Ran ruga wit meAfrican Art - Athi-Patra RugaCourt sacks Pondei, NDDC interim leadership
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As we go to print, Cardiff Council is preparing to hack up their arts budget in a breath-taking act of short-termism. Oddly, the arts community has always shown itself more than capable of thinking creatively when it comes to hunting down the cash to make things happen. It is usually the case that every pound of arts funding levers out many more from other sources for the benefit of the economy. Of course, local authorities are between the proverbial rock and hard place as they, in turn, are squeezed by a government intent on splashing the cash on weaponry, but not the arts which of course encourage people to think — dangerous stuff or a lot of the basics like welfare and health care.
In the meantime, a happy, peaceful and creative to you all, with my usual teary thanks to the fabulous CCQ team, who have spread this issues arty feast before you, and to you for reading.
So why are arts budgets being slashed so enthusiastically? Because expenditure on art is not seen as being as crucial as expenditure on defence, education or health; art is considered a luxury. Ironically, if art was not thought of as a luxury commodity, but instead recategorised as dangerous and disruptive, budgets might be cut even faster.
He did not banish them to alleviate the burden on the public purse, but because he was very much afraid of their knack for looking behind sham-political veils and then communicating to others what they had seen. As I write this, Assemble have just won the Turner Prize, for working with residents to regenerate housing in Toxteth. The question presupposes that art must have a pure and separate Platonic soul.
Art is in the spaces between. Art exists not for itself but for others. Let us hope the government does not catch on to this.
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Omissions: In our last issue, we omitted to mention Waterside Contemporary in relation to George Barber. Several of the works shown alongside the interview we did with him were in fact commissioned by Waterside Contemporary. Also, many thanks to David Barnes for his very welcome assistance with picture editing in the previous issue. Subscibe to and buy back copies of CCQ in print at ccqmagazine.
Funding and opportunities for the cultural, creative and audiovisual sectors www. Ffotograffiaeth gan Arthur Navellou. Prosiect cyd-weithredol wedi ei ariannu gan raglen Diwylliant yr UE Photography by Arthur Navellou. The brief asks artists to be generous because what we are asking of them is intrusive.
We want them to share the personal stuff that is often hidden away as notes to themselves, to share the idiosyncratic thoughts and influences that go on to form their later propositions. How the artist does this is completely up to them. They set their own terms. They are their own curators. Gang of Two Artists John Wood and Paul Harrison have been collaborating for over twenty years, making works that dance along a line of absurdity, irony, tragedy and humour.
They first met at what was then Bath College of Higher Education in the late s, but it was only later, after they had both graduated, that they began working together. EG: Do you have the same working relationship now as when you first started out? You make friends and contacts so it sort of makes sense to stick with places and projects. JW: A bit.
How do you carve out time to experiment and maybe go against what people expect of you? Can you take that time out? PH: The big shift in our practice, in the last five or six years, has been a move away from purely screen-based works into other stuff. PH: It re-invigorated the practice I think, we felt like we were starting over, but we made some huge mistakes and some terrible works; I mean really awful.
We would plan and draw and try things out. JW: I think the audience knows when the artists are taking what they do seriously.
PH: People have this strange idea that in all the work, every piece we have made, I fall over or something hits John on the head; The End. PH: I would say we use a gag structure quite often to deliver the idea; not a gag so much, but more the structure; here is something, something will happen, something does happen, The End. PH: Sometimes its odd though, people have been crying with laughter,.
There is a temptation to see things as part of movements still. There are a lot of extremely dense works being produced that, say, you might see at a biennale, but also a lot of fluff… JW: That you might see at an art fair? We always try. Maybe, going back to the humour, we sometimes use that to engage people, sort of a hook, then you have the viewer and other things can take over and develop. What is important now might not be so important next year.
Do you arrive at a point together? JW: A lot. PH: Most days. PH: Sometimes a work will come from one drawing. JW: We use drawings to clarify our ideas to ourselves and to the other one. JW: It also depends on the work. Photos: Andreas Zimmermann. PH: But with a video work, or, say, with A film about a city, also in the von Bartha show, that kind of work takes months, years even.
JW: Endless drawings and discussions, and those discussions are important obviously. JW: The other one acts as a filter, hopefully getting rid of the bad ideas. PH: Not always.
EG: Because you know each other, you can circumvent what the other is going to hate. JW: Are we still talking about a marriage? JW: We have developed a kind of shorthand, over the years, almost little catchphrases that we use to save time. PH: But sometimes, we get it very wrong; we can still really fail to communicate, be on different planets.
But you still have to make decisions on your own. EG: Have you ever, in 24 years, contemplated doing solo projects? JW: I have been for the last ten years. JW: There is only so much our other partners will tolerate, and believe me they are tolerant, but after a while they will tell us to shut up.
People feel sympathy towards John, but not so much towards me. Our personalities and the way we are together shapes the work. Which sells, but not for much and not that often. PH: We work with five commercial galleries and do sell quite a bit, but not enough so we make anyone a lot of money, and in a way that removes us from the pressure of having to make works that sell.
PH: The art world is quite tough, and sometimes you have to remind yourself what the good bits of what you do are. When you do that and this thing pops out and it just works… well that feeling is worth a lot of cash. Their emotive responses to the Fukushima disaster went on to solidify their reputation as leading cultural activists.
Elf-like, Ellie is perched atop a huge pile of origami cranes that have taken over a large part of the Saatchi Gallery; she has set herself the impossible task of unfolding every crane, a project that she undertakes hypnotically and with immense care. Every one of the cranes had been a gift to the city of Hiroshima, sent by a well-wisher, as a cathartic gesture in response to nuclear devastation reeked by Little Boy in Visitors to the exhibition are invited to share in this process of healing by refolding the cranes Ellie has unfolded.
Our fumbling fingers, our complete inability to remake that which has been undone, became a metaphor for the powerlessness we feel when faced with such a mountain of suffering. You chose Love is Over. Can you tell me how it came about? On the day, we were already very drunk before we hit the street; there were lots of police as a result of the application to demonstrate too. Personal issues always have public meaning and, as an art collective, this relationship between personal and public is very interesting to us.
RU: There is nobody in or anywhere near Fukushima. The first time, many people looked up at the sky and got excited. RB: Your performance Black Death, though, when you walked around in parks with a stuffed crow and a megaphone amplifying the sound crows make to call other crows, and then you drove around the city with hundreds of crows flying above you, this was done in the heart of Tokyo, with lots of people watching.
Did people have the. RU: Art has many kinds of audience. We want to create something universal that ordinary people can relate to, now or in the future. RU: There was a story behind the Why Sheep? Why Sheep?
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