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Italiafusball (Sharing) https://www.youtube.com/watch?v=anATymeEn_A
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CHAMELEON (Language) https://www.youtube.com/watch?v=H0G2pLYzIP4
Video #1_ Long term vs Short term _ 10:05 min
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Video #1_ Long term vs Short term _ 10:05 min
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Video #1_ Long term vs Short term _ 10:05 min
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Video #2 _ Language _ 10:03 min
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CHAMELEON
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Video #2 _ Language _ 10:03 min
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CHAMELEON
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Video #2 _ Language _ 10:03 min
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CHAMELEON
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Video #3 _ Sharing _ 10:54 min
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Italiafusball
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Video #3 _ Sharing _ 10:54 min
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Video #3 _ Sharing _ 10:54 min
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Italiafusball
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156 A massive thanks to the New Art Exchange and the BJCEM - Association Internationale pour la Biennale des Jeunes Créateurs d’Europe et de la Méditerranée, who share the risk to support this project; to all that, on different degrees and portion, have contributed by sharing time, ideas and thoughts; to all that attended the “The game” but I don’t know in person; to all I crossed my path with; to all inspired me.
Institutional acknowladgment: · New Art Exchange
Contemporary arts space stimulating new perspectives on the value of diversity in art & society
· BJCEM
· BCC
Tristan Hessing David Stickman Higgins Skinder Hundal Hutt Collective Jake Kent Melanie Kidd Jez Kirby Lj Klée Bhavisha Kukadia Tracey McMaster Roberto Memoli Giorgia Noto Bo Olawoye One Thoresby Street Rebecca Ounstead Francesca Perrone Saziso Phiri Sooree Pillay Yelena Popova Primary Niki Russel Armindokht Shooshtari Emily Simpson
Small Food Bakery Surface Gallery The Lofthouse UK Young Artists Residency Unlimited Hannah Whitlow Nadia Whittome Jade Williams Safiya Williams Frédéric Xavier Liver
Association Internationale pour la Biennale des Jeunes Créateurs d’Europe et de la Méditerranée
Credito Cooperativo Cassa Rurale e Artigiana dell’Agro Pontino
Special thanks to: Antonio Abatangelo Ravi Abbott Marco Alfieri Hisham Ammar Backlit Jeff Baker Becky Beinart Kimberley Bell Michelle Bowen Connor Brazier Federica Candelaresi Joff Casciani Matthew Chesney Giulia Colletti Alba Colomo Bethan Gwawr Davies Joanna Dacombe Chiara Dellerba Maria Rosaria Digregorio Daniel Evans-Pughe Alice Gale-Feeny Janna Graham Ben Harriot
VIDEO: documentation of the outcome Shooting Hisham Ammar
Post / Editing Maria Rosaria Digregorio
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PUBLIC SPHERE: PROCESS AND PRACTICES is a project by Claudio Zecchi Website: www.performativepractices.blogspot.it
Colophon
Over the years he developed medium and long-term multidisciplinary projects that aim at generate, encourage and nurture a dialogue in a continues dialectical tension between different forms of thought, processes and practices. In 2014 he launched a new interdisciplinary platform, performativepractices, along with the project Practices as an intersection in a Fragile Environment (Milan 2014; New York 2015, Nottingham 2016) a project that has been conceived as a horizontal and porous long-term narration that originates from the need to reconsider from a discursive approach an almost ten-years long attention on the fragile relationship between the art and the public sphere. Seeking to explore these two entities, it aims to unearth how art engages with the local area and community, and the legacy of these relationships. The project is in fact, the culmination of months of conversations with artists, institutions and communities across the cities he surveys.
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Claudio Zecchi is an independent curator whose field of research is a practice aimed at investigating new visions and reading of the public sphere as well as the role that artists, curators, institutions and the public (in its active function) perform in the contemporary society at large.
BOOK
Editing Leane Clifton Chiara Dellerba Giorgia Noto Claudio Zecchi
Photos Hisham Ammar Federica Candelaresi Maria Rosaria Digregorio Claudio Zecchi
Design Roberto Memoli
Copiright All materials in this pubblication belong to the relative authors.
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Texts Federica Candelaresi Skinder Hundal Giorgia Noto Claudio Zecchi
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Free area
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Practices as an Intersection in a Fragile Environment
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