Artquest

http://www.artquest.org.uk/

Simona Del’Agli came to present this invaluable service which is provided by the Arts Council.
Main points:

Free to join artquest. Features include opps, directory and how to sections.
Opps are selected. Check out DVPT poss to fund Berlin residency?
Use a professional email, not yahoo. Now@cadifroehlich.co.uk
Networks are vital. Check out Axis and Re:title
Sort portfolio, business cards and headed paper (word templates)
Keep a database of contacts and email out a newsletter listing own shows
Get on the a-n blog listing
Twitter @artquestlondon #artops #artistworth
Keep comment book near work saying ‘if you would like any more info..’ NOT good to use any email you have for spamming people. Check out mailchimp.
Plan another show after MA show, follow up all leads

Contracts, check who does what, when, for how much. Ts & Cs. Use delivery notes. The are egs on artquest and they have legal advice service. If you are not offered one, ask for one, or make it up. Discuss before signing. If it doesn’t seem fair, don’t sign. No sending work without contract.

Copyright. Make owns it. Life+70 years. ‘there is no copyright on the idea, only on their own original expression of it’ Henry Lydiat

Earning money is not sinful! Also day job/sell work/spinoffs/commissions/awards/grants/license/IP
Join DACS

Funding
Elephant trust
Welcome trust
Grants for the arts
Fenton arts trust
Artists international development program
GrantStar

Open calls
Bloomberg new contemporaries
Open west
Jerwood Drawing (yay)
Exeter Phoenix open
Oryel open
Matt roberts
Deptford x
BP portrait
RA summer

Residencies
V&A
Wysing arts Center
Culture lab and ISIS
Cove park
Florence trust
AA to A
Artsquest

When applying. Check Ts and Cs online application is automatic agreement

Then I wrote
New economy or arts. 13th. ??

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Insatiable- Art, Design, New Economics and Ecology

Andrew Simms: To change the paradigm, shift or bust, as artists is our ‘responsibility to make art which provides an irresistible temptation to see the world other than how it is’

A Chelsea symposium presented by the ever-inspiring David Cross, with a line up of speakers prompted by Barbera Steveni

Speakers included:

Dr Hayley Newman who introduced us to her 2006 project MKVH which took place in Milton Keynes. It involved a bus driving around the grid-based road system of the new city, on one full tank of fuel, until the fuel ran out. This work references the grid system and it’s origins in western art, first written about by S Krauss at the turn of the century. The artist was also referring to peak oil production and the consumption of fossil fuels. The film of the work was transcribed entirely, into a screenplay.

Michael Fehr from Berlin University of the Arts. He presented the proposition of an architect, made in the 70’s, for a futuristic survival structure for humans. Need to look into details, as I have it down as Gunter Ekhart’s Tube Continuum project, but can find no record in google-land. Comprised a structure to circle the earth containing living essentials for 4 Billion people, including housing, transport and manufacture and farming. I’m quite partial to extreme solutionist fantasies, and could see myself sealed in a little apartment, looking out at the scorched earth trying to regenerate itself…. sort of.

Marina Landia, also of Berlin University of the Arts talked about her audiovisual work addressing the global financial sector.

‘Every society clings to a myth by which it lives: Ours is the myth of economic growth’ T Jackson

Another illustration/explanation underlying the problem by which banks have become too big to fail, and now operate outside capitalism, being bailed out by taxpayers.

David Cross talked about Cornford and Cross’s work The Lost Horizon. This referenced visual culture and sustainability, with an applied semiotic analysis. Our ecological debt.
I seem to reference the work of Cornford and Cross so often, I won’t say much more now, suffice to say that the more I look at their work the more I realise how bang-on they are. Love it.

The highlight for me came during the presentation by economist Andrew Simms, who encouraged us not to be intimidated by economics, or the suits who expound on the fable of capitalism and economic growth. (Growth meant to lead to maturity, which is where growth stops and is maintained at a healthy constant. See the impossible hamster for warning..)
Ironically, the shirt and suit trousers he wore did give more gravitas to what he was saying, so I failed that test, but he talked about the following:

We have 50 months left before we go past the point where a 2 degree rise in global temperature becomes more, rather than less likely.

‘It is astonishing that capitalism works on the theory that the wickedest men do the wickedest things for the greater good’ JM Keynes.

‘Because of investor expectations, we cannot make the [renewable energy production] numbers work’ Shell Oil

‘We will not sacrifice the economy for the environment’ George Osborne. Heaven help us.

Mr Plimsol revolutionised shipping at a time when it was fundamental to our economy and empire with the Plimsol line, which made shipping safer for all. How about a petrochemical or ecological plimsol line?

To change the paradigm, shift or bust, as artists is our ‘responsibility to make art which provides an irresistible temptation to see the world other than how it is’

Herbert Davy proposed the subtle and complex economics of sharing. Better not bigger.

Edward Abbey simply says ‘Joy, shipmates, joy!’

*Do not burn yourselves out*

All that is solid melts into air.

 

Still life research

Upcoming show at the Cookhouse, Chelsea- Brief: work in a way which you don’t normally use, something personal. So I take this opportunity to face my colour demons and the paints which might possibly capture them. The subject: copper and brass weights and measures jugs. Empty. Eye level, filling the canvas. Autobiographical???

In the interests of improvement on the above, I seek inspiration:

Rebecca Fortnum

Rebecca Fortnum
Rebecca Fortnum

Always good to see an artist talk about life in practice, but especially engaging as we are familiar with the role Rebecca has as our course leader, the amount of time she gives to that. Maintaining a vibrant artistic output too. Reminds me of my first art tutor who told us how he used to have only the bathroom in which to work. Every Sunday he’d set his alarm for 7, go in there, set up a board over the bath and paint for 4 hours before going back to bed to wake his wife. This weekly practice sustained him until they could manage more space.

Seeing how Rebecca Fortnum’s work  has evolved, beginning with the BA in Eng Lit from Oxford- brings to mind Audrey Niffenegger’s artistic practice when expressed as a novel.

  • Authenticity of the gaze
  • Contemporary British Women Artists book
  • Women’s Hour
  • Skowhegan, Maine, residency
  • Arnolfini residency
  • Visual intelligences @ Lancaster
  • Artists process
  • contradiction, physical body, paint, silence, quietness, visual/ language (can see link to death ask drawings)

Silke Dettmers

The necessity of wonder. It’s a state of mind, the impetus behind her work, and what may come of it.
Her studio has pictures on the walls. Often these are of natural disasters.
Worthing beach.
Gare montparnasse.
Wondering about them sets off trains of thought.
Her leaning house and little people.
Great example of work which is a musing on a theme, not conclusive, opens further dialogue.
Eg Casper David Friedlich’s The Wreck of Hope being an allegory of industrialisation.

Dettmer talked about having a large studio space. Despite the running costs this is essential to her, as it gives her space to pile up all the bits and pieces which she wobbles. They get laid on top of each other, gradually forming an object-based pallette to work from. I can definitely relate to that.
‘My studio is, in fact, the place where I am working’ – Damien Birem, 2006
‘The studio as terra incognita’ – Gerard Byrne

Dettmer also refers to smaller scale collections of apparently unconnected objects, such as cabinets of curiosities or random displays such as Ole Worms work. Objects placed together with no obvious connections which then go on to suggest 3rd meanings.
In her approach to work and objects, Dettmer says she needs to see them in person, to experience smells and even touch them, because the object is everything.

It’s been 5 months since I heard all this, and in that time I have moved into a new studio myself. This all seems so exactly relevant to my practice I feel a reassurance that I am on the right track. Even if my studio is rather far from cavernous. For now.
Sharing with an illustrator and a sound artist whose beautiful works emerge from beautiful clean and tidy spaces, my junkyard in the middle is an hilarious contrast. It’s mine and I love it.

Dettmer also produced the ‘All Aboard’ photographic series, in response to being evicted from her previous studio to make way for the construction of the Olympic park. This also really grabbed me for two reasons: One is that it was a real 2D departure for an object based practitioner. Second is that the photos where featured in The Guardian after she approached them. Proactive. Find your own opportunities.

Fnally ‘ there is an optimism in making visual something which otherwise did not exist- in using reclaimed materials more related to narrative of object. This is verging on nostalgia’ which is something she is keen to evolve, so that things involve a little less looking backwards…

Love it