This is a personal call for solidarity and collective support at this time of darkness and disarray. We are stronger together. Can we come together?Read More
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.Read More
This is the second of my blogs about my experiences of being a “properly critical critical friend” for Creative People and Places project, Super Slow Way. I talk about my experiences of spending time with artists Claire Wellesley Smith and Jamie Holman.Read More
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.Read More
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...Read More
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.Read More
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.Read More
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...Read More
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.Read More
This is a guest blog by Martin Daws. Martin is a Spoken Word Poet and Community Artist. Full-time freelance since 1999. Young People's Laureate for Wales 2013-2016. Check out his website and follow him on Twitter.
Martin came up with the idea of paying artists to work with communities instead of "investing" millions of pounds in "capital projects" such as arts centres. We chatted about it back in 2016 a bit and he came up with some figures back then. My take is similar but different to Martin's. I favour a simple system based upon replacing infrastructure projects with 10 year funding for community artists based on a scaled system proportionate to the size of each city, town or village. I recently tweeted this question: "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?" That's sort of my starting point. Martin has kindly agreed to lay out his first draft in a guest blog to hopefully stimulate more discussion and debate about this brilliantly simple, yet potentially life changing shift in how we think about arts funding and how it is distributed more equitably. I will respond in a blog post soon...Read More
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...Read More
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.Read More
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.Read More
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…Read More
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).Read More