Haunting last video of Gil Scott-Heron
Haunting last video of Gil Scott-Heron
Just read a really interesting interview with sculptor Antony Gormley (in New Scientist magazine, of all places) that had a surprisingly political slant.
His recent installation Clay and the Collective Body explores “conversations between people – through objects or through the process of creating” by locking 100 random people in a stark white environment, with only a monolithic block of clay for entertainment. This “gave rise to an extraordinary and explosive outpouring of, you could say, collective unconciousness.”
This alien place seemed to trigger something in the participants, something primal that if I was more of a “yogurt-weaver”, I may be tempted to call a universal human connection – certainly the only familiar sight were other people, and the only way of killing time was to create.
“What’s absolutely beautiful is the way that people have occupied that space and become the absolute opposite of what capitalism wants us to be – passive consumers of spectacle, of information, of entertainment, of objects of desire – they become participatory and productive and cross-fertilising.” I thought it was particularly apt that Gormley chose to use the word occupy in that context.
Although Gormley goes on to state that he never intends to make overt political statements with his work, he lets slip that “…there’s no question that many of my works, in different ways, are asking about the connection between humans and our environment. And I think that all my installations in cities of the naked human animal in effigy form – surrogate fossils, industrialised fossils – are asking, where does humankind fit? Now that we seem to be well into the sixth great extinction, how long are we going to contribute to the evolution of life? Those are very big issues” – and undoubtedly political ones.
Another subject that Gormley brings up in the interview, that is also a favourite of my own, is that of Easter Island.
This ‘ghost island’ captured my imagination from a very young age, as it seems to encapsulate the power that art and iconography can hold over people, our self-destructive tendencies, the damage that can be caused by a flawed belief system and the folly of excess that human civilization seems prone to follow.
“What was in the mind of the man or woman on Rapa Nui who cut down the last tree? It seems the answer to that question is “Well, I cut down this tree because that was what my father did and that was what my father’s father did.” I think we’re in the same position, but we are running on the myth of progress. My work is there to ask pretty serious questions about how we can shift our perception of what constitutes viable human actions or viable human behaviour.”
I always thought there was an eerie connection between Gormley’s sculpture and the statues on Easter Island, and I’m pleased to learn my instincts were close to the mark. Both signify mankind’s strange detachment from the world that bore him, and the lonely marks left on the land after he has gone.
Gormley also goes on to criticise elitism and the determinism of scientific progress – it is a thoroughly thought provoking and enlightened article, that has once again piqued my enthusiasm for art’s potential to induce change, by making us take a long, hard, look in the collective mirror.
“Apologies for swearing in an opening sentence, but have you seen the shitbastard sky we’ve been having lately? In case you don’t recognise it at first glance, it’s that bruise-coloured ceiling of floating misery that has been remorselessly flinging cold water over everyone and everything in the nation for weeks now. There’s moss growing on the inside of clouds up there. The British summer has long been a work of bleak fiction but this year it morphed into full-blown dystopian satire…”
Charlie Brooker is back to full form with a miserablist masterpiece on the shitty british summer. Cheered me up anyway!
Artist and anarchist Jamie Reid, perhaps best known for his work with the Sex Pistols, is currently exhibiting a retrospective of his work at Temple Works in Leeds. The exhibition is on until the July 14th closing with an evening of experimental music and art curated by the Urban Exploration collective.
Urban Exploration will present a 4 hour epic set involving collaborative improv with Oliver Knight (spoken word), Jenny Komowsky (classical singing), Rowan Reid (singer/songwriter), Umcorps (modular synthesist), and a Navajo indian spirit dancer….all with a backdrop of tipis, interactive visuals and the largest reverb room ever!
Who’s George? Find out on the final night of Jamie Reid’s Ragged Kingdom at Temple.Works.Leeds, July 14, 7:00 pm – 1:00 am.
A fundraiser for St George’s Crypt homeless shelter in memory of our much loved porter Brian Bird (1959 – 2012), the night will see Jamie himself back at Temple.Works.Leeds. An evening of extraordinary experiences will include experimental electronic ambient collective Urban Exploration collaborating with an opera singer, a poet, a singer songwriter (Jamie’s daughter Rowan), a hip-hop mc and a modular synthesist, and an acoustic set by Brian’s friends the Urban Stage Band – moving from the Joiners bar into the Open Loading bay for a night of sound, light and …dancing by our surprise guest, Dennis Lee Rogers, the Spirit Dancer of the Navajo Nation in proximity to Jamie’s immense tipis which form part of his ongoing work around the Eightfold year. Celebrated dancer, artist and educator, Dennis met Jamie Reid in 1998 while on tour in U.K and returned to open Ragged Kingdom.in London in October 2011 http://www.youtube.com/watch?v=1q2Impc6pM8. Jamie’s piece Corporate Slavery currently hung in the Joiner’s Bar Main Gallery Space features Dennis himself.