How far can you go? - A question at the heart of my role as critical friend for Super Slow Way...

How far can you go? - A question at the heart of my role as critical friend for Super Slow Way...

I visited Super Slow Way in June and July this year. This blog post reflects those visits and begins to pose the question at the heart of my role as critical friend for the Creative People and Places project.

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Caught Doing Social Work? - Socially engaged art and the dangers of becoming social workers

Caught Doing Social Work? - Socially engaged art and the dangers of becoming social workers

This is the text from my workshop “Caught doing social work?” which was part of Manifesta 12’s M12 Education Club conference in Palermo on 19th October 2018. The workshop was held in the community centre in the ZEN social housing project. The text was used as mini provocations which led to a really interesting discussion about instrumentalism of the arts and artists, gentrification and artwashing.

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'Of the “Devil’s Party”: Creative Commons – A Marriage of Heaven and Hell?' Transcript of recent talk at Birkbeck...

'Of the “Devil’s Party”: Creative Commons – A Marriage of Heaven and Hell?' Transcript of recent talk at Birkbeck...

I took part in Communalities, urbanities and artistic commonalities - a symposium at Birkbeck School of Arts on 5th June 2018. This is a transcript of my talk. I billed it as the meeting of William Blake and Half Man Half Biscuit via a trip to Trumpton. There's a video to accompany the talk which I'll upload soon...

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SPEAR THISTLE - transcript of my performance prose poem for Imagined Biennales at Tate Exchange

SPEAR THISTLE - transcript of my performance prose poem for Imagined Biennales at Tate Exchange

I was invited to participate in the final day of Imagined Biennales which was produced by the University of Southampton at Tate Exchange on 13th May 2018. I wrote SPEAR THISTLE a non-manifesto for an Anti-Biennial. This is the transcript of my piece which I performed as a prose poem at the event.

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The field upon which you walk and upon which the chain is laid is the song. A transcript of my talk @panda_arts & link to my presentation with notes.

The field upon which you walk and upon which the chain is laid is the song. A transcript of my talk @panda_arts & link to my presentation with notes.

This is the transcript and presentation with notes from my talk at Panda (The Performing Arts Network) in Manchester on 28th March 2018. The event was a celebration of the network's 15 years working with artists and communities but it was also tinged with sadness as they announced that they were unable to continue to operate due to the toxic arts funding environment and local council cuts. I spoke of two songs with two very different fields and two very different chains.

The first is the song of neoliberal state-sanctioned power and control; of compliance and conformity; of commerce and economics. This is the siren song of austerity and the systematic destruction of our communities, of our lives. This is the song that has sunk so many hopes and dreams.

The second song is that of childhood, of freedom, of creativity, of disobedience, of hope.

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Extracting New Cultural Value From Urban Regeneration: The Intangible Rise of the Social Capital Artist

Extracting New Cultural Value From Urban Regeneration: The Intangible Rise of the Social Capital Artist

This article was first published in print in Sluice Magazine and then on their website in 2017. I've decided to publish it on my website because I hope its content still resonates in 2018. It addresses issues of instrumentalism in the arts, artwashing, living creatively and cultural democracy. As I wrote in 2017, I believe "it is still possible to conceive of art as part of living creatively, as part of everyday life, as local cultural democracy, as artistic autonomy." It's time to talk about how...

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Artists Against Artwashing: Anti-Gentrification & the Intangible Rise of the Social Capital Artist

Artists Against Artwashing: Anti-Gentrification & the Intangible Rise of the Social Capital Artist

This is a transcript of my paper I presented at the Edge | Situated Practice conference at Here East on Saturday 7th October 2017.  The conference was organised by the UCL Urban Laboratory and the Folkestone Triennial, with additional support from the Bartlett School of Architecture and Slade School of Fine Art.  There's a link to my PowerPoint presentation too.  It was a really interesting conference and I think my paper provoked some challenging debate.

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ORANGE PAINT AND FIBRE GLASS FRIGGIN SHEEP: A conversation about artists & communities & life

ORANGE PAINT AND FIBRE GLASS FRIGGIN SHEEP: A conversation about artists & communities & life

This is a transcript of another Twitter conversation between @rattlecans and the poet Martin Daws.  It stemmed from my tweet, which reflected Martin's call for paid artists in place of multi-million pound art centres.  I asked: "Instead of a £50m art venue, a city could pay 200 artists £25k a year for 10 years to work with communities; do what they want.  What do you think?"  This is what happened...

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Artwashing: From Mining Capital to Harvesting Social Capital - Cardiff presentation

Artwashing: From Mining Capital to Harvesting Social Capital - Cardiff presentation

I did a talk at Diffusion 'Revolution' Festival Symposium at Cardiff University today.  I've uploaded my presentation with notes here.  Click the link below to read it and remember to turn notes on in bottom right hand corner of presentation when it loads...  The talk is called Artwashing: From Mining Capital to Harvesting Social Capital.

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The Idea: Profitable Business "As If" Performance Art (or The Complexities of Artwashing)

The Idea: Profitable Business "As If" Performance Art (or The Complexities of Artwashing)

This is a reblog (with additions) of a post that was originally posted anonymously on LSE Sociology blog.  I must explain a few things.  I wasn't comfortable being anonymous because, as a fellow activist said, anonymity is the greatest dispossession.  So here it is on my own site.  I stand by my work but must explain that my issue is not with the ESRC research nor with anyone involved in the forthcoming research project.  I am only interested in exploring The Idea - Platform-7 and what I consider to be an example of artwashing.  It is also important to note that this work is personal and not connected to anything else I am involved with professionally.  I consider this part of my ongoing activist work: an intervention; a performance; research as practice (praxis); art (or perhaps anti-art).  It is an act of resistance and a critique.  If this is problematic, I'm happy to explain more.

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Art, theory, practice & politics: Differences, not "one culture". A response to François Matarasso

Art, theory, practice & politics: Differences, not "one culture". A response to François Matarasso

This blog post follows on from yesterday’s critique of Stella Duffy’s call for action towards the creation of a “new culture”.  It is a response both to François Matarasso’s thoughtful and challenging critique of my blog post and an attempt to answer the people who asked what my basis was for my critique, what my practice was, what alternative perspectives I might have.  I fear this post will prove unsatisfactory to many as I do not claim to offer singular nor even collective solutions that will ever be acceptable to “everyone”.  Nevertheless, here goes…

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Always Outsiders: Map-less Social Practice Art in the Ancient Landscape of a Global Geopark (ABSTRACT)

Always Outsiders: Map-less Social Practice Art in the Ancient Landscape of a Global Geopark (ABSTRACT)

Smelt.  Clart.  Pitch.  Clay.  Pit.  Hit.  Bray.  Hob.  Hoy.  Words overheard on map-less meanders over still-chartered grouse moors.  Stories told and retold by blazing public house firesides.  Cautionary tales.

This is the abstract for my forthcoming paper presentation at the Royal Geographical Society 2016 International Conference in London on 2nd September.  The session is explores "The Nexus of Art and Geography: practice as research", is part of the Participatory Geographies Research Group activities and is convened by Cara Courage (University of Brighton, UK) and Anita McKeown (Independent Researcher).

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