Interval – call for submissions

I’m co-curating part of this upcoming exhibition in Manchester. Submit your work!

Turnstile – Single Use
Deadline for Submissions is Monday 25th June 2007 at 6pm
Interval is looking for new media art works that respond or relate to the concept of ‘Single Use’.

Turnstile is a new concept in art tourism – an innovative exhibition format developed around the idea that most people only visit an exhibition once. Turnstile utilises this observation as an approach and redesigns the approach to an exhibition, mimicking an audience’s actions and flow.

Turnstile will consist of a series of 4 single-day exhibitions. Each day will see 5 artists install, exhibit and remove their work from the venue. This style of event is new and innovative, responsive to tight schedules and busy lifestyles. The space will be open for preview each evening from 5-9 pm, after which the work will be removed ready for the next 5 artists to install. Each day is sub themed, aiming to explore different contextual approaches around the notion of Single Use. The exhibition will take place in a large empty retail space in central Manchester at the end of July.

Canada Council for the Arts is 50

The Canada Council for the Arts is 50 years old this year. There are two things you can do to celebrate the success of this institution that has done much to cultivate the arts in Canada, making Canada a leader in cultural production:

1. Go to the Arts Challenge website and sign up to track fifty arts experiences that you will have this year, and encourage others to do the same.

2. Contribute to the Canada Council’s strategic plan. You can read the document online and comment on it, and all comments will be taken into consideration before the final strategic plan is presented to the Canada Council’s Board of Directors in October of this year.

I know I’ll be contributing to both of these efforts, and I think it is very clever that the Council has sought both an intellectual conribution (in the form of commentary on their draft strategic plan) as well as more general awareness-raising (in the form of a challenge to experience more art this year). If you sign up for the arts challenge, look me up under the username “MKultra”.

Technology for a Small Nation

I was recently at Technology for a Small Nation, a conference organised by bloc, exploring the ideas, implications and uses of technology in a small nation context.

First off, I was sitting in a session called “Small Nation Technology”, listening to Michael Cross, a journalist for the Guardian and campaigner for Free Our Data.

Michael made a very interesting point about the knowledge economy and governmental involvement. He asked the room if anyone had heard of Transport Direct, a website for comprehensive travel planning in the UK. No one had. He then revealed that Transport Direct is operated by a consortium, as a non-profit service funded by the UK Department for Transport, the Welsh Assembly Government and the Scottish Executive.

He posited this as problematic, a throwback to the 1950s – governments don’t operate factories anymore, so why do they operate businesses in the knowledge economy? (The funny thing is, as most Canadians know, the Canadian government still operates major businesses, called Crown corporations, which are state-controlled companies.) Despite the lingering presence of Crown corporations in former colonies, Michael’s point was still strong – allow private enterprise to establish themselves in the knowledge industries.

Quotes of the day go to Saul Albert, who notes: “It’s amazing how many wires are involved in wireless technology”, and also, in reference to his lending library project, “You don’t actually have to read the book, you could just talk to someone who has.” It was all very tongue-in-cheek. I only wish he had more time to talk about alternative currencies, particularly the example of the “Lime“, a currency (on par with the Pound Sterling) that was temporarily implemented during the World Summit on Free Information Infrastructures in London.

Later on in the day, issues of nationalism and its impact came up. I was so caught up in the discussion itself, that I have hardly any any notes. However, on my panel, William Housley really made an impact with his discussion of “cultural citizenship”. He described tensions between top down vs. bottom up, and introspective vs. international perspectives on national identity. (I later suggested to him that also expansive vs. fragmented could be another set of polarities.) He mentioned one particular case, of a proposal to hold the Welsh National Eisteddfod (an ancient festival of Welsh culture), in Liverpool, England, rather than in Wales. William outlined the outrage that this roused in some, but also the rationalisation of this by others, since Liverpool has a large Welsh community and is, in fact, very close to Wales. What determines “Welshness”, or in fact, any notion of national identity? In the Q+A afterwards, I brought up my favourite Scottish cultural mash-up, the haggis samosa, which to me is part of the way forward, not just for small nations, but for all nations – to acknowledge the hybridity of their populations. This notion seemed to also perfectly compliment the “Mash-Ups” workshop session run by Francis Irving & Ben Campbell of mySociety. Bring it on – mashed-up content, mashed-up identities.

Funny ideas that just might work

Sometimes an e-mail crosses your desk that stops you in your tracks. Usually, my eyes are scanning, scanning, filtering, and my fingers are pressing ‘delete’ very quickly, scrolling, moving to the end of the pile of new mail to get that feeling of satisfaction derived from believing that at the very least I’ve scanned everything, though I may not have actually read it. And then something stops you in your tracks. Usually, they are funny ideas that might just work.

The most recent one came from Neutral Ground (hi, Brenda!) a fantastic gallery in Regina, Saskatchewan, Canada:

Invitation to submit an artwork: Modernist Forgeries II
Dear Artist,
As you may have heard, we are soliciting artists to participate in Modernist Forgeries II, our 2007 50/50 fundraising show and sale. We would like to invite you to create a forgery of a Modernist work for this extravagant occasion.
In order to participate, please follow the following steps:
1. Select a Modernist artwork that you would like to copy. A work from the late 19th c. or 20th c. and which of course includes High Modernism or earlier historical trajectory. You need not limit your work to painting; you may contribute a sculpture, drawing, photograph, mixed media work, assemblage etc. that copies, in detail, the great work.

[further details snipped]

I will just let you mull over the face-value insanity of asking people to forge certain masters. At first it seems pretty wild; upon reflection, you can understand and appreciate exactly what is going on.

Second example:
The “Phantom Ball” at Side Street Projects in California:

If you buy a “ticket” to the Phantom Ball, we’ll send you a party favor made for this infamous non-event: a signed, limited-edition print by a well-known contemporary artist. What does this year’s print look like? Well, that’s a secret until June 1st. Buy your “ticket” right now (sight un-seen) for only $100. Once we reveal the image on June 1st, the “ticket price” doubles to $200. As always, we’ll understand if you can’t make it. Nobody ever has. Nobody ever does. Not in 14 years. See how this works?

A ball where no one comes, and an invitation to submit forged work. Funny ideas that just might work – as fundraisers, not as serious events or exhibitions – right?