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This is the space I'm suggesting the current MA group use to have a series of online discussions over the Easter break. If you follow one of the discussions at the bottom of the page you can see the structure of the conversations - just reply > you can enter a discussion at at any point > It may also be interesting to view last years conversations which might illustrate some of the concerns of the previous group.
Rather than set a time the discussion could be ongoing from the 8th onwards -
or / we can meet at 10am / continue the course meet time >
Sounds grand. I'm up for taking it seriously, but I wouldn't want to neglect Leeds. I think we should try and make both shows compliment each other if we can.
The space sounds exciting. About how much room would each person have if say, 20 people wanted to exhibit physical work?
i think you're right, ash. my creative experience has manifested itself in leeds and i would be loathe to ignore leeds in favour of london. i'm sure we could take the show from leeds to london - any thoughts?
it s a interesting article - Icould bring in some examples of different kinds of catalogues (content and form) when we are in next if that would help? - Have to say the Baltic stuff was so lovely collectable - even the envelopes it arrived in... Let me know if you would like me to bring in some catalogue exmples (want to avoid something to do with teaching to suck eggs ;-))
It would be nice to see your collection / or anyone's collection – I think a general awareness of what can constitute a 'catalogue' would help define a group ambition for what it could be.
Hello
heres a new development - I have been asked to move the dates - With Martin we decided on a two week run instaed of a four week [ it was a bit difficult for me at this time] which would start in late august and thru early september - this is useful as we can produce what we want and documentation as we want - which can then become embedded in the MA degree show for the f/t students and p/t who are also graduating as well as contributing to the assessment for the following year. So around 25/08 - 07/09 - with a view to deliever the work slightly beforehand and return to Leeds for MA degree show around second week. We will confer with Liz and Chris.
Hi, guess two weeks makes it logistically more possible (invig, equipment hire) and Im sure most people who are going to come see it come in the first few days (and the last few days!!) Also less pressure if work can be re shown in Leeds. Still like the idea of creating off site connections to the MA show (even if they happened before it but are giving the illusion of happening at the same time) - Ive checked with AXIS re their MAstars coverage/opportunities - unfortunatly due to funding remits there is a limit on regional MA coverage with Leeds Uni (along with Sheffield) getting the nod ahead of leeds met etc ... They did say they would try and send a member of staff to cover it (so maybe something will come from that for those who are graduating). Are we back in next week? Rupert
the new obsolete; the outmoded- a difference. outmoded - but reconstructed, reenacted, reinvented. from the cold to the pure, the 'old' always elicits the new in unexpected ways. the closure on an outmoded technology allows the artist some narrative control. the objects that function in 'uselessness' are also on the edge of a contemporary sublime. [time]
there's a philosophical problem to do with 'temporalisation' of concepts, that prevent rather than protect - theres an unnecessary relation between the image and the thing in the world. The image suffers obsolescence as much, conjoined to the object. 'the rest is noise' the history becomes part of the experience, but Duchamp is obsolete. period. The idea that the obsolete is really dead and worthless becomes interesting as to how the mechanism of obsolescence is 'geared' or running at different speeds. Another term 'time-lag' comes from earlier in Levi-Strauss which talks of different speeds of culture. Also of ideological redundant material like the eastern block adherence to icons Lenin and Marx, which begin to look ridiculous, without us trying to salvage reputations et cetera...these are the beginnings of an understanding of how style operates, how the obsolete is an apparatus.
These obsolescences in art practices also loom large. Say arguably Andrea Fraser's institutional critique is obsolete because institutions at that time have been changed from the inside anyway.The dimension of obsolescence as an artistic 'rule' of resource and the transformation of worthless material. thats a start I guess
