THE BLACK SERIES: 16 – 18 July 2 - 6pm Opening Friday 16th 6pm onwards Südbalkon gallery, Hamburg, Germany www.südbalkon.org
I experienced technical problems and was unable to document the entire show - hopefully Paul will send them from rainy Jamaica. You may have noticed (from the original map of space) that there is a new addition... a kind of bump that appeared for the show. I thought it could be a sort of heterotopia, Paul might disagree with me though...
untitled_Wall Hill_blackstar series 2009 from Paul Jones on Vimeo.
Black star (detail) 2010 Paul Jones
Intuition cuts in when one has to make something urgently. I can’t talk for anyone else here – we all have our own ways of doing things… I never really manage to do all the thinking research and making in the same sitting. It’s more like cycles for me, times when I can’t make, I read or look at someone else’s work. But when I want to make my own, I can’t look elsewhere for months!
So working earnestly towards this show I was very much in the state described above. In some ways I wonder whether it’s a failsafe to stop criticism and doubt from creeping in - disrupting my resolve. It doesn’t make one open to in-depth critique though... Mainly I like to watch people navigate the work spatially, but the few conversations I had were useful.
Black Star 2010 (Background) Untitled Black series (foreground)
I had less preciousness about the situation; the space had its own ethos. Because it had music nights and so forth, there were many coloured lights - we didn't change them. As darkness fell we were plunged into a strange twilight, it felt rather comfortable. We spent most of the night there, some how it was like keeping the work company or maybe it was the other way around...
going the distance @ 3am
hot inside John Bock
Yes thank you IKEA !
I chose – well not exactly - actually the bridge presented itself as the natural location for the animation. This rear projection territory was new to me. Because the projection was so small, I allowed myself to use the proper stuff Perspex vision – which usually costs around £300 for 2m x 3m sheets - obviously I didn’t spend that kinda money… Even though I had the proper stuff it wasn’t all plain sailing… There was still the hanging issue and the technical problem of ‘hot spots’ (this is when the projector creates a bright spot on the screen, which obscures the projected subject).
lets say I’ve still got some work to do, but in general I was pleased with the results…
The space consisted of two rooms (the second not on this map) a corridor and a bridge. Our hosts were really generous and accommodating, especially Tilo who stayed up (virtually all night) during the installation. We were making an exhibition, but really if felt more like a marathon - not in a stressful way. In fact there was a certain level of ease about the situation, which made it fun. The Sübalkon group are serious about what they’re doing, (they invest a great deal of time, effort as well as money into the project) but because of the mix of people there isn’t the preciousness about status as a visual arts space. That stiff professionalism wasn’t around – I found this rather refreshing and empowering…
Located in the middle an industrial complex on Elbe island, the area reminds me very much of post-industrial sites/neighbourhoods in London - ready for the big cleanup. Wilhelmsburg is undergoing a huge regeneration initiative, there is always a level of insecurity for the inhabitants, what will be the future for the area, and will they be a part of it? In Germany (as in the UK) artists have now become the social face of these regeneration initiatives. In one respect it allows artists to eat and realise their ideas. In the other, the political and moral implications of these collaborations can be rather difficult to swallow. Recently the officially invited artists addressed an open letter to IBA- Hamburg in stimulate debate about the areas future.
We didn't have an 'official' invitation - we were more like graffiti…
Among Many Anna Maiolino
That constant tension between the whole and the singular intrigues and frustrates me. Historically artists are one of those entities; uncompromising, totally single minded and alone in their vision. Yet during the last 50 years all this has been challenged, from the Brazilian (neo concrete) artists of the 60’s to today. Now the conversation is about the level of participation and authorship to be shared.
I spent a long time agonising over what kind of Participatory artist I was, reading articles and books by the likes of Clare Bishop (Participation) and David Beech (Include Me Out). These critiques sheered off the utopian veneer and interrogated the intentions of the artist. I myself have dabbled within the participatory realm - what were my drives? - Loneliness, alienation towards the art world and simple working class guilt. In the end that ‘public’ out there (whoever they are) were fast becoming a fiction, and when I met the reality I was often disappointed. Although it’s a lonelier process, that control over ones ‘product’ is consolation for the lack of control anywhere else. As I said from the outset, these issues are still very pertinent, but now the guilt is gone and the medium has changed...
On a more positive note... I used an air gun this week for the first time. Good ol’ Andy down the Mews made me a steel box - at a really good price. This is what I love about sourcing stuff locally, apart from the logistical ease, you get to learn more about where you live. It was a beautiful afternoon and I’m spraying - as you can imagine a girl using industrial equipment is novelty for some. So without trying I found myself nattering to several characters on the mews between coats. It may not be the best of paint jobs, but a bit of wet and dry will do the trick I’m told. The next decision… should I paint it white or leave it grey?
I’m trying to make a light box as part of the show. It maybe self-explanatory but the drawings featured in this blog are backlit. I’ve played with printing and encapsulation to capture this effect, but this time I would like to show the actual drawings lit in this manner. This work is very clean (the gallery rather more worn) placing the works on ‘sanitised' surfaces is the way to go. So I’m planning to show some on a table - now the question is (with financial and time constraintS) what table?
I feel rather aware of the studio as a convention, and its traditional whiteness has affected the work dramatically. In the last show I responded by presenting the work within a 'science lab' situation. It seemed to make sense drawing that parallel between those two highly controlled environments – it’s almost like the Petri dish, sanitised for the sake of one culture.
As with the Sonia Boyce piece, there is close affinity between this work and those lived objects behind glass (a device or filter that somehow promises a more objective view). Its funny since I feel that the work is becoming more personal, but at the same time its appearance is rather cool. I'm interested in that dichotomy between the subjective and the objective and will to push this further...
As I was on my travels last week I came across, a corporate building with an entirely glazed frontage. One side was frosted, I didn’t have my camera but found myself drawn to a shadow visible through the frosted glass – it reminded me of something I saw in a book years ago...
Sonia Boyce 'Peep' 1995
Shadow sketch 2010
The thinking around the earlier drawings corresponds with something ‘singular’, whereas the new drawings start to consider each mark as a component - now I’m considering each drawing as a ‘multiplicity’ - like I said its a bit fresh, I'm not ready to put those out just yet…
Untitled black series 'Corridor' exhibition 2009
So I'm gonna show something I made a little earlier ‘Blue Peter’ stylie. I’ve shown them before, but it’s a good opportunity to experiment with the installation – if I don’t show them, what the heck will happen to them? I’ve already thrown a bunch of stuff in the Artbin… As you get longer in the tooth at this game, you realise that an exhibition mainly proves that what you do exists. Even in that crazy oversized construction (the Artbin) all that work proved its existence, even if each artwork lost its separate identity in becoming one big monument/artwork. I'm not entirely convinced though that the exercise represented failure in the end...
Amanda
