Notes from meeting 16 November 2011 (UWE Bristol)
Schedule
AM: Individual Petra Kucha style presentations (3 slides/5 minutes per member): images/presentations focused on the Box Project - members introduced 'their' place and shared their current thoughts around the project and how they might re-present their place via the reconfigured museum box
PM: Open discussion on themes emerging from presentations. Updates - website; box project review - other venues/options for display, events and seminars including exhibition at Bath Spa University (Corsham Court); funding; membership and expansion; any other business
Summary of presentations (in alphabetical order)
Suze Adams:
S’Airde Beinn, Mull – and the box came too
People and place (absence and presence of ...)
Edward S Casey: ‘bodies [people] make places’
The elements; ephemeral, transitory
Bodily exposure to place/space
Memories/history
(ancestral) ‘home’ (land) – home?
Linda Ashe:
Castle Cary
Absence and presence
Memory ... childhood
Carrying the past with her in the box
Co-existence of different time-scales
Hiroshi Sugimoto: on time
Jane Bailey:
Delphy Bridge, Bodmin
Deep mapping: engaging with/evoking ‘place’
Interdisciplinary
Inter-connectivity; multiplicity of voices, information, perspectives
Intends to take her box with her to explore its role in new contexts
Iain Biggs:
St Johns Chapel, Weardale
Deep mapping
Family and place; place as vital part of family life
‘Meshings’
Exploration of four valleys around StJC as means to express personal concerns
Imagines the box serving as an equivalent for a card catalogue (photos + other material)
Sarah Eagle:
Her parent’s land (and their ‘relentless activity’ with this land)
Thinking and acting with tools/artefacts (tools ranging from words to technology, from traditional tools to space organisers/signs)
How these tools transform us and how we transform them
Tentative title for her research/box: ‘painting things green’
Sheila Farrell:
The place where she grew up ...
Text and image; language/narrative/meaning
Difficulty with ‘specificitiy’ of place
Placelessness
The Unheimlich
Doris Salcedo: ‘unland’
Lydia Halcros:
Around her house in Bath
Walking; knowing a place on foot/contact with the ground
JG Ballard: ‘walking within personal horizon’
Repetition; cumulative, layering and memory of walks
Traces of the everyday; marks of past activity (stains and spills)
Michel de Certeau, Iain Sinclair
Liz Harding:
Her regular walk in north Gloucestershire
Making; fabric, paint and stitch
Tim Ingold: walking/stitching a ‘line’
A walk stitched; but where should she start and stop, in stages and if so, how to indicate?
Rhythm – of footsteps, of stitch
Box as archive of line taken for a walk
Rob Irving:
Silbury Hill and West Kennet long barrow
Palimpsest
Ancient and modern human activity
Christopher Tilley: ‘ritual’ landscape and Rob: ‘legend’ landscape
Ancestral reverence and human behaviour
Secular and sacred
Authorship and anonymity
Role playing, game playing, performing
Richard Keating:
Stroudwater Canal
Landscape and aesthetics
Inside/outside
Experiential knowing
Action research; walking with other people/other voices included
Drawing as process
How does drawing work to express a ‘relational aesthetic’?
Linda Khatir:
The Tudor House, Dartmouth
History/memory
Fire, smoke and clouds
Remains; absence/presence
Mourning
Original and replica
The archive
Jacques Derrida; deconstructionist approach (Truth in Painting and Archive Fever)
Hubert Damisch (The Real Robinson and A Theory of Cloud)
Duchampian and Fluxus approaches
Davina Kirkpatrick:
Troon, Cornwall
‘Home’
Loss, passing; death and mourning ...
Diana Pilcher:
Near Lynmouth, North Devon
Body and perception (as embodied event)
Barbara Hepworth: ‘moving physically over contours ... through mind, hand, eye’
Dance and movement
Ana Mendieta: body/woman
Resistance/forgiving, vulnerability/mutability
Profane intuition, proximity ...
Hilary Ramsden:
Collaboration/participation (location unknown)
The Situationists
Debord: Introduction to a Critique of Urban Geography
Interruption/intervention and conversation
Urban landscape
Documentation and re-telling/re-membering
Penny Somerville:
Cill Rialaig, Ireland
Rootless – nomad and ‘resident’
(from) one place to another
Earlier inhabitants – remains of past activity
Drawing
Presence and absence
Inside/outside
Jacki Storey:
Cape Cornwall
Subverting spaces/objects
Time (and time spent getting to know a place)
Mobility of light to reveal/conceal (light/dark and visual perception)
Freud: the uncanny
Certainty and chance (re pinhole photography)
Movement (actual and implied); mystery, uncertainty
Repetition/multiplication
Absence/presence
Layers; transparency and obscuration
Michele Whiting:
Madeira
The shifting of place; sticky and slippery
Space/place/site and flux
The interval between viewer and installation (self-referential/connection to audience)
The role of writing
Dis-placement
Place internal: connections/associations, ‘the place of psychological interiority’
Shadows: from the corner of the eye, half remembered ...
Time and memory
Assemblages/an archiving of artefacts, a little museum within a museum box
A unity of paradoxes
In conversation: Museum box as a place of becoming ...
A discussion around the concept of ‘Place’ (with emergent themes):
The intangible, the immaterial ...
The slipperyness (and stickiness) of place
The uncanny, the Heimlich/Unheimlich; the ‘estranged familiar’
Common themes that emerged from presentations:
Walking
Time and memory/history
Absence and presence
Inside/outside (physical and psychological)
‘Less of me/more of place’ in final object (reconfigured box)
How to present the work, how to engage audience?
Badiou: the ‘event’ of artist/artwork/viewer – the experience of encounter
A collection of places; the centrality of place to research/project
The tangible and the intangible ... (back where we started)
After the meeting, Richard said that he thought some of the most valuable research happened during the group discussion and that it would be good to have a record of our collective explorations. If everyone is in agreement, I would like to record the next meeting/discussion session so that we can put up an audio file on the blog for future reference.
Venues for exposition of research project
1 Trial show of work at Bath Spa gallery, Corsham Court – July 2012
2 Exposition of work at F Block gallery, UWE Bristol - autumn 2012/spring 2013
(research seminar/event to be held whilst work is on show at Bath Spa and UWE – open up the project to engagement/debate)
3 Bristol City Museum & Art Gallery – Autumn 2012 (Suze in negotiation with museum)
4 Sheila in contact with Birmingham and Manchester museums
5 Diana and Penny to make contact with Exeter Museum & Art Gallery
We did discuss the possibility of taking the project to other venues but decided that the above was plenty to be going on with (the museum connection being obvious/appropriate)
Date for ‘finished’ boxes to be delivered to Bath/UWE: end May 2012
Next meeting to be held at Bath Spa, Corsham Court in early March so that we can collectively assess the space/discuss the project and the use of space/exposition of work next May. Professor Ron George has invited the group to ‘tea’ – Michele and Liz to follow up/book room for meeting etc.
Website
Suze and Michele have already got a holding page and are working to complete the website as soon as possible so that it can go live and be linked to PLaCE/UWE and Bath Spa.
The site will be kept simple. There will be a ‘news’ link to the blog (so everyone can access/easily up-date), an archive (previous projects and publications) and a members page (everyone in the group to be represented by one image and short text with links to email address/individual website).
Funding
We decided to keep the group small and simple so that no-one ends up as a full-time administrator. We also agreed that projects be practical and costs kept to a minimum as we have no on-going funding (again, so that no-one becomes fund-raiser for the group on a regular basis).
Future Members
In order to retain the criticality and focus of the group as a research nexus working on live place-based projects, it was suggested that anyone interested in becoming a member in future be asked to submit three images and a 500 word text for review by members of the group.
Thursday 8 December 2011
Monday 19 September 2011
PLACE - as location and expanded concept
In response to a question about the issue of 'place' in The Museum Box Project brief and by way of an introduction as to where my box might travel and the expanded concept of place it might become:
Place as 'specific location' is the material landscape/site that is the prompt from which each individual engagement with the box project has ensued (somewhere tangible, somewhere that could be plotted on a traditional map - eg the place where Sheila found her rock, the place where Linda's bedroom was located)
Place as 'somewhere physical or psychological etc' (place as extended concept) is where and how each person's engagement with the original 'specific location' progresses (maybe it remains as expanded physical location but quite possibly it extends to somewhere psychological as well)
For instance, my box will re-present a mountain called S'Airde Beinn on Mull (place as specific location) but once reconfigured it will contain a multitude of memories, associations and elemental essences (place as expanded concept, as both physical and psychological, memorial and factual)
Please add your own ideas/responses to the project here ...
suze
Place as 'specific location' is the material landscape/site that is the prompt from which each individual engagement with the box project has ensued (somewhere tangible, somewhere that could be plotted on a traditional map - eg the place where Sheila found her rock, the place where Linda's bedroom was located)
Place as 'somewhere physical or psychological etc' (place as extended concept) is where and how each person's engagement with the original 'specific location' progresses (maybe it remains as expanded physical location but quite possibly it extends to somewhere psychological as well)
For instance, my box will re-present a mountain called S'Airde Beinn on Mull (place as specific location) but once reconfigured it will contain a multitude of memories, associations and elemental essences (place as expanded concept, as both physical and psychological, memorial and factual)
Please add your own ideas/responses to the project here ...
suze
Museum Box Project: brief
S P A C E, P L A C E, P R A C T I C E
THE MUSEUM BOX PROJECT
Provenance of boxes: The Natural History Museum
Dimensions: length - 44.5cms; width - 18.5cms; height - 12.5cms
(long boxes are the same width and height but double the length)
The thinking behind the museum box project builds on the theme of our meeting in June (at Little Solsbury Hill, Bath) where members of the group brought 'something of their place' with them to the picnic. Members now have a box in which/with which to re-present their ‘something of place’.
Here, place is understood as a personally specific and meaningful location but, of course, individual translations take a variety of forms - therefore the 'something of place' could be interpreted in the form of an object, a sound, an image or a text, alternatively it might be something more abstract (something related to a memory or perhaps something/somewhere imaginal) or a combination of some or all of these things.
The simple idea is that the boxes will then be used as containers for such 'somethings' where each member re-presents their own specific 'place' using one of the museum boxes in a way they think appropriate to the place concerned. As such, the resulting contents might result in any combination of the above listed 'somethings' (or indeed something else completely) but each will re-present a specific location in the UK (however loosely). Please document your boxes throughout their journey in image and/or text (transformations, observations, significant additions and/or alternations, different positions/situations, references, influences etc) so that the whole research process can be understood conceptually as well as visually through its accumulation of parts, media, manifestations.
When the museum boxes are finally brought together again, they will collectively represent the group but they will also tell something of the individual places, the specific locations that inspired the re-configuration of the boxes.
To summarise:
The boxes can be taken where or how each member wants – they might be taken on walks, taken apart, filmed, filled or whatever – and, in a similar vein, the 'place' that each member brings to the project via the boxes could be somewhere physical or psychological, material or imagined, real or fictional.
Each box will then, in effect, represent each of us/our individual 'places'.
When brought back together in another place (ie for a group show, a seminar, discussion etc), the boxes will represent (i) the group, (ii) each of us/our practices and (iii) a series of locations/places.
Space (the group) Place (each of our places) Practice (each of our practices) - well, loosely anyway!
Reminder:
Please remember to document significant material changes to the boxes as well as observations and shifts in thought as your engagement with the project progresses (the stages of the journey may of course be many but could equally be just a few fundamental steps).
Working toward:
Bath Spa University has offered us the gallery at Sion Hill for a group show next July. If we want, we have their support for a series of events/seminars/presentations at Bath Spa (for other post-grad students, staff and visiting artists/researchers from other institutions) during this period. How far, or how big, we want to take this is up to us and needs to be discussed at the next meeting.
There is also the possibility of taking the boxes to the Natural History Museum in London. Suze has already spoken to the museum about the possibility but needs to follow this up after group discussion.
THE MUSEUM BOX PROJECT
Provenance of boxes: The Natural History Museum
Dimensions: length - 44.5cms; width - 18.5cms; height - 12.5cms
(long boxes are the same width and height but double the length)
The thinking behind the museum box project builds on the theme of our meeting in June (at Little Solsbury Hill, Bath) where members of the group brought 'something of their place' with them to the picnic. Members now have a box in which/with which to re-present their ‘something of place’.
Here, place is understood as a personally specific and meaningful location but, of course, individual translations take a variety of forms - therefore the 'something of place' could be interpreted in the form of an object, a sound, an image or a text, alternatively it might be something more abstract (something related to a memory or perhaps something/somewhere imaginal) or a combination of some or all of these things.
The simple idea is that the boxes will then be used as containers for such 'somethings' where each member re-presents their own specific 'place' using one of the museum boxes in a way they think appropriate to the place concerned. As such, the resulting contents might result in any combination of the above listed 'somethings' (or indeed something else completely) but each will re-present a specific location in the UK (however loosely). Please document your boxes throughout their journey in image and/or text (transformations, observations, significant additions and/or alternations, different positions/situations, references, influences etc) so that the whole research process can be understood conceptually as well as visually through its accumulation of parts, media, manifestations.
When the museum boxes are finally brought together again, they will collectively represent the group but they will also tell something of the individual places, the specific locations that inspired the re-configuration of the boxes.
To summarise:
The boxes can be taken where or how each member wants – they might be taken on walks, taken apart, filmed, filled or whatever – and, in a similar vein, the 'place' that each member brings to the project via the boxes could be somewhere physical or psychological, material or imagined, real or fictional.
Each box will then, in effect, represent each of us/our individual 'places'.
When brought back together in another place (ie for a group show, a seminar, discussion etc), the boxes will represent (i) the group, (ii) each of us/our practices and (iii) a series of locations/places.
Space (the group) Place (each of our places) Practice (each of our practices) - well, loosely anyway!
Reminder:
Please remember to document significant material changes to the boxes as well as observations and shifts in thought as your engagement with the project progresses (the stages of the journey may of course be many but could equally be just a few fundamental steps).
Working toward:
Bath Spa University has offered us the gallery at Sion Hill for a group show next July. If we want, we have their support for a series of events/seminars/presentations at Bath Spa (for other post-grad students, staff and visiting artists/researchers from other institutions) during this period. How far, or how big, we want to take this is up to us and needs to be discussed at the next meeting.
There is also the possibility of taking the boxes to the Natural History Museum in London. Suze has already spoken to the museum about the possibility but needs to follow this up after group discussion.
Thursday 14 July 2011
Museum Boxes
Museum Boxes
From: Suze Adams
Jul 3
Hello all
I have been thinking since our picnic and I wonder whether it might be preferable if everyone has a box the same size for the museum project? I really don't know but when it comes to showing the boxes as a collective piece, would it make more sense to visitors/viewers if every individual and their place were represented by a museum box of equal dimensions? Maybe it doesn't matter at all but I do wonder if it just makes sense to all have one of the small boxes to start with as there aren't enough of the longer ones to go round? I really don't know ... what does everyone else think?
If you could all reply (to all) asap, that would be great - we can then go with the majority.
Sorry about this but think it needs thinking about now ...
thanks!
suze
From: Diana Pilcher
Jul 3
Hi to All,
As a 'longer box' person - I am happy to go with whatever the majority view is. My preference for a longer one was to do with the dimensions being more exaggerated which could better fit my purpose (which is only vague at this stage). I will await the decision.
Best
Diana
From: Suze Adams
Thank you Diana
I have also received the following from Hilary and Penny:
hmmm...well...I don't think it matters if they're different. After all, we're different sizes....(Hilary)
I agree - same size boxes for everyone would be a better collective piece - but of course I am a 'short' box holder, so may be biased!!
(penny)
So, that is us up to date.
Once we have all replies, we can see which way we are heading.
Until soon
suze
From: Sheila Farrell
Jul 4
Hello Suze and everyone
Thanks everyone for a good day up Solsbury Hill and to Suze for for your excellent summation of what went on.
Boxes - I should declare my interest as a short box holder!
Various thoughts - it may be that it is important as a group to present a unified approach to the exhibition in which case it would make sense for us all to have the same size box. However, as Hilary points out we are also individuals - there may be a very good reason for someone who has particular thoughts on how their work may need to be presented to argue a good case for having a long box. At the moment I haven't got a clue what (or where) I will put in my box so I am happy to grapple with these shortcomings in a short box. My other thought is who will be using the boxes? Obviously those of us who were there on the day have boxes but what about folks who weren't there and maybe didn't have the option to choose between long or short and what about folks who may join the group through the year (which was something mentioned in passing in our discussions)? I know one or two good people who may interested in SPP.
Natural History Museum - I will follow up potential (but unguaranteed) lead for doing something connected with the Natural History Museum. Suze - it would be really useful for me to know a bit more about how and from whom you acquired the boxes.
Funding - I had a quick look at Esmee Fairburn having mentioned it. On the face of it we might be able to fit their main criteria. However it looks as though it is only charitable organisations and non-profit making organisations that can apply. It is definitely not worth us becoming a charity which is very involved and full of legalise but it might be worth asking a little further about what they will accept as a non-profit organisation. I am happy to delve a little further if people think it is worth it and report back.
Best
Sheila
From: Richard Keating greenspacesw@googlemail.com to
Jul 4
Hi
I started writing this thinking that the boxes make a strong enough statement for the joint project to be able to take the variation of size and proportions. I think that the variation could add interest without weakening the concept. Then I started to think about how it would add a challenge when it comes to curating a show - what, if anything would the variation mean; for example, if there was just one large box it would stand out, it every other one was large/small, then that too would carry a particular meaning. The question having been raised, I risk getting a bit hung-up on thinking about the collective work having to respond to diversity, diversity of place, biodiversity, share of resources etc. ...
So for me a number of question arise:
• can the various directions that our boxes take us be shown randomly from a size/proportion point of view? I think so.
• will any meaning arise because of the different sizes and proportions as the work is made? I think they will but quite subtly and it will add a range of interest, meanings, questions, observations
• how apparent will the difference between the two sizes be? Some might be lying on their backs, some on their sides, some standing-up, some hanging from the ceiling etc.
I'm left thinking that we can stay with the variation and check in from time to time to discuss this as our work develops and resolve any concerns/learn from the experience. Another approach would be to tighten-up on the brief but is that the way we want to work together.
Richard
From: Jane Bailey
Jul 4
Hello all,
I don't know if my box would be considered long or short - its the only box I know, and I am very happy with it.
that said, lots of variation or uniformity is perhaps easier to present, but not the only consideration..
Sheila - great if you can look into the Esme Fairburn possibility.
- I may have missed part of this conversation as Suze's initial email didn't get to me... (I've checked my spam box) .. if you 'reply all' could you please check that I'm in the list.
Thanks..
Jane
-
From: Suze Adams
Jul 4
Hello all
Jane - I didn't include you (or anyone else who was otherwise engaged on 30 June) in the first email as you weren't at the picnic and therefore never had the option of different sized boxes. I was sort of trying to get to some sort of concensus before complicating the issue - but perhaps this is the issue ...
I took the boxes to the picnic in my van and offered those present what was there on a first come first served basis (I never had enough of the longer ones to go round the whole group). I thought it might add interest to have different sizes and that some might like a choice but, in hindsight, perhaps I have just muddied the water. And of course anyone not at the picnic can only be offered a short box - such as other members of the existing group, the Cheltenham students (or ex-students) that Sheila mentions and Claire King (for those of you who don't know Claire, she is a fellow doc student from UWE/PLaCE whose work, like ours, focuses on issues of space and place but who has just been too busy making ends meet to come to any of our previous meetings).
Thank you everyone so much for all the various comments (and offers) - I think that, whatever the dimensions, we will have incredible richness and diversity (we are of course all independent thinkers/makers with a wonderful variety of approaches, intellects and abilities between us). I knew something was niggling at the back of my mind re the different dimensions but I feel clearer now and think the main issue here is the lack of availability of choice of box for all ...
So far we seem to have a variety of angles on the issue and not all have replied as yet. In view of the fact that not everyone will be able to have a choice, my own thought here is that perhaps we should stick to the shorter boxes - they are hardly going to end up the same anyway and, as Richard points out, there are a further variety of ways members might want to present them (and to some degree of course the space in which the work is shown will dictate how we might present them).
Similarity (in this instance of dimension) can, paradoxically, serve to highlight difference (or that is what I have argued in my thesis!) ... that said, I am hardly certain of anything at the moment as I panic about being ready for my viva! I look forward to hearing from you all so that we can make a decision on this asap ...
with best wishes
suze
From: Suze Adams
Jul 4
Dear all
Further to my email earlier and having given more thought to the museum boxes, as initiator of the project I think it would be preferable if we all started from the same basic premise and with the same material object - ie a box of the same dimensions as each other. From there, the project will inevitably go outward and onward and in increasingly random directions, and the boxes both toward and away from each other - ie the project will find its own sweet way forward! I guess I just feel it is a little unfair to offer the longer boxes to some and not others as there aren't enough to go round.
I also feel it will add a commonality and a group coherence when we assemble the boxes as a group collection - ie at Bath Spa exhibition, the Natural History Museum in South Ken or indeed anywhere else we might want to take them. In my understanding, it will also serve to underline diverse interpretations of 'place' as well as underlining tensions between individual re-presentations.
As discussed at the picnic, the boxes can be taken where or how each member wants - they might be taken on walks, taken apart, filmed, filled or whatever - and, in a similar vein, the 'place' that each member brings to the project via the boxes could be somewhere physical or psychological, material or imagined, real or fictional ...
For those of you who have yet to see the boxes, please find attached an image.
Dimensions are: length - 44.5cms, width - 18.5cms, height - 12.5cms
Apologies, I should have thought this out better before offering the few longer boxes to others last Thursday but I wanted to act quickly in order to get things going - I only picked up the boxes last Tuesday and didn't know until I got there exactly what was on offer. Hindsight is a wonderful thing but having stepped back a bit and given further consideration to the dimensions of the boxes, I would now like to propose we all use the same size box on this group project.
I hope this will be OK with you all and that you will understand where I am coming from.
with best wishes
suze
ps if you need to arrange to meet up and get a small museum box from me, please get in touch
From: Richard Keating
Jul 4
Hi Suze, Hi all.
I'm perfectly happy with you making this decision as project initiator Suze - no need to apologise - thanks again for moving the project along.
Richard
From: Jane Bailey
Jul 4
Well done and thanks for taking a lead with all this Suze, I'm convinced by the argument.
Turns out mine is a short one - and very lovely too!
Jane
From: Sheila Farrell smf.farrell@gmail.com
Jul 4
Many thanks Suze for everything and certainly no need for apologies!
All the best,
Sheila
From: Davina Kirkpatrick
Jul 4
Hi everyone
I'm happy with any decision about the boxes, I am so far from thinking about the possibilities it all seems fairly abstract right now, though I'm enjoying looking at the box in my living room!
Thanks for the picnic and thanks Suze your prompt precis of the days proceedings.
Davina
From: Hilary Ramsden
Jul 4
HI Suze, yes thanks for your hard work on the precis of the picnic. Very helpful.
I have to say I'm a bit disappointed with your decision. And I'm not sure I feel happy that you felt you had to make the final decision without more of a real discussion - after all we have a year (or am I mistaken?) in which to wrestle with all of this. And although some of us may be working away already on the project, perhaps this discussion and the thoughts and ideas emerging from this seemingly simple question need to be part of the process.
And maybe this comes partly from the fact that although I consider myself to work visually as well as aurally and kinetically/haptically (not sure if that's a word) I don't consider myself a visual artist. So I don't have that sense of linearity of photography, perhaps, which is maybe what also influences your choices, Suze.
I certainly agree, Suze, that similarity can serve to highlight difference, but I think there are some interesting nuances here that are actually also really relevant to my practice: I think there is a difference between similarity that is like the corps de ballet, where all the dancers look pretty much the same (in terms of dimensions) and also do the same steps, where I don't think that individuality can be seen (and is not meant to be) and the similarity of a group of dancers who although they do exactly the same steps as each other are different in look and dimension from each other (as in a Pina Bausch production, for example). So perhaps this is an idea to be explored - similar dimensions but different contents as opposed to different boxes with similar contents or different boxes with different contents.....
but since your argument seems to be based on fairness of distribution and choice I will go with it.
However, in future I would like to see us have a little more back and forth discussion of these sorts of issues.
Hilary
...a rigour runs through it...
From: Diana Pilcher
Jul 5
Hi Suze,
I don't wish to make light of this exchange but am finding it absolutely riveting, given that my work is to do with perception of scale.
Can we keep a record?
Best
Diana
From: Suze Adams
Jul 5
Hello Diana (and everyone)
Yes, of course, let's keep a record - do you want to copy and paste the emails into a word doc and save it so that we can up-load onto the blog later on? Would you mind doing this for the group - the exchange is valuable as it touches on so many areas of practice. I am sure there will be all sorts of diversions as the project progresses ... in the meantime, I will keep handing the boxes out!
with best wishes
suze
-
From: mel shearsmith
Jul 6
Dear all,
I have to agree with Hilary, I think commonality should not equal uniformity and being a Bausch fan I'm all for difference and celebrating it! There is something liberating about
working within the confines of the boxes boundaries but knowing that they are also stimulating an 'intervention' on this and with each other through their very difference - perhaps this is something
that should be embraced within each of our approaches to how we engage with them and what they will become, contain and challenge. I think this also speaks of the nature of
the group and that as a collective of artists with a variety of approaches, styles, considerations and attentions this 'difference' could provoke some new, unexpected interaction with
our boxes and with each other.
I'm had the urge to stand in mine, two feet fit perfectly and allow for minimum foot shuffling. I wonder how well my feet will fit into the smaller version.
Anyway, that's all from me folks!
mel
From Davina
Jul 6
Dear all
I feel I was somewhat cursory in my reply, up to my ears in trying to finish a commission to install on Monday but have had some time today to ponder on it as the kiln was firing. My thinking has gone like this....Of course for all of us who opted for small boxes it makes not a jot of difference if there is a size constraint, but I'm aware I hovered over whether I wanted a long or small box and wasn't until I saw them that I decided on a small, for me it's really interesting that the 'performers' amongst us all chose the long boxes....
I know Suze has issue of fairness of distribution but what about the inherent unfairness of being denied one's intuitive choice. Maybe to counteract the fairness of distribution issue it could be asked of those not present at the picnic if anyone would have wanted a long box and then if there are more people than boxes all the names of those wanting a long box could go in a hat and be selected at random?
I don't like the idea that the starting point for some may be disappointment or regret about not being able to have what their heart desired and feel this is a more fundamental issue to resolve.
I have every confidence in our creative problem-solving abilities to resolve box size difference when it comes to exhibiting, my feeling is the responses will be so diverse that the size issue may not be relevant.
Well those are thoughts to date
Bye for now
Davina
From: Suze Adams
Jul 7
Dear all
Thank you Davina for your thoughtful response and I am quite with you on not liking the idea that some may be feeling disappointment or regret. Your idea of a random pull out of a hat for all those not at the picnic but who also want a long box is just brilliant (and much appreciated).
Thanks again ...
suze
ps will contact the Museum again today (a good excuse to follow up the possibility of taking the boxes to South Ken anyway) just to see if there are any more long boxes they can find anywhere (even though they said at the time that these were all, with a bit more time to look who knows - would be great if they could locate just a couple more ...)
From: Michele Whiting
Jul 7
Dear All,
On Boxes,
I was wondering if collectively you would be open to another artist joining in the group maybe at this box project juncture - she is Dr Linda Khatir, she finished her doctorate two years ago at BATH SPA- she lives in Dartmouth and has been very interested in the group for a long time, she is very interested in writing and her practice is spacial/installation/painting - if you all saw fit the box project would be a perfect introduction to the group. She and I often collaborate on projects and as such we are off on a joint residency in September- we are also in the BSAD gallery for one week from the 15th August, so if anyone fancies a cuppa and meeting LInda please come on over, my mobile is 0797 001 4107
You can find her details/work on axis.
I am happy with whatever box should come my way - in a way not knowing is beginning to be part of my box story...
Hope you are all well and happy- soooo sorry to have missed the picnic- family stuff-
Michx
From: mel shearsmith
Jul 7
Hi Michelle,
The more the merrier, look forward to meeting her at our next meet-up.
mel
From: Hilary
Jul 7
oh it all gets more interesting! now, I didn’t realise, was there some disappointment on the part of those who got the short straw/box? That’s not good. As i said, if choice of box size is about fairness then I’m fine for having a short one, though I will be a bit disappointed in that intuitive way that Davina mentioned, but that’s also ok. I am more interested in the issue of what a “collection” or group work might signify in terms of presentation/size/commonalities. I agree Davina that our responses to the project could be highly diverse, especially given a year for things to occur. I have in the meantime being trying to email you all some photos of exhibits....but seems they’re all too big – I must sort out how to scale photos down.....who knows about this? all you visual artists must be always sending off photos of your work – how d
best, as always,
Hilary
On 07/07/2011 08:07, "Michele Whiting"
Dear All,
On Boxes,
I was wondering if collectively you would be open to another artist joining in the group maybe at this box project juncture - she is Dr Linda Khatir, she finished her doctorate two years ago at BATH SPA- she lives in Dartmouth and has been very interested in the group for a long time, she is very interested in writing and her practice is spacial/installation/painting - if you all saw fit the box project would be a perfect introduction to the group. She and I often collaborate on projects and as such we are off on a joint residency in September- we are also in the BSAD gallery for one week from the 15th August, so if anyone fancies a cuppa and meeting LInda please come on over, my mobile is 0797 001 4107
You can find her details/work on axis.
I am happy with whatever box should come my way - in a way not knowing is beginning to be part of my box story...
Hope you are all well and happy- soooo sorry to have missed the picnic- family stuff-
Michx
On 7 Jul 2011, at 04:35, Suze Adams wrote:
Dear all
Thank you Davina for your thoughtful response and I am quite with you on not liking the idea that some may be feeling disappointment or regret. Your idea of a random pull out of a hat for all those not at the picnic but who also want a long box is just brilliant (and much appreciated).
Thanks again ...
suze
ps will contact the Museum again today (a good excuse to follow up the possibility of taking the boxes to South Ken anyway) just to see if there are any more long boxes they can find anywhere (even though they said at the time that these were all, with a bit more time to look who knows - would be great if they could locate just a couple more ...)
-
From: Victoria Walters
Jul 7
Hi there all,
I'm happy with either going with all short boxes, so we all have the same formal issues to work with - or against - in our diversity, or going for a box pull for those who want a long box. Personally, I also don't mind if you make the final decision on this now that a conversation has been had Suze, as you were the one who secured the opportunity, thanks so much for that!
Warm wishes,
Victoria
From: Sheila Farrell smf.farrell@gmail.com
Jul 7
Hello All
Thoughts/news/views on boxes/people/museums/places and things
Boxes - It seems to me looking at the threads of conversation that actually there is a sense in which people seem ok with the idea of some having long boxes and if it suits someone's work better I have no objection - there remains a constant in their provenance and style the only difference would be in their length. We are indeed a group but we are also rather disparate in our working methods etc. I say this as the contented holder of a short box with desparate notions of how I am going to tackle this with my issues over place.
[though I have just now read Victoria's up date which confounds my argument here - not easy this collective decision making ...]
For those of you who were not at the picnic most of us who were there were unaware of the existence of the boxes until the end of the day and they were sight unseen until the very, very end of the day. Interestingly, there was great excitement at the mention of these things and I (and I think others also) thought before seeing the boxes "I'd like a long box" and there was a certain amount of light hearted banter about elbows and legging it down the hill. But actually when it came to it on seeing the boxes and making a selection I think we were all much more considered in our selection - I certainly was. The boxes long or short are wonderful containing as they do traces of other things/places. There were those who hesitated as Davina mentions over their choice and for those who did take the long boxes it seemed to me that there was some thought about why this was relevant. Also as an aside on the nature of human nature - having selected and held my box for all of about 2 minutes I put it in the back of Mel's car as I was one of thse who opted to walk back down the hill. When we got down to the bottom of the hill Mel had already gone and left those few boxes out for us to collect. I have to confess to a brief pang of anticipated grief that she may not have left MY box. A completely irrational notion over a bit of glass and cardboard which only an hour earlier I didn't even know existed. There was a sense of relief (and thank you Mel) my box was there safe and sound - I had already come to recognise the unique traces contained within it and I was not alone in that as others may testify.
So this is a longwinded ramble to suggest that the choices are and have been considered - that those who have boxes have perhaps already connected with them. So although the dropping of names in a hat seems fair it may not fit into this process of artistic (or whatever) consideration. Not easy this, is it?
And beyond the philosophical debate there is some practicality which perhaps only Suze can answer - how many boxes are there and how many people are there? Have we done the math?
So, Suze you have given us a wonderfully creative conundrum and we haven't even started making the work yet - thank you.
People - I have no objection to Michelle's friend joining the group. I too have someone in mind who I think would be interested and a good addition. Dr Jacki Storey completed her PhD a few years ago and has worked with 'Uncanny spaces' But I am also aware that
we have not really addressed the issue of how we deal with the dynamics of the group and how do we deal with the boxes? So will wait to see what people think.
News - I had a brief chat with Paul Rosenbloom who has been Course Leader for the MA at Cheltenham. Paul did research over a number of years and had an exhibition a few years ago at the Natural History Museum in South Ken. Some of his contacts are still there and so there may be a possible route in to making a connection. All quite vague at the moment and no guarantees but there is potential and I will keep in touch We will as a group need to think about what it is we are aiming to do/achieve through this link and the exhibition as a whole.
Esmee Fairbairn funding - I'll may be hang fire on following up on this as only Suze and Jane commented - but I think we can creatively put a case for being a non-profit making organisation without too much hoop jumping if we use the links with UWE and/or Bath. Anyway, to be continued maybe...
Sorry - rather a long email this.
All the best
Sheila
From: Victoria Walters
Jul 7
Hi there,
That's a fair point re intuition and the boxes Sheila, I'm sorry I didn't think of that and it is true, I wasn't there at the beginning and that's important. I have to admit to sensing which one of the short boxes that were left and their specific traces felt right for me, so you're right, there's a 'more than' in all this that isn't all about the rational, and acknowledging that helps. Maybe we should ask - is anybody feeling uncomfy or unhappy about their particular box? With the math done, we may find it perfectly possible to respond to that so we are all feeling good,
Vicx
On 7 July 2011 09:49, mel shearsmith
Hi Michelle,
The more the merrier, look forward to meeting her at our next meet-up.
mel
________________________________
On 7 Jul 2011, at 04:35, Suze Adams wrote:
Dear all
Thank you Davina for your thoughtful response and I am quite with you on not liking the idea that some may be feeling disappointment or regret. Your idea of a random pull out of a hat for all those not at the picnic but who also want a long box is just brilliant (and much appreciated).
Thanks again ...
suze
ps will contact the Museum again today (a good excuse to follow up the possibility of taking the boxes to South Ken anyway) just to see if there are any more long boxes they can find anywhere (even though they said at the time that these were all, with a bit more time to look who knows - would be great if they could locate just a couple more ...)
On 6 Jul 2011, at 11:44, mel shearsmith wrote:
Dear all,
I have to agree with Hilary, I think commonality should not equal uniformity and being a Bausch fan I'm all for difference and celebrating it! There is something liberating about
working within the confines of the boxes boundaries but knowing that they are also stimulating an 'intervention' on this and with each other through their very difference - perhaps this is something
that should be embraced within each of our approaches to how we engage with them and what they will become, contain and challenge. I think this also speaks of the nature of
the group and that as a collective of artists with a variety of approaches, styles, considerations and attentions this 'difference' could provoke some new, unexpected interaction with
our boxes and with each other.
I'm had the urge to stand in mine, two feet fit perfectly and allow for minimum foot shuffling. I wonder how well my feet will fit into the smaller version.
Anyway, that's all from me folks!
mel
Many thanks Suze for everything and certainly no need for apologies!
All the best,
From: Richard Keating
Jul 7
Hi all
I am feeling very good about my box - its short compared to some and standing at the end of the room on top of a plan chest, from where it appears to be watching me reply to this email thread. It is perfectly happy with its shape, size and new place, and being even more fanciful, it says hi to your boxes.
I'm also feeling very good about us having developed a discursive process. I think email is less helpful in this than face to face so maybe it would be good to also pick-up the thread again and talk it through when we next meet. The point would be to learn from what we are currently discovering. I'm particularly interested to understand how we develop project briefs together - its such an important part of the creative process.
thanks
Richard
From: Suze Adams
Jul 7
Hello all
A quick email to say I have spoken to the museum and I was right, there are no more of the long boxes to be had. We have enough of the small boxes for everyone in the group (as well as some for new members) but we only have the long boxes that Diana, Hilary and Mel took home with them from the picnic.
Thank you Sheila for speaking to Paul - I will send you the text I sent to the museum asking them to pass it onto appropriate people at South Ken in case it is of any use when you talk to Paul again. No more news from South Ken to report as yet. As you mention Sheila, aims and intentions do need clarifying (perhaps a brainstorming at the next meeting and, out of this, a proposal to send outlining, loosely but clearly, what we intend?). We don't want to rush in before we are clear as a group but one thing they were firm about when I first broached the idea, is that they have limited space available for any additional displays or exhibitions. They were, though, interested in the idea of events and/or workshops attached to any show of work - ie that we contribute in an 'educational' way to the life of the museum and engage directly with visitors.
Re new people, thank you Michele and Sheila for bringing new members to our post-grad/post-doc research group - I am sure both Linda and Jacki will bring new ideas and contributions as well as new approaches to the group. Great!
Yes please hang onto your thoughts re Esmee Fairbairn Sheila - post-viva I will be a little more able to concentrate on funding which, of course, is vital and should be a priority and it would be great if you could follow this up at some point. I just can't allow myself to get too distracted at the present time!
On that note, I now need to get my head down (still not started on thesis yet - am panicking a bit and know I MUST get other stuff out of my head asap) but at least you are all up-dated on box situation and rest assured that there are plenty of small boxes to go round. I will leave it up to the rest of you to sort out the long box issue - I think Davina's inspiration of a hat pull or Victoria's latest idea of finding out whether anyone else in the existing group would actually like a long box or not are both good ways to go (and to put the record straight, no-one has said anything about being disappointed about not getting a long one, I think it was more that we didn't want those with long boxes to feel disappointed or others not offered the chance of a long box to feel regret).
with best wishes
suze
-- From: "Victoria Walters"
Hello again everyone
After I sent the last email I got Richard's message and I wanted to say that i have a box here that says hello too!
I am excited about the potential of this project and am looking forward to 'getting back into place' and considering how and where I might take my box in due course. I also am looking forward to hearing about everyones various box and place journeys of exploration and discovery at our next meeting ...
have a lovely summer everyone
suze
From: Linda Ashe
Jul 8
Hi Everyone
Just to say I really enjoyed the day at Solsbury Hill with you all and I will try to get something up to send round about 'My Place' for all to see, especially those we were unable to attend.
Small boxes or big boxes.... I tend to think outside the box a bit - are we able to deconstruct or alter the boxes or are we expected to keep them as they are and put something inside re: Place?? I am happy to go with the flow but maybe need to know what space we have available to use and consider whether boxes need to be placed in a group to view as a whole or in smaller groups/individually to enable viewers to interact/walk around them.
These are my initial thoughts and others might have some more
Linda
From: Suze Adams
Jul 8
Hello all
Just checking in (ie taking a break!).
Re what you do with the boxes - this is really up to each member and probably relates to the place they are re-presenting. Extract from earlier email:
As discussed at the picnic, the boxes can be taken where or how each member wants - they might be taken on walks, taken apart, filmed, filled or whatever - and, in a similar vein, the 'place' that each member brings to the project via the boxes could be somewhere physical or psychological, material or imagined, real or fictional ...
Re available space: the gallery space at Bath Spa is a fair size, not enormous but there should be room enough to display the works as best suits the diversity of individual interpretation, either grouped together or in smaller groups/individually, but I know space at the Natural History Museum is extremely limited as well it might be at other locations we might approach in the future. But, if that is the case, I think it might be preferable to cross this bridge when we come to it rather than restrict our individual practices at this stage and generally to display the works as most appropriate to the limitations of each specific exhibition space, to each individual translation and, importantly, to the group as a whole bearing in mind both context and concept of the project.
Bye for now ...
suze
-----
From: Linda Ashe
To: Suze Adams
Sent: Friday, July 08, 2011 6:01 PM
Subject: Re: Museum Boxes
Hello all,
I fully agree Suze.
I feel that there are curatorial questions that can be raised now but really need fuller discussion when we meet next.
best,
Diana
Wednesday 6 July 2011
solsbury hill picnic 30th June 2011
Wednesday, 6 July 2011
solsbury hill picnic 30th June 2011
Subject: SPACE PLACE PRACTICE
Date: Thu, 30 Jun 2011 22:19:19 +0100
Dear all
Great to see some of you again today and to share time, thoughts and, importantly, the most yummy food together. This is just a quick note to re-cap on the day and to bring those that were unfortunately unable to join us up to date - so, please find below all the latest on (a) news about the re-configured Space Place Practice (SPP) artist/research group, (b) an outline of what was discussed today, (c) the opportunities on offer for the group as a result of some preliminary groundwork/networking carried out since the last meeting at Corsham Court in March, and (d) as a consequence of our discussions today, new developments/future action.
So, where to start? (I hope you are sitting comfortably as I think this might be more than a brief note after all!)
1 Weather: sunny and dry to start, rain later. Temperature: warm to start, cold later. Smell: fresh, grassy, earthy. Taste: sweet and savoury (mainly sweet!) Touch: varied. Sounds: skylarks, distant traffic, drone of aircraft (deep drpme of hercules aircraft), children, owners calling dogs, friends conversing, laughing ... Sights: huge skies, wondrous cloud formations, distant horizons, valleys, hills, houses, roads, trees, hedges, flowers, stones, long grasses, colours, shades - vast distances and close details; a vantage point, strategic, and special to us today; an Iron Age hill fort with defensive ditches, a place chosen from a hat, a place chosen by Rob. Thank you Rob!
2 One of the first things we did today at Little Solsbury was to discuss the fact that we are now an artist/research group - a cross-institutional group with a focus on issues of space and place, a group that values being one foot in and one foot out of the academy (in that we retain a criticality yet are not restricted by the (possible) confines of the academy), a group where practice involves a rich combination of thinking, doing, making and writing, a group that values each other/the group as a forum for dialogue and exploration.
We each in turn offered brief comments on how we, as individuals, relate to the group:
Sheila: "work with group is a cross-fertilisation of ideas/practice"; would be good to "encourage other disciplines" as appropriate to project
Hil: "Space Place Practice, as a name, is more open to other disciplines" (than previous 'art and geography group'); values the group "as important space/place to have contact with other strands of thought and practice/s, with thinking and doing" and is interested "in continuing with the group and the people ... to do with others"
Richard: the group is "useful as a sharing of resources - both a touchstone with the academy and beyond"; not only might we do projects together but "we can bring our own projects back to the group"; it "fills a gap" (as a doctorate student working remotely from his institution)
Penny: can feel isolated post-MA and the group offers "dialogue/s and invaluable sharing", that it is "organic, that focus will change and doesn't need to be tied down"
Diana: responds to the "loose-ness" of the group and the fact that it allows her "time to think creatively ... a forum in which to discuss how practice can be research"
Linda: how the group "helps [her] to keep focus, to be open, to share and test things out ... to be herself in the group"
Davina: is "passionate about practice-based research"; the group is important as it makes her "ask questions about practice and the place of theory". In terms of opening out to other disciplines, Davina has offered to see if the Bristol-based writing group (Bristol Uni - school of education I think?) is interested in doing something with us. Thank you Davina!
Mel: "important link to place-based issues" and to "having those conversations with others around practice/research"
And I put forward a brief 'mission statement' for group discussion (statement as initially drafted by Suze and Michele and then agreed with Rob and Liz and later forwarded to Iain at PLaCE and to Pradeep Sharma, Head of Art and Design at Bath Spa, Sion Hill by way of introduction to Space Place Practice):
Space Place Practice: a conceptual node through which visual artists/researchers engaged with issues of space, place and site within their critically constituted practice meet, discuss and collaborate. The research station’s dimensions are produced through interaction and discourse, which act as points of departure for both individual practices and collaborative adventures. A space where there is no hierarchical distinction between making, thinking, writing and doing – where expanded critical practice is expressed in image, word and performativity (action).
It was agreed that some parts (in particular 'conceptual node') might benefit from a bit of re-working and with this in mind, I attach a copy of the 'mission statement' for comment and suggestions.
2 Secondly, some preliminary research/groundwork has been carried out since the meeting in March and Suze filled everyone in re:
(a) the generous offer of support from PLaCE - use of space/rooms at UWE for meetings/seminars as well as, vitally, the resource of technical help setting up a website for the group and of incorporating the SPP website into the PLaCE website as an independent research network alongside Land2, Situations, Scenery etc. The website will be ours (independently managed/assembled) and will give us a valuable web presence - within PLaCE/the extended academy and beyond. Suze and Michele have started work on the website but it will take time to develop, ie it will be a while before we are ready to go live. In the meantime, Penny has offered to set up a blog (which we can later link into the website) so that we can continue to converse between our regular four monthly gatherings. Thank you Penny!
(b) an offer of support from Bath Spa University - Michele arranged a meeting with Pradeep Sharma at Sion Hill and Rob, Liz, Michele and Suze met with Pradeep a couple of weeks agao. He has offered the group support for a two-day event/conference next July (although we might need to shelve this until 2013 in order to get funding but we will see what we can do). Pradeep has asked the group to put together a 'business plan' with 'detailed budget' (ie it is up to us to state what we want to do and to itemise costs) and has offered the resource of the printing press for a publication. We will of course need to source some funding for such an event (Bath haven't offered any money although that is not to say we can't ask for something toward the event once we have a detailed structure in writing - whether they give us anything or not remains to be seen). Hil has offered to help Suze locate suitable funding bodies/write funding bids. Thank you Hil!
3 And a project to get us started! Suze has 'acquired' a collection of museum boxes from the Natural History Museum (yes, original museum boxes complete with glass, dust and stains!) and Michele has 'secured' use of the exhibition space at Bath Spa Sion Hill for a month next summer (after degree show - around mid/end June/July). Those of you at the picnic are now the proud holders of a museum box each and I have a similar box for those of you not able to come today - so, please get in touch so that we can arrange a day/time for you to collect your box.
Each box can then be used to represent each of us/our individual 'places' and will, when brought back together in another place for the show next summer, represent the group, each of us/our practices and a series of locations/places. Space (the group) Place (each of our places) Practice (each of our practices) - well, loosely anyway!
Whilst at the Natural History Museum collecting the boxes this Tuesday, Suze suggested the possibility of bringing the 'recycled' boxes back to the museum as an exhibition and has subsequently outlined the project/concept in an email which will be forwarded to appropriate people/depts at the Natural History Museum in South Ken. (I will of course follow this up and put together a proper proposal if they are interested as this could be a really exciting avenue to explore if it happens).
Liz's daughter who is doing a course on Museology has offered to present a paper around the show at Sion Hill next summer. The show could be used as part of the conference/event if we are ready (and funded) to go ahead next year or alternatively, if not, as part of a smaller seminar event and further marker of our presence/intent at Bath next year, a preliminary to a bigger event in July 2013 (by which time I would definitely hope we have found some way of securing appropriate funding). We have valuable resources available via PLaCE and Bath Spa but we still need to find some match-funding opp.
4 And, finally, we shared our places ... Jane who was busy in Bristol, joining us briefly via her phone, with a sound recording of her place in Cornwall. Thank you Jane! Unfortunately we run out of time before everyone had got a chance to share/elucidate on their places and four of the members present did not even get a chance to introduce their places today. So, the starting point for our blog will be the sharing of these four places. Penny will commence with her 'place' (once she has mastered the blogosphere - thanks again Penny, this will be such a valuable space for the group) and Davina, Mel and Hil will also put up their 'places' in due course. Perhaps those of us who did get the chance to bring our places to the group today could also put something up at some point so that we have a record of all of us/our places on the blog and in this way open them up for discussion? As well, of course, as those of you who were not able to come to the picnic today, could you plese add your place to the blog too? In this way, the various 'places' of our boxes will begin to emerge and mutate ...
I think that is everything (but please let me know if I have overlooked anything). Before I sign off, I just want to say thank you so much for your support for the museum box project and that the real treat for me today was to see you all and enjoy the luxury of spending time together at Little Solsbury ... I shall look at the hill as I drive down the road to see my dad in Batheaston quite differently now and hear the skylarks mixed with the sound singing coming from a childs record player (thank you Linda!)
with best wishes to you all
until soon
suze
solsbury hill picnic 30th June 2011
Subject: SPACE PLACE PRACTICE
Date: Thu, 30 Jun 2011 22:19:19 +0100
Dear all
Great to see some of you again today and to share time, thoughts and, importantly, the most yummy food together. This is just a quick note to re-cap on the day and to bring those that were unfortunately unable to join us up to date - so, please find below all the latest on (a) news about the re-configured Space Place Practice (SPP) artist/research group, (b) an outline of what was discussed today, (c) the opportunities on offer for the group as a result of some preliminary groundwork/networking carried out since the last meeting at Corsham Court in March, and (d) as a consequence of our discussions today, new developments/future action.
So, where to start? (I hope you are sitting comfortably as I think this might be more than a brief note after all!)
1 Weather: sunny and dry to start, rain later. Temperature: warm to start, cold later. Smell: fresh, grassy, earthy. Taste: sweet and savoury (mainly sweet!) Touch: varied. Sounds: skylarks, distant traffic, drone of aircraft (deep drpme of hercules aircraft), children, owners calling dogs, friends conversing, laughing ... Sights: huge skies, wondrous cloud formations, distant horizons, valleys, hills, houses, roads, trees, hedges, flowers, stones, long grasses, colours, shades - vast distances and close details; a vantage point, strategic, and special to us today; an Iron Age hill fort with defensive ditches, a place chosen from a hat, a place chosen by Rob. Thank you Rob!
2 One of the first things we did today at Little Solsbury was to discuss the fact that we are now an artist/research group - a cross-institutional group with a focus on issues of space and place, a group that values being one foot in and one foot out of the academy (in that we retain a criticality yet are not restricted by the (possible) confines of the academy), a group where practice involves a rich combination of thinking, doing, making and writing, a group that values each other/the group as a forum for dialogue and exploration.
We each in turn offered brief comments on how we, as individuals, relate to the group:
Sheila: "work with group is a cross-fertilisation of ideas/practice"; would be good to "encourage other disciplines" as appropriate to project
Hil: "Space Place Practice, as a name, is more open to other disciplines" (than previous 'art and geography group'); values the group "as important space/place to have contact with other strands of thought and practice/s, with thinking and doing" and is interested "in continuing with the group and the people ... to do with others"
Richard: the group is "useful as a sharing of resources - both a touchstone with the academy and beyond"; not only might we do projects together but "we can bring our own projects back to the group"; it "fills a gap" (as a doctorate student working remotely from his institution)
Penny: can feel isolated post-MA and the group offers "dialogue/s and invaluable sharing", that it is "organic, that focus will change and doesn't need to be tied down"
Diana: responds to the "loose-ness" of the group and the fact that it allows her "time to think creatively ... a forum in which to discuss how practice can be research"
Linda: how the group "helps [her] to keep focus, to be open, to share and test things out ... to be herself in the group"
Davina: is "passionate about practice-based research"; the group is important as it makes her "ask questions about practice and the place of theory". In terms of opening out to other disciplines, Davina has offered to see if the Bristol-based writing group (Bristol Uni - school of education I think?) is interested in doing something with us. Thank you Davina!
Mel: "important link to place-based issues" and to "having those conversations with others around practice/research"
And I put forward a brief 'mission statement' for group discussion (statement as initially drafted by Suze and Michele and then agreed with Rob and Liz and later forwarded to Iain at PLaCE and to Pradeep Sharma, Head of Art and Design at Bath Spa, Sion Hill by way of introduction to Space Place Practice):
Space Place Practice: a conceptual node through which visual artists/researchers engaged with issues of space, place and site within their critically constituted practice meet, discuss and collaborate. The research station’s dimensions are produced through interaction and discourse, which act as points of departure for both individual practices and collaborative adventures. A space where there is no hierarchical distinction between making, thinking, writing and doing – where expanded critical practice is expressed in image, word and performativity (action).
It was agreed that some parts (in particular 'conceptual node') might benefit from a bit of re-working and with this in mind, I attach a copy of the 'mission statement' for comment and suggestions.
2 Secondly, some preliminary research/groundwork has been carried out since the meeting in March and Suze filled everyone in re:
(a) the generous offer of support from PLaCE - use of space/rooms at UWE for meetings/seminars as well as, vitally, the resource of technical help setting up a website for the group and of incorporating the SPP website into the PLaCE website as an independent research network alongside Land2, Situations, Scenery etc. The website will be ours (independently managed/assembled) and will give us a valuable web presence - within PLaCE/the extended academy and beyond. Suze and Michele have started work on the website but it will take time to develop, ie it will be a while before we are ready to go live. In the meantime, Penny has offered to set up a blog (which we can later link into the website) so that we can continue to converse between our regular four monthly gatherings. Thank you Penny!
(b) an offer of support from Bath Spa University - Michele arranged a meeting with Pradeep Sharma at Sion Hill and Rob, Liz, Michele and Suze met with Pradeep a couple of weeks agao. He has offered the group support for a two-day event/conference next July (although we might need to shelve this until 2013 in order to get funding but we will see what we can do). Pradeep has asked the group to put together a 'business plan' with 'detailed budget' (ie it is up to us to state what we want to do and to itemise costs) and has offered the resource of the printing press for a publication. We will of course need to source some funding for such an event (Bath haven't offered any money although that is not to say we can't ask for something toward the event once we have a detailed structure in writing - whether they give us anything or not remains to be seen). Hil has offered to help Suze locate suitable funding bodies/write funding bids. Thank you Hil!
3 And a project to get us started! Suze has 'acquired' a collection of museum boxes from the Natural History Museum (yes, original museum boxes complete with glass, dust and stains!) and Michele has 'secured' use of the exhibition space at Bath Spa Sion Hill for a month next summer (after degree show - around mid/end June/July). Those of you at the picnic are now the proud holders of a museum box each and I have a similar box for those of you not able to come today - so, please get in touch so that we can arrange a day/time for you to collect your box.
Each box can then be used to represent each of us/our individual 'places' and will, when brought back together in another place for the show next summer, represent the group, each of us/our practices and a series of locations/places. Space (the group) Place (each of our places) Practice (each of our practices) - well, loosely anyway!
Whilst at the Natural History Museum collecting the boxes this Tuesday, Suze suggested the possibility of bringing the 'recycled' boxes back to the museum as an exhibition and has subsequently outlined the project/concept in an email which will be forwarded to appropriate people/depts at the Natural History Museum in South Ken. (I will of course follow this up and put together a proper proposal if they are interested as this could be a really exciting avenue to explore if it happens).
Liz's daughter who is doing a course on Museology has offered to present a paper around the show at Sion Hill next summer. The show could be used as part of the conference/event if we are ready (and funded) to go ahead next year or alternatively, if not, as part of a smaller seminar event and further marker of our presence/intent at Bath next year, a preliminary to a bigger event in July 2013 (by which time I would definitely hope we have found some way of securing appropriate funding). We have valuable resources available via PLaCE and Bath Spa but we still need to find some match-funding opp.
4 And, finally, we shared our places ... Jane who was busy in Bristol, joining us briefly via her phone, with a sound recording of her place in Cornwall. Thank you Jane! Unfortunately we run out of time before everyone had got a chance to share/elucidate on their places and four of the members present did not even get a chance to introduce their places today. So, the starting point for our blog will be the sharing of these four places. Penny will commence with her 'place' (once she has mastered the blogosphere - thanks again Penny, this will be such a valuable space for the group) and Davina, Mel and Hil will also put up their 'places' in due course. Perhaps those of us who did get the chance to bring our places to the group today could also put something up at some point so that we have a record of all of us/our places on the blog and in this way open them up for discussion? As well, of course, as those of you who were not able to come to the picnic today, could you plese add your place to the blog too? In this way, the various 'places' of our boxes will begin to emerge and mutate ...
I think that is everything (but please let me know if I have overlooked anything). Before I sign off, I just want to say thank you so much for your support for the museum box project and that the real treat for me today was to see you all and enjoy the luxury of spending time together at Little Solsbury ... I shall look at the hill as I drive down the road to see my dad in Batheaston quite differently now and hear the skylarks mixed with the sound singing coming from a childs record player (thank you Linda!)
with best wishes to you all
until soon
suze
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