RITE

Rite, write, rote, right and sometimes wrong....

Forthcoming in October 2009, RITE is the result of a nine month collaboration with Critical Communities, a New Work Network and Open Dialogues project exploring the practice of critical writing on and as new work (interdisciplinary and live art).

Featuring the work of the Critical Community, RITE is a collection that brings together 18 original texts by UK based art writers that enact expanded acts of criticism, question the essay form, use language as material and attempt to work the different ways that writing can be on or about new work.

Contributors include Emma Bennett, David Berridge, Rachel Lois Clapham and Alex Eisenberg, Emma Cocker, Hannah Crosson, Amelia Crouch, Chloe Dechery, Tim Jeeves, Emma Leach, Johanna Linsley, Joanna Loveday, Charlotte Morgan, Mary Paterson, Jim Prevett, Nathan Walker and Wood McGrath.

RITE is commissioned by New Work Network, designed by Wood McGrath, edited Open Dialogues and produced by the members of Critical Communities with external editorial advice from Maria Fusco. It includes a foreword by New Work Network and introduction by Open Dialogues. All material is copyright the authors and Critical Communities 2009.

http://open-dialogues.blogspot.com/2009/08/rite.html

Critical Communities

Critical Communities Publication coming soon....http://open-dialogues.blogspot.com/2009/02/critical-community_23.html

Morphic Resonance - Project Space Leeds

25 March – 27 June 2009

Project Space Leeds

On entering the new exhibition at Project Space Leeds, I find little in the way of a formal finished exhibition showing, other than the catalogue of details which tells me:

“This catalogue introduces the second phase of the project [Morphic Resonance], a more formal curation of the work produced in response to the project to far.”

On reading this, I am heavily disappointed that I missed the first 'informal' phase, as the project space still oozes a sense of artists studios and artistic liberation, and I wonder at the exciting havoc that was here before, as much of the work appears still under construction in the space at this stage.

Acting out Project Space Leeds’s artistic objectives, this 12 week experimental project with artists from across the North of England is incredibly fitting for PSL - independent, artist-led and a contemporary art space -project. To see a project alive and well in a ‘project space’ is somehow unusual. It seems you are more likely to find a formal exhibition, with all the trimmings and finishing’s of a highly curated programme in the majority of artistic 'project spaces' I have visited recently. But this is definitely a project, sill in full swing and it quite takes me aback. There is a mixture of finished installation exhibits, ongoing spontaneous artist-led activity and object based works, still in the throws of creation.

David Stean and Hardeep Pandhal’s ‘props and costumes’ are not currently 'in action' on my visit, but as I take a closer look at the colourful melted substance, dripping from pictures balanced precariously on nails, I am drawn in to the point where I almost action them myself - stepping on split and broken pieces of the melted material underfoot. Moving around another temporary wall in the space (realising PSL’s utter flexibility in layout, no permanent, clean white walls in sight), I see a sign:

PRIVATE- NO ENTRY.

I look hopelessly at my map for a clue, and begin to realise it is up to me to decide if this in itself is part of the exhibition. I peek inside the door to see a shambolic stack of furniture, almost a chaotic store room and I decide to go no further, still clueless as to whether this is actually ‘private’ or part of the exhibition. Using the space so openly for projects and to show artists at work, gives me a close proximity to the work and those involved that is both exciting and nerve-wracking. The onus is on me to decide whether I take what I experience to be ‘Morphic Resonance’, the structure of the PSL space at large, neither, or both as the norms of gallery viewing are abolished. Everything becomes questionable, even the books and leaflets left out for visitors to browse suddenly become curious and I interact with them differently. The formality of the gallery space is broken down by the happenings around me and the ones I create as I move from one area of the exhibition to the other.

The project I am particularly drawn to within Morphic Resonance is No Fixed Abode, Dan Simpkins and Penny Whitehead’s. There is a raft currently under construction with someone deeply concentrating; hammering bits of wood on to a massive construction of scrap wood and large metal drums. Next to this workshop site is the ‘We, the other: marketing suite’ a large table, with texts laid out for me to read. The more formal texts on display offer detailed accounts, reports and newspaper columns on the Green Bank development project, originally planned for Leeds this year. This is a multi million pound building development from George Wimpey and as a resident of Leeds is a project I knew nothing about until now. At first glance it appears to be just another building development, which has currently been shelved due to the current economic down turn. But as I look at maps and photographs taken of the site and the marketing suite, I begin to recognise it, from just moments ago. The development was planned for a strip of land sandwiched between the railway lines and the Leeds-Liverpool canal, almost directly opposite PSL. The harsh white building currently occupying the space, is the £1 million marketing suite, now de-funct. My jaw hits the ground.

£1 million pounds. £1,000,000. One Million Pounds.

I carry on reading, desperate to seek some logical explanation of how this kind of money can be spent and sat vacant - current climate. I read about the raft as the hammering continues beside me. It is then that I re-discover the raft as a symbol of survival, rescue and begin to understand it as both spontaneous (using materials at hand) and life-saving in purpose. I also begin to grasp its use in the marketing suite, as it can be used as both a metaphor for ‘the often precarious position of artist-led initiatives’ as well as the developers and businesses such as Green Bank, ‘struggling to stay afloat in current economic crises.’

I stumble out of the gallery, not really wanting to leave, but urged to take a look, to get to grips with this project that is not yet finished, both within the Galley space and on the site outside of it. I look out across the water, still aghast by how strange this suspicious ‘Green’ development sounds and locate the marketing suite. The sheer oddity of it glaring back at me, such an expensive sales device sat empty, excessive and pointless is a stark contrast to the artists busy indoors behind me. Their project is similarly unfinished, but they are working away, dreaming of rafts and turning their own corner of the urban city into a real life alternative.

No Fixed Abode, Simpkins and Whitehead in a moment of inspiring and ongoing activism, collaboration and spontaneity, in this project highlight just how extraordinary and ground-breaking artistically this exhibition is. Mirroring some of the complex dynamics that brought PSL in to life in the first place (as a collaboration with property developer KW Linfoot PLC) their project fully embraces the opportunities offered in artist-led projects and addresses the precarious nature of both business developments and artistic initiatives. Reflecting on their immediate surroundings has led them to examine not only the frivolous, precarious and fleeting possibilities of Green Bank and the implications of Leeds’ continuous regeneration and re-development, but also the stability of both artistic practice and the economy at large.

In opening its doors for the public to wander around such a fluid and conceptual project-driven exhibition, PSL embarks on a risky business. Morphic Resonance explores precarious territory in displaying works in progress, micro-exhibitions and spontaneous actions - but as evident in Green Bank, sometimes investing in highly organised and 'sure bet' projects, rewards no-one. I come away realising just as watching artists-work in progress is fascinating, so too is witnessing any massive tower block of apartments ascend, with swinging cranes and drills the size of houses. Sometimes, sites are more interesting than the finished product.

Abstract for Critical Communities

Abstract of the text I will be writing for Critical Communties:

Tracing two performances of Nathan Walker, this text explores the depths and limitations of collaborating with a friend across practice and in a critical context. The text includes individual responses and ongoing dialogues in regards to two pieces of performance and examines the main threads which make up this body of work, as a platform for exploring the relationship of writer/performer/spectator and friend. These areas of discussion similarly touch upon topics discussed in the wider critical communities project including; care, hard work and the cross overs and distcinctions of the roles of writer and artist. Working in collaboration the text hopes to open up new dialogues and areas of possibility for both writer and artist.

Critical Communities

I will taking part in Critical Communities, a new collaborative critical writing project from Open Dialogues and New Work Network. Critical Communities has been developed by Open Dialogues and New Work Network (NWN) and is supported by East Street Arts, The London Consortium and Space. For more information on this project visit: http://open-dialogues.blogspot.com

The Yorkshire Critical Community includes Rachel Lois Clapham, Emma Cocker, Amelia Crouch, Joanna Loveday, Charlotte Morgan and Nathan Walker. With special guest provocateurs Sohail Khan, Alfredo Cramerotti and Derek Horton. Together the participants represent a community of new work/writing practitioners who will meet regularly in London and Yorkshire to discuss notions of 'the critical' in relation to critical writing both on and as new work. We will be critiquing our own art/writing and that of others, examining alternate critical modes both on and off the page and collaboratively developing a publication. The community will also act as a sustained network for experimental writing/new work practitioners in the London and Yorkshire areas. The Critical Community and its members will profiled on the New Work Network website http://www.newworknetwork.org.uk/index.php

Hatch at Bradford Playhouse

'Hatch' is Bradford's new experimental arts showcase at Bradford Playhouse. A new collaboration between Fabric and Bradford Playhouse Hatch, will be an ongoing series of showcase events, featuring work from filmmakers, DJs, musicians, comedians, performers, poets, dancers and artists working in installation or time-based artforms. Providing an opportunity for regional artists to workshop new work and showcase completed pieces, Hatch promises that "Each event will be exciting and unique - as it's all up to what work is submitted".

My first experience of Hatch on Thursday 22nd January was combined with my first visit to the Bradford Playhouse (formerly The Priestley). The Playhouse sits neatly in the Little Germany, cultural district of Bradford city centre. This old theatre with small 290 seat auditorium, newly refurbished downstairs bar area and attached 'Studio' (which I later discovered to be a stark room in the drafty upper wing of the building) has recently re-opened its doors to a hive of cross-disciplinary artists and arts activity. An old venue with a fresh new outlook, is a perfect demonstration of how an old building doesn't necessarily mean old work and old audiences. The Bradford Playhouse is now pitched as a new independent arts venue; willing, enthusiastic and capable of hosting a range of arts events, exhibitions and performances. In its open invitation to all genres, it is an excellent demonstration of the level of interest, artistic activity, enthusiasm and the determined 'can-do' attitude of those both programming and taking part in the Hatch collaboration.

Arriving late after walking in completetly the wrong direction around Bradford, I was welcomed in the foyer by the durational performative piece listed on the prgormame as 'Live art boxing by Nicolas Kilby'. Having already boxed for half an hour or so, he was gleaming with sweat and already looking out of breath. As he returned to his boxing stance after a break, his face showed signs of worry, that I could only take as concern for just how long two hours of back to back shadow boxing actually lasts in the moment of performing the action, and whether he had understimated just how much he could take. But he looked fit, and he seemed comfortable in his shorts and boxing gloves, laying in to nothing but the cold drafty air around him, flowing in with me through the entrance. His focus on the task in hand was fierce and his reptitive blows full of power. Aggression expressed itself in both the swing of his arms and the tightness of his narrowing eyes. Eager to move on to see more of the programme of events, I left after a short while and unfortunately missed the ending of this durational act, which no doubt left his body in a completely exhausted state. But the simplicity of subject, the dedication and gutsy reality of his chosen action had sparked my interest in Nicolas' artistic practice and I was left keen to find out more.

The performative lecture by Simon Warner, photographer, was a self stated 'work in progress' but gave an informative insight into his research into the artistic paintings which eventually led to the development of photography. This lecture focused on the Panorama paintings of the late 19th Century, the buildings in which they were painted and the story of Warners visit to see the only known Panorama painting in the UK at present - The Panorama of Rome in the V&A Museum. The lecture in its completition no doubt will be fascinating and incredibly educational, the main disappointment at this evenings taster was the missing imperative piece of information on how exactly the Panorma painting directly influenced the birth of photography. The lecture finished with an emotive ending, as in Warners description the Panorama of Rome was inspirational and excavated, not only as a historical subject matter but created for Warner an example of " Everything I could ask of a work of art".

On the verge of heading for the next train home I decided to stay for the 'Work in progress dance' by Slanjayvah Danza and was so pleased I took my chances on this last performance. Theatrical spot-lighting lit two dancers, one male, one female, on the small stage in the main auditorium. The varied musical score complimented the mix-tape of dancing styles blended in Danza's choreography in a brief yet vibrant contemporary dance piece. Beginning with the Argentine Tango, and donning only thin vests and hotpant shorts, red blindfolds and bare feet, the couple moved towards one another and after finding their partner in almost complete darkness, jointly took on a challenging set of dance sequences, lifts and near acrobatic movements. Whilst the spotlights revealed their figures but not the detail of the face, this dance work scrumptiously uncovered just enough piece by piece, tantalizing the audience and driving the routine forward, not through narrative, but sheer gusto and passion as each movement led them in to the next. The momentum and intensity of the movement progressively built into climax after climax. Also listed as 'a work in progress', I struggled to find any aspects in need of improvement. The dancers were highly professional, and choreography of this intensity and quality was a joy to watch, especially when the event was Free!

Joanna Loveday

Joanna Loveday is a writer based in Yorkshire, UK specialising in writing on performance and live art.
If you would like to reproduce this article please contact joannaloveday@hotmail

More information on Hatch at: www.myspace.com/hatchatbradfordplayhouse

To join the Hatch group on facebook go to: http://www.facebook.com/group.php?gid=44296871799

New Writing Collective Yorkshire Next Meeting

New Writing Collective Yorkshire Leeds Meeting: Wednesday 14th January, Victoria Hotel, Leeds 7.30pm

After several successful meetings across the region, we would like to invite anyone who is interested in the collective to a second open call out meeting in Leeds where we will be discussing the potentials of the regional writing collective. This meeting will be informal and open to everyone in Yorkshire who is interested in the possibilities of a regionally focused critical writing collective and would like to find out more or get involved. Whether your interests are the same as ours, or you just haven’t been able to make any of our previous meetings, then we would love to see you there!

After 4 meetings we have developed a clear set of aims and potential activities, and this meeting will enable us to hear any more thoughts from any writers and venues we have so far not had chance to talk to, after which we will begin work on some of the actions and objectives outlined. This is a chance for both local writers, arts venues, curators and institutions to have some input and contribute to the growth of the new collective and if you are interested and can or cannot attend, we would love to hear from you.

We are interested in critical writing that may include or combine; review, academic text, performative text, documentary or cultural commentary, and which discusses contemporary art, performance, film, new media, site-specific and public realm projects, architecture, installation, live art and community based projects.

The Aims of the Collective:

• Provide a database of regional writers and critical writing for local arts venues and performance spaces.
• Create a platform for new and emerging regional writers to produce critical, informed, accessible new work.
• Link the region's arts activities in an informed yet accessible online/printed publication.
• Contribute as a regional collective to the national and international critical dialogue and debate in the arts.
• Spark debate around visual art, performance and wider cultural issues, through texts that interrogate as well as support new and experimental arts practice within Yorkshire.

Potential output and activities of the collective:

• Online forum for texts, comments and debate
• Printed Publication
• Online resource centre, including regional writer biogs, publication listings, relevant venues etc
• Regular writer meetings (on a local level) for support and networking
• Regional and national publishing opportunities
• Work with HE/FE/Universities and in collaboration with regional arts organisations: connecting festivals/companies with writers.

This will be an informal meeting over drinks, starting at 7.30pm in the Victoria pub, just off Millennium Square in Leeds. This is the final open call out meeting, so if you are interested in any of the above aims or activities, would like to come along to find out more and share your views, then we hope to see you there. For more information on how to find the Victoria Hotel see: http://trustedplaces.com/review/uk/leeds/bar-pub/1z6286g/the-victoria-hotel

If you would like to add a topic to the agenda for discussion or talk to us beforehand, please do email.

Joanna Loveday and Charlotte Morgan
New Writing Collective Yorkshire

Joanna Loveday is a writer based in Leeds, Yorkshire, specialising in writing on performance and live art. www.joannaloveday.blogspot.com. Contact: joannaloveday@hotmail.com

Charlotte A Morgan is an artist and writer based in Sheffield focusing on site specificity, collaboration and the built environment. Contact: charlotte.anne.morgan@googlemail.com