CHRIS FREMANTLE

What would Ken do?

Posted in Texts by chrisfremantle on April 16, 2007
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Reading

Posted in Texts by chrisfremantle on March 26, 2007
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Reading

Posted in Texts by chrisfremantle on March 26, 2007

Great Western Salt Works: Essays on the Meaning of Post-Formalist Art
Jack Burnham
George Braziller, New York, 1974

And

The Aesthetics of Intelligent Systems
J. W. Burnham
(found on AAAARG)

Working in Public

Posted in CV, On The Edge, Research, Texts by chrisfremantle on March 26, 2007

Working in Public:
Art, Practice and Policy

This On The Edge (OTE) Seminar programme taking place during 2007 (I am a member of the Steering Group for the project) aims to develop a new level of thinking in relation to art practices that work within social and cultural spheres of public life. At the heart of the programme is a significant, long term case study – the Oaklands Projects, California (1990-2000) developed by Suzanne Lacy (an internationally renowned artist). The series will focus on the issue of what quality means by connecting the experience of Oaklands to recent work and critical thinking.

Each event is hosted by a different venue in Scotland and consists of an evening public lecture followed by a morning seminar discussion. The programme is part of a significant development of research and learning in the visual arts as they relate to the public sphere.

Aesthetics and Ethics of Working in Public
Suzanne Lacy and Grant Kester
27 March, 18:00 – 20:30 & 28 March, 9:30 – 12:00
The Foyer Boardroom, 18 Marywell Street, Aberdeen
Tel: 01224 224250

Representation and Power
Suzanne Lacy and Tom Trevor
22 May, 18:00 – 20:30 & 23 May, 9:30 – 12:00
Centre for Contemporary Art, 350 Sauchiehall Street, Glasgow
Tel: 0141 352 4900

Quality and Imperfection
Suzanne Lacy and Simon Sheikh
19 June, 18:00 – 20:30 & 20 June, 9:30 – 12:00
UHI Executive Office, Ness Walk, Inverness
Tel: 01463 717 091

Public Dissemination Event: Cultural Rights and Entitlement
The core group presentation and exhibition with the support of
seminar presenters (September, TBD)

Booking is essential for each event
For more information: www.workinginpublicseminars.org
On The Edge Research,
Gray’s School of Art, The Robert Gordon University, Garthdee Road, Aberdeen, AB10 7QD, UK

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Variant Lauch

Posted in Texts by chrisfremantle on March 17, 2007

Empathy

Posted in CF Writing, Research, Texts by chrisfremantle on January 26, 2007

Reading

Posted in Texts by chrisfremantle on January 18, 2007
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Ivan Illich's Address to CIASP

Posted in Sited work, Texts by chrisfremantle on January 18, 2007

Cut and pasted from http://ournature.org/~novembre/illich/

An address by Monsignor Ivan Illich to the Conference on InterAmerican Student Projects (CIASP) in Cuernavaca, Mexico, on April 20, 1968. In his usual biting and sometimes sarcastic style, Illich goes to the heart of the deep dangers of paternalism inherent in any voluntary service activity, but especially in any international service “mission.” Parts of the speech are outdated and must be viewed in the historical context of 1968 when it was delivered, but the entire speech is retained for the full impact of his point and at Ivan Illich’s request.
IN THE CONVERSATIONS WHICH I HAVE HAD TODAY, I was impressed by two things, and I want to state them before I launch into my prepared talk.

I was impressed by your insight that the motivation of U.S. volunteers overseas springs mostly from very alienated feelings and concepts. I was equally impressed, by what I interpret as a step forward among would-be volunteers like you: openness to the idea that the only thing you can legitimately volunteer for in Latin America might be voluntary powerlessness, voluntary presence as receivers, as such, as hopefully beloved or adopted ones without any way of returning the gift.

I was equally impressed by the hypocrisy of most of you: by the hypocrisy of the atmosphere prevailing here. I say this as a brother speaking to brothers and sisters. I say it against many resistances within me; but it must be said. Your very insight, your very openness to evaluations of past programs make you hypocrites because you – or at least most of you – have decided to spend this next summer in Mexico, and therefore, you are unwilling to go far enough in your reappraisal of your program. You close your eyes because you want to go ahead and could not do so if you looked at some facts.

It is quite possible that this hypocrisy is unconscious in most of you. Intellectually, you are ready to see that the motivations which could legitimate volunteer action overseas in 1963 cannot be invoked for the same action in 1968. “Mission-vacations” among poor Mexicans were “the thing” to do for well-off U.S. students earlier in this decade: sentimental concern for newly-discovered. poverty south of the border combined with total blindness to much worse poverty at home justified such benevolent excursions. Intellectual insight into the difficulties of fruitful volunteer action had not sobered the spirit of Peace Corps Papal-and-Self-Styled Volunteers.

Today, the existence of organizations like yours is offensive to Mexico. I wanted to make this statement in order to explain why I feel sick about it all and in order to make you aware that good intentions have not much to do with what we are discussing here. To hell with good intentions. This is a theological statement. You will not help anybody by your good intentions. There is an Irish saying that the road to hell is paved with good intentions; this sums up the same theological insight.

The very frustration which participation in CIASP programs might mean for you, could lead you to new awareness: the awareness that even North Americans can receive the gift of hospitality without the slightest ability to pay for it; the awareness that for some gifts one cannot even say “thank you.”
Now to my prepared statement.

Ladies and Gentlemen:

For the past six years I have become known for my increasing opposition to the presence of any and all North American “dogooders” in Latin America. I am sure you know of my present efforts to obtain the voluntary withdrawal of all North American volunteer armies from Latin America – missionaries, Peace Corps members and groups like yours, a “division” organized for the benevolent invasion of Mexico. You were aware of these things when you invited me – of all people – to be the main speaker at your annual convention. This is amazing! I can only conclude that your invitation means one of at least three things:

Some among you might have reached the conclusion that CIASP should either dissolve altogether, or take the promotion of voluntary aid to the Mexican poor out of its institutional purpose. Therefore you might have invited me here to help others reach this same decision.

You might also have invited me because you want to learn how to deal with people who think the way I do – how to dispute them successfully. It has now become quite common to invite Black Power spokesmen to address Lions Clubs. A “dove” must always be included in a public dispute organized to increase U.S. belligerence.

And finally, you might have invited me here hoping that you would be able to agree with most of what I say, and then go ahead in good faith and work this summer in Mexican villages. This last possibility is only open to those who do not listen, or who cannot understand me.

I did not come here to argue. I am here to tell you, if possible to convince you, and hopefully, to stop you, from pretentiously imposing yourselves on Mexicans.

I do have deep faith in the enormous good will of the U.S. volunteer. However, his good faith can usually be explained only by an abysmal lack of intuitive delicacy. By definition, you cannot help being ultimately vacationing salesmen for the middle-class “American Way of Life,” since that is really the only life you know. A group like this could not have developed unless a mood in the United States had supported it – the belief that any true American must share God’s blessings with his poorer fellow men. The idea that every American has something to give, and at all times may, can and should give it, explains why it occurred to students that they could help Mexican peasants “develop” by spending a few months in their villages.

Of course, this surprising conviction was supported by members of a missionary order, who would have no reason to exist unless they had the same conviction – except a much stronger one. It is now high time to cure yourselves of this. You, like the values you carry, are the products of an American society of achievers and consumers, with its two-party system, its universal schooling, and its family-car affluence. You are ultimately-consciously or unconsciously – “salesmen” for a delusive ballet in the ideas of democracy, equal opportunity and free enterprise among people who haven’t the possibility of profiting from these.

Next to money and guns, the third largest North American export is the U.S. idealist, who turns up in every theater of the world: the teacher, the volunteer, the missionary, the community organizer, the economic developer, and the vacationing do-gooders. Ideally, these people define their role as service. Actually, they frequently wind up alleviating the damage done by money and weapons, or “seducing” the “underdeveloped” to the benefits of the world of affluence and achievement. Perhaps this is the moment to instead bring home to the people of the U.S. the knowledge that the way of life they have chosen simply is not alive enough to be shared.

By now it should be evident to all America that the U.S. is engaged in a tremendous struggle to survive. The U.S. cannot survive if the rest of the world is not convinced that here we have Heaven-on-Earth. The survival of the U.S. depends on the acceptance by all so-called “free” men that the U.S. middle class has “made it.” The U.S. way of life has become a religion which must be accepted by all those who do not want to die by the sword – or napalm. All over the globe the U.S. is fighting to protect and develop at least a minority who consume what the U.S. majority can afford. Such is the purpose of the Alliance for Progress of the middle-classes which the U.S. signed with Latin America some years ago. But increasingly this commercial alliance must be protected by weapons which allow the minority who can “make it” to protect their acquisitions and achievements.

But weapons are not enough to permit minority rule. The marginal masses become rambunctious unless they are given a “Creed,” or belief which explains the status quo. This task is given to the U.S. volunteer – whether he be a member of CLASP or a worker in the so-called “Pacification Programs” in Viet Nam.

The United States is currently engaged in a three-front struggle to affirm its ideals of acquisitive and achievement-oriented “Democracy.” I say “three” fronts, because three great areas of the world are challenging the validity of a political and social system which makes the rich ever richer, and the poor increasingly marginal to that system.

In Asia, the U.S. is threatened by an established power -China. The U.S. opposes China with three weapons: the tiny Asian elites who could not have it any better than in an alliance with the United States; a huge war machine to stop the Chinese from “taking over” as it is usually put in this country, and; forcible re-education of the so-called “Pacified” peoples. All three of these efforts seem to be failing.

In Chicago, poverty funds, the police force and preachers seem to be no more successful in their efforts to check the unwillingness of the black community to wait for graceful integration into the system.

And finally, in Latin America the Alliance for Progress has been quite successful in increasing the number of people who could not be better off – meaning the tiny, middle-class elites – and has created ideal conditions for military dictatorships. The dictators were formerly at the service of the plantation owners, but now they protect the new industrial complexes. And finally, you come to help the underdog accept his destiny within this process!

All you will do in a Mexican village is create disorder. At best, you can try to convince Mexican girls that they should marry a young man who is self-made, rich, a consumer, and as disrespectful of tradition as one of you. At worst, in your “community development” spirit you might create just enough problems to get someone shot after your vacation ends_ and you rush back to your middleclass neighborhoods where your friends make jokes about “spits” and “wetbacks.”

You start on your task without any training. Even the Peace Corps spends around $10,000 on each corps member to help him adapt to his new environment and to guard him against culture shock. How odd that nobody ever thought about spending money to educate poor Mexicans in order to prevent them from the culture shock of meeting you?
In fact, you cannot even meet the majority which you pretend to serve in Latin America – even if you could speak their language, which most of you cannot. You can only dialogue with those like you – Latin American imitations of the North American middle class. There is no way for you to really meet with the underprivileged, since there is no common ground whatsoever for you to meet on.

Let me explain this statement, and also let me explain why most Latin Americans with whom you might be able to communicate would disagree with me.

Suppose you went to a U.S. ghetto this summer and tried to help the poor there “help themselves.” Very soon you would be either spit upon or laughed at. People offended by your pretentiousness would hit or spit. People who understand that your own bad consciences push you to this gesture would laugh condescendingly. Soon you would be made aware of your irrelevance among the poor, of your status as middle-class college students on a summer assignment. You would be roundly rejected, no matter if your skin is white-as most of your faces here are-or brown or black, as a few exceptions who got in here somehow.

Your reports about your work in Mexico, which you so kindly sent me, exude self-complacency. Your reports on past summers prove that you are not even capable of understanding that your dogooding in a Mexican village is even less relevant than it would be in a U.S. ghetto. Not only is there a gulf between what you have and what others have which is much greater than the one existing between you and the poor in your own country, but there is also a gulf between what you feel and what the Mexican people feel that is incomparably greater. This gulf is so great that in a Mexican village you, as White Americans (or cultural white Americans) can imagine yourselves exactly the way a white preacher saw himself when he offered his life preaching to the black slaves on a plantation in Alabama. The fact that you live in huts and eat tortillas for a few weeks renders your well-intentioned group only a bit more picturesque.

The only people with whom you can hope to communicate with are some members of the middle class. And here please remember that I said “some” -by which I mean a tiny elite in Latin America.

You come from a country which industrialized early and which succeeded in incorporating the great majority of its citizens into the middle classes. It is no social distinction in the U.S. to have graduated from the second year of college. Indeed, most Americans now do. Anybody in this country who did not finish high school is considered underprivileged.

In Latin America the situation is quite different: 75% of all people drop out of school before they reach the sixth grade. Thus, people who have finished high school are members of a tiny minority. Then, a minority of that minority goes on for university training. It is only among these people that you will find your educational equals.

At the same time, a middle class in the United States is the majority. In Mexico, it is a tiny elite. Seven years ago your country began and financed a so-called “Alliance for Progress.” This was an “Alliance” for the “Progress” of the middle class elites. Now. it is among the members of this middle class that you will find a few people who are willing to send their time with you_ And they are overwhelmingly those “nice kids” who would also like to soothe their troubled consciences by “doing something nice for the promotion of the poor Indians.” Of course, when you and your middleclass Mexican counterparts meet, you will be told that you are doing something valuable, that you are “sacrificing” to help others.
And it will be the foreign priest who will especially confirm your self-image for you. After all, his livelihood and sense of purpose depends on his firm belief in a year-round mission which is of the same type as your summer vacation-mission.

There exists the argument that some returned volunteers have gained insight into the damage they have done to others – and thus become more mature people. Yet it is less frequently stated that most of them are ridiculously proud of their “summer sacrifices.” Perhaps there is also something to the argument that young men should be promiscuous for awhile in order to find out that sexual love is most beautiful in a monogamous relationship. Or that the best way to leave LSD alone is to try it for awhile -or even that the best way of understanding that your help in the ghetto is neither needed nor wanted is to try, and fail. I do not agree with this argument. The damage which volunteers do willy-nilly is too high a price for the belated insight that they shouldn’t have been volunteers in the first place.

If you have any sense of responsibility at all, stay with your riots here at home. Work for the coming elections: You will know what you are doing, why you are doing it, and how to communicate with those to whom you speak. And you will know when you fail. If you insist on working with the poor, if this is your vocation, then at least work among the poor who can tell you to go to hell. It is incredibly unfair for you to impose yourselves on a village where you are so linguistically deaf and dumb that you don’t even understand what you are doing, or what people think of you. And it is profoundly damaging to yourselves when you define something that you want to do as “good,” a “sacrifice” and “help.”

I am here to suggest that you voluntarily renounce exercising the power which being an American gives you. I am here to entreat you to freely, consciously and humbly give up the legal right you have to impose your benevolence on Mexico. I am here to challenge you to recognize your inability, your powerlessness and your incapacity to do the “good” which you intended to do.

I am here to entreat you to use your money, your status and your education to travel in Latin America. Come to look, come to climb our mountains, to enjoy our flowers. Come to study. But do not come to help.

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LAB

Posted in Texts by chrisfremantle on January 16, 2007

Reading

Posted in Texts by chrisfremantle on November 1, 2006

Sokari Douglas Camp – Sweeping

Posted in CF Writing, Exhibitions, Sited work by chrisfremantle on September 9, 2006

Sculptures by Sokari Douglas Camp at
Camberwell College of Arts, London
26 July – 13 September 2006

Nigeria comes to London. Well actually Nigeria and London have been together for many years. Sokari Douglas Camp CBE! Sokari Douglas Camp is an artist, and more precisely a sculptor. Sokari Douglas Camp lives in London. Sokari Douglas Camp was born in Nigeria, and more precisely in the Niger Delta. We need to be precise to avoid confusion.

The exhibition Sweeping is a group of recent work across a range of scales.

Positioned on the forecourt of the College, and visible to passers on the Peckham Road, is Asoebi Women (2005), made as part of the Africa05 season and shown at the British Museum. Of course its also the eponymous ‘water feature’ for Ground Force – thus essentially and at once Nigerian and British.

Chimamanda Ngozi Adichie, in Purple Hibiscus, describes the women at Christmas in rural Nigeria: “They all looked alike, in ill-fitting blouses, threadbare wrappers, and scarves tied around their heads.” (p91) This sheds a light across the work, one confirmed by Sokari in the text in the catalogue. Poverty and making do are key.

Inside the Gallery are two larger than life size works – a pair of figures, Accessories Worn in the Delta (2006), and a single figure Teasing Suicide (2004). Various other smaller scale works are also included – at least one of these is a maquette, but all stand on their own.

Sokari Douglas Camp works in welded metal. She is immensely skilled as well as provocative and reflective in her work. She addresses Britain and Nigeria, Peckham Road and Port Harcourt. The exhibition is full of life and death.

The statement offered with the exhibition illuminates this.

‘Sweeping is about management, order, facing up to the truth. As we sweep, we whisper things to our chores – I think I do that with my sculpture. I work on things that disturb me, take ordinary experience and turn it into a surreal picture. But life is surreal.’ (Press Release)

But this statement is more interesting if you read it in the catalogue. It goes on:

‘…and women take it in their stride. We tolerate the most extraordinary things.’ (Catalogue)

The last statement, missing from the press release, adds a completely new, feminist perhaps, dimension. It becomes less ‘art world’, less distant, more present, more personal.

The process of making sculpture is about telling, or perhaps admitting, the truth. What results from telling the truth as you make art is a new understanding – a heightened awareness.

The Bus, the maquette for the Living Memorial to Ken Saro-Wiwa states ‘I accuse the oil industry of the genocide of the Ogoni’ Its a very unsubtle statement. Other works in the exhibition open up the personal psychological experience in much richer ways. The Bus speaks to the public shared space. It asks “Which bus are you on?”

The figure, Teasing Suicide, that confronts you as you enter the gallery is holding an AK47 pointing in its mouth. I interpreted it as a female figure. I interpreted the pink paint covering the head and shoulders as the consequences of squeezing the trigger. But the work is also one of the most beautiful. Sokari Douglas Camp is immensely skilled at working with metal, and the imagery cut into the body of the figure is just stunning.

The large pair of figures, also I think female, entitled Accessories Worn in the Delta, are loaded down with AK47s and ammunition. They face each other, but they are like caryatids rather than in a personal confrontation.

One of the smaller works, the Coca-cola Ladies (2004) also is a curious configuration. A group of perhaps eight tall figures of women surround a slightly more vulnerable figure in the centre of the group. The figures are made from mild steel, the head dresses red, crushed and cut coke cans. The eight are linking arms, and the whole assemblage is moving purposefully. There is almost a praetorian sense to the group. Making sculpture out of found materials such as coke and beer cans has become a ‘traditional’ activity in Africa, but the psychological strength of this work is huge.

Sokari Douglas Camp’s work is infused by her cultural inheritance. There is no possibility of failing to recognise the colours, patterns and shapes in the work. The short film Sweeping, perhaps just a ‘study’ of the idea, highlights the action focusing on repetition and pattern in the dust. In the background is a house. The front wall of the house made from concrete blocks pierced with a simple repeating pattern – you know – the sort also used for garden walls. In that, as much as in the patterns left in the dust by sweeping, you can see the importance of the cutting and drawing through the steel.

Each work contains a psychologically complex situation – standing, protecting, confronting, crying, killing – genocide. They are personal responses to human experience. My instinct is that the human experience is rooted in Nigeria, and it stands as a challenge to London – Nigeria is conflicted, but Nigeria is strong. It also asks the person in Peckham “Have you experienced anything like this?” to which the answer is probably “Yes.” Just as the Bus, and PLATFORM’s whole remember saro-wiwa project, aims to make what happens in the Niger Delta a reality to people in London, so all Sokari’s work seems explore the idea that ‘ We tolerate the most extraordinary things’.

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What art have I seen?

Posted in CF Writing, Exhibitions by chrisfremantle on July 8, 2006

John Latham: Time Base and the Universe

John Hansard Gallery, Southampton

An opportunity to see more of Latham’s work (having previously seen the show at the Tate Britain in 2006 and the show at the Lisson, God is Great, in 2005).

Work I had not seen before about the West Lothian bings and the skoob towers. More films including one that explores the same territory as eames power of 10. The film ‘Unedited Material from the Star’ which I had seen at the Tate is also included. I see the sea shore. Gill sees minerals. I particularly enjoy as Latham gets into the process and begins to play around with sequences of colours – there is humour and inspiration.

In a way that the obituaries failed to do, this exhibition does justice to the scale and complexity of Latham’s vision. Once again we are left uncertain and challenged, with moments of clarity, and others of incomprehension.

In ‘(Rephrase) Zero Space, Zero Time, Infinite Heat’ once again the idea of the minimum possible event is explored. In this case a linear sequence of sheets of paper with short typed texts explain the presence and absence of spots. In this case not sprays, but single spots. The final ‘frame’ is a stack of pieces of paper all assumed to have spots and to represent certainty after the sequence of uncertainty (Gill liked this one).

Research and Writing > John Latham

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John Latham

Posted in CF Writing, Research, Sited work by chrisfremantle on July 8, 2006

Several years ago I made a pilgrimage to Livingston to visit the Five Sisters, a bing on the edge of the town. I understood it to be a major, unsigned, piece of land art associated with that elusive artist, John Latham.
I documented the work of art on a slide film. Although I did not climb on the work at the time, I did view it from a number of perspectives. That documentation resides in the archive of the Scottish Sculpture Workshop, with no associated texts of explanation.
I was caught up in myths, in part of my own making, that surround Latham. I connected some limited knowledge of the Artists Placement Group (APG), through picking up that there was a connection between Latham and these large bings, legacies of an industrial landscape in the Lothians, to the land art of artists such as Smithson. I assumed that Latham had been involved in the shaping of the Five Sisters.
I have since discovered that the connection between Latham and the bings in the Lothians is of a different sort. Latham had proposed the re-imagining of the bings as monuments. His work involved re-conceptualising the bings as valuable aspects of the landscape, rather than as huge problems.
His work consisted of photographs and plans. This work was exhibited as part of a survey at the Tate in 1976.
John Latham developed work in response to the bings that mark the landscape of the Lothians. This work asked us to consider the bings as other than simply blots on the landscape. This work related the bings to other major man-made landscape monuments.
Latham neither engaged in the physical shaping of post industrial landscapes as American artists were doing, nor did he engage in the form of work of other English artists moving out of the gallery during the same period through strategies such as walking.
The former entered marginal post industrial spaces and used the processes that had scarred them to shape them again. The re-shaping of the landscape also implied a re-valuing of those landscapes.
The latter adopted a ontological position: exploring what aspects of being can be shared with others. This exploration of the nature of individual human experience and the limits of sharing was interpreted through an ethic of take only photographs and leave only footprints.
Latham’s work is of a different order again. His work proposes that we can choose to see the landscape differently by an act of will. This is made easier if it is undertaken in the context of a broader reading of man’s marking of the landscape.
His work related to the bings, and other projects undertaken with Steveni under the heading of the APG have had a very significant, if little documented, impact on the visual and other arts in Scotland.
David Harding, founder of the Environmental Art programme at Glasgow School of Art, amongst others, acknowledges the seminal importance of Latham’s work.
It is timely to highlight the work of Latham, Steveni and the APG. Their archive is being given to the Tate this spring (2005). It is proposed that works relating to Scotland should be revisited.
© Chris Fremantle 2005
Postscript
For a coherent and researched discussion of Latham’s work in Scotland see Craig Richardson’s article for Map Magazine Autumn 2007

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What art have I seen?

Posted in CF Writing, Exhibitions by chrisfremantle on June 30, 2006

Ettie Spencer at the Dick Institute, Kilmarnock

Oh! Mother…. what the hell are we going to do about this? The birds are shitting on the floor and the Japanese knotweed is taking over. Even the hoovers can’t cope with the mess and are floating out to sea.

Ettie Spencer’s show at the Dick Institute Kilmarnock makes a pretty clear point. To what extent can man control nature? Has the enlightenment project of imposing rational order finally run its course?

Each of the works juxtaposes a made structure with an element of nature. The cage for the birds is a huge arrow, constructed from angle iron and mesh, pointing out of the gallery towards the open air, but tethered by concrete blocks. It mixes the aesthetic of the delicate birdcage with the scale and material of industrial fabrication. The birds are content enough to inhabit this sign, and yet the irony is that the very symbol of escape is their cage.

Equally the Knotweed racked up in hospital laundry trolleys forms a wall of green in the gallery, also inhabiting the industrial scale of human management systems. Knotweed is described by conservationists as an alien and threatening species. Any fragment of root will generate another plant. Thus it is described as the largest female in the world.

Spencer’s video work, upright hoovers, shaped out of polystyrene, are floating out to sea. They might land on distant shores – a sort of desperate housewife’s message in a bottle.

Going back to see the exhibition again, I was strangely disappointed that the knotweed had not completely filled the gallery. I don’t know why, but I had hoped that instead of the same gallery installation, the living elements would have broken free from the made constraints and that coming back to the gallery would have been like entering a new and natural world.

Posted in CF Writing, Texts by chrisfremantle on June 23, 2006

I found the text below in a folder on my laptop – according to the properties it was modified 23 June 2006 so it must have been written right about then. I had been freelance since February of that year. I had been helping Helix Arts with an evaluation of the Climate Change: Culture Change project and must have just been in the development phase of Greenhouse Britain, probably having been to Shrewsbury and met the Harrisons. It’s a curious piece of history and I’m posting it pretty much as a curiousity.

It’s a very good question – why am I interested in Climate Change?

There are a number of answers – firstly I acknowledge that it will have a significant impact on my life, and the life of my family and friends, and it is having an effect on the lives of other people who I don’t know, and other living things on the planet.  But that requires me to reduce my ‘carbon footprint’ (in the jargon) – to travel less by plane and car, to reduce energy consumption in my house, etc.  It does not require me to make it part of my work as a cultural historian/curator/person involved with contemporary art.

I became interested in issues of art and the environment through a number of experiences and observations – I used to be Director of the Scottish Sculpture Workshop, and this is located in rural Aberdeenshire – it was a ‘modernist sculpture factory’ dislocated from its natural urban habitat to a rural one, by virtue of the inclinations of the founder director.  I heard Declan McGonagle, then Director of the Irish Museum of Modern Art (IMMA), speak in Dundee about the challenges of transforming a building which was part of the British colonial history in Ireland into a space for modern art.  He highlighted and emphasised the importance of engaging with the cultural history and the surrounding communities.  IMMA places its relationship with its locality as a key thread of work.

I also began to look at the work of artists who worked within the environment across a range of strategies and tactics – I invited John Maine to work with us and a quarry company – this resulted in an 8 year project constructing a new landscape on the rim of an historical quarry in Aberdeenshire, and in passing involved 8 years of research and exploration of the prehistory and history of stone in the landscape of Aberdeenshire.

I commissioned Nina Pope to explore the interface between the rural and the digital with a group of young artists.

I commissioned Gavin Renwick to explore buildings in the rural environment of Aberdeenshire again with a small group of artists and architects.  This opened up a political dimension and resulted in a series of events looking at Devolution in Scotland from a (rural) cultural perspective.  The work with Renwick developed into another project looking at cultural continuity and human settlement in the context of the village and Aberdeenshire.

Another tack over this territory was the Making Places residency with Wendy Gunn – she brought in Craig Dykers of Snohetta and Tim Ingold, Chair of Anthropology at the University of Aberdeen.  Tim in particular spoke about movement in the landscape – knowing places and finding them.  We explored Aberdeenshire through a multi-disciplinary team including artists, architects, archaeologists, anthropologists, land-use researchers, and inhabitants.

I ran a programme of visiting speakers on public art – Penny Balkin Bach from Fairmount Park Art Association in Philadephia, Anna Pepperall from Gateshead in the North East of England, and Stefanie Bourne from the Sustrans organisation.  I commissioned or acted as the commissioning agent for quite a lot of public art – this did not take thinking forward, but it is always interesting to work with artists.  Where it was interesting was when there was an opportunity to for an artist to develop work of their own, or where a commissioner was willing to take risks and be very open.

Helen Denerley’s Craws at the Safeway in Inverurie simply addressed one of the characteristic aspects of the area, and David Annand’s Aberdeenshire Angus was the best possible thing that could be done on the basis of the ambition of the village of Alford.

But more interestingly, George Beasley and Helen Denerley’s collaboration over the Boundaries project brought the whole population of Glen Deskry into making a work of art, and the CairnGorm Mountain landscape initiative has resulted in a truly significant work by Arthur Watson in collaboration with many of his colleagues.  In this work he is addressing hte multiple cultural histories of the Cairngorms.  The first phase of work involves dangerous drawing – exploring the naming of rock climbs – the dotted lines that overlay the cliffs and crags of the mountain.

But as to climate change – all of the above is characterised by
1. rural and inhabited
2. artists with other disciplines
3. reflection and action

Now I have been involved in Practice led research for 6 or 7 years, initially as a partner and collaborator, now probably as a researcher, and in the future as a PhD candidate.  This has only been possible because of my colleague Anne Douglas and On The Edge, her research project into a new articulation of the value of the visual arts in marginal contexts.  Whilst On The Edge does not speak to climate change directly, it addresses the idea of ‘life as art’ and the reposition of art within the everyday.  It also is a hugely important space for thinking rigorously and creatively across such a wide range of issues in partnership, not just within the core team, but much more widely.

I’m not interested in climate change because its a new theme in the endless cycle of issue based work eddying through contemporary art.  I’m not interested because there might be funding.  I am interested because it is an evolution of the work – it asks not just how do we live here?  How do artists respond to this place?  How can we look again at where we are?

It goes beyond that to ‘we have to live differently.  How can we do that creatively?’  Climate change is therefore not the only driver.  There are also social drivers and ethical drivers and aesthetic drivers.

My dissertation for my MLitt in Cultural History was all about Utopia, its underpinning of the Humanist project and the embedded structures of power and social organisation – it was a critique.  I think perhaps I am still involved in the critique of the humanist project and the idea of utopia.

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What art have I seen?

Posted in CF Writing, Producing, Sited work, Texts by chrisfremantle on June 11, 2006

Launch of Phase I of Arthur Watson’s work at CairnGorm Mountain. Great to see this project coming to fruition. I still think it is a shame that Winifred isn’t part of it: pacem.

I think I first went to meet Bob Kinnaird in March 2001.

It all started with a phone call from Judi Menabeny, then the visual arts officer for Badenoch and Strathspey (?). Bob had contacted her looking for help to develop the arts as part of the development of the funicular. At that time the Funicular was a big story attracting a lot of negative press. Anyway, Judi called me and I went over to see Bob. I was immediately struck by the landscape – who wouldn’t be? But to me it was the bulldozed airstrip that you can see from 10 miles away. That is the first visitor experience.

Quickly we set aside the idea of the sculpture park on the mountain, and looked to do something that addressed the relationship between the organisation and its context. Clearly Bob’s thinking about the living mountain has developed in the process as well.

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What art have I seen?

Posted in Exhibitions, Research, Sited work, Texts by chrisfremantle on June 10, 2006

Climate Change: Cultural Change at the Globe Gallery:
Michael Pinsky, Peter Rogers and Helen Mayer and Newton Harrison.

I’m evaluating this project.

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David Harding

Posted in Research, Sited work, Texts by chrisfremantle on May 30, 2006

At the end David Harding quotes from Bertolt Brecht, About the Way to Construct Enduring Works.
It seems relevant

1.
How long
Do works endure? As long
As they are not completed.
Since as long as they demand effort
They do not decay.

Inviting further work
Repaying participation
Their being lasts as long as
They invite reward.

Useful works
REQUIRE PEOPLE
Artistic works
Have room for art
Wise works
Require wisdom
Those devised for completeness
Show gaps
The long-lasting
Are always about to crumbleÉ.
…..

2.
So too the games we invent
Are unfinished, we hope;
And the things we use in playing
What are they without the dentings from
Many fingers, those places, seemingly damaged
Which produce nobility of form;
And the words too whose
Meaning often changed
With change of users.

3.
Never go forward without going
Back first to check the direction.
Those who ask questions are those
Whom you will answer, but
Those who will listen to you are
Those who then ask you.

Who will speak?
He who has not spoken.
Who will enter?
He who has not yet entered.
Those whose position seems insignificant
When one looks at them
Are
The powerful ones of tomorrow
Those who have need of you
Shall have the power.

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Re Gallery Visits in London, New Year 05/06

Posted in Exhibitions, Texts by chrisfremantle on May 30, 2006

Re Richard Long’s show at the Haunch of Venison, Colin Kirkpatrick interviewed Richard Long some time ago and it touches on some of the issues…

Dimitrijevic, Smithson and Magritte

Posted in Research, Texts by chrisfremantle on May 30, 2006

At the Scottish National Gallery of Modern Art last winter I saw a room of photography that SNGMA had recently purchased. This included a group of six photographs by Braco Dimitrijevic entitled This could be a place of historical importance (I have not been able to find images of this work online). For me this work clearly links with Robert Smithson’s Visit the Monuments of Passaic New Jersey. Talking to our friend Gail about this she made the link with Magritte’s Ce n’est pas une pipe. So what is the link between these artists in the early 70s and surrealism?

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Exercises

Posted in Texts by chrisfremantle on May 19, 2006
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Summary of Human Settlement: Nooteboom

Posted in Research, Texts by chrisfremantle on May 16, 2006

“Seaweed becomes kelp,
shell becomes stone,
liver becomes light,
earth becomes turf,
and rocks and sea-wrack becomes soil in which to grow potatoes”

A ‘summary of human settlement’ for the Gaelic speaking crofting community on Aran on the West coast of Ireland quote in The Guardian 06.05.06 from Nomad’s Hotel: Travels in Time and Space,
Cees Nooteboom, Havill Secker, 2006

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Infobabelise by Ben Woodeson

Posted in CF Writing, Exhibitions, Texts by chrisfremantle on May 9, 2006

Review of Ben Woodeson‘s show at the Jerwood Space over Christmas and New Year 2005/06.

What was a technical exercise for a bunch of engineers – getting mobile phones to send text messages to each other – is just another innovation that has pushed the development of culture in a whole new direction. Short bursts of characters.   Innovative use of punctuation. It has all happened in ten years and even grandparents are using it. We live in an ‘information age’.  We are skilled navigators and interpreters of a complex visual and auditory world.  Another generation seduced by the white heat of technological development.

In Woodeson’s work everyday human concerns are made the object of an art that behaves as interference. He describes this as “primitive attempts to re-use and re-examine that which is commonplace and everyday.” It is the only way to explain this group of work. Its the everyday made into nonsense. Where in Wallace and Gromit or in Heath Robinson the madcap machines are intended to produce benefits for their inventors, Woodeson makes these contraptions for our benefit – so that we can begin to become sensitive to the extent to which what we think is communication is almost always noise.

The exhibition is made up of three works – one in the café and one each in the two gallery spaces. ‘Herbalgerbilverbalisor’ collects speech from the reception desk, filters it through voice recognition software and then ‘types it out’ in light boxes in the far gallery. The work contains all the key issues – remoteness, indecipherability, use of the everyday human, complexity and randomness.

Woodeson avoids trite judgements and does not rely on the trendy to carry the work.  The far gallery could have been cluttered with computers and screens running Linux.   Rather, the alphabet stands alone blinking at you from the light boxes. The clue to the computer function is in the one box in the bottom corner, like the blinking cursor in DOS, waiting for action.

Where Gallery Three blinks, Gallery Two taps. A series of jaunty electro-magnets tap out an apparently abstract pattern. The electro-magnets are thread-sized spindles of copper wire in pairs. Power pushes them apart, release results in a click. Controlled, this results in old-fashioned Morse code. Woodeson has programmed these automated distress beacons with short extracts from self-help texts. The title gives away the attitude: ‘Chicken soup from Mars’. Texts which deal with leadership merge with texts on wealth and with relationships. There is one pair clearly together on the right hand wall – one is titled ‘Low-down on Going’ and the other ‘Blow Him Away’. Electro-magnetic sex therapy if only I could decipher it.

(De)cipher is a key concept for Woodeson. He ensures that the work cannot be deciphered exactly. His work creates circumstances in which people cannot understand each other, characterised by misheard conversations, misunderstood texts, unintelligible telephone messages – definitely not handwritten letters or quiet face to face conversations.

Woodeson’s work involves considerable technical skill – electrician, programmer,
cabinetmaker crossed with hobbyist. The irony of unintelligible self help texts, and the complexity of first using speech recognition software to overhear conversations with the receptionist (“Where is the toilet?”) and then have them typed out too fast to be read, all speaks of enormous effort for negligible reward – in his words “technical investigation with maximum effort for minimal achievement.”

The art exists in a liminal space between the real and the virtual. There is the physical presence of the electromagnets in the gallery, the light boxes, the microphones, but the meaning is attenuated through the virtual. Meaning is stored and modified as electricity.

In the gallery there is a shared experience of the physical, but the meaning is not accessible. By inference our own constructions exclude us from understanding each other.

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Reading

Posted in Texts by chrisfremantle on May 5, 2006

A Guid Cause: The Women’s Suffrage Movement in Scotland, Leah Heneman, Aberdeen University Press, 1991.

This book covering the early connections between suffrage, education and slavery, and the subsequent development of suffrage in Scotland as a strong and distinctive movement, with its own characters and events, is well researched and thoroughly readable.

My starting point was discovering somewhere that Fanny Parker, the neice of Lord Kitchener, had in 1914 with another suffragette, attempted to blow up Burns Cottage, Alloway. Parker was an active and militant suffragette and spent more than one episode in prison as a result. Not only was she forcibly fed by tube, but she and others were given ‘nutritional enemas’. This book set her attempt to bomb Burns Cottage in a clear historical context.

I also discovered another interesting connection. Louisa Innes Lumsden, another suffrage campaigner and one of the first three women to graduate from Cambridge, must be one of the Lumsdens’ of Clova. In the short biographical sketch it mentions that she was chair of the Rhynie School Board.

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Jane Jacobs 1916-2006

Posted in CF Writing, On The Edge, Research, Texts by chrisfremantle on May 1, 2006

Obituaries: Toronto Star, Washington Post, The Guardian

Anne Douglas and I used Jane Jacobs The Nature of Economies as a means of interrogating the first phase of On The Edge Research in “Leaving the (social) ground of (artistic) intervention more fertile“, a paper presented at the Darwin Symposium, Shrewsbury; Waterfronts IV, Barcelona; and Sensuous Knowledge 2, KHiB, Bergen.

On The Edge Research is a practice-led research project based at Gray’s School of Art, Aberdeen. OTE has, since it was launched in 2001 with a major award from the UK Arts and Humanities Research Council, focused on developing new articulations of the value of the visual arts. In 2005 Anne Douglas, the principle researcher, and I wrote a paper which started out with the question – what is sustainability in the visual arts? This is a particularly tricky question especially in the UK because of public subsidy. Any discussion about sustainability will normally veer off into a discussion of the Arts Councils. Jane Jacobs book the Nature of Economies seeks to set out the fundamental rules of development looking at developmental processes in natural systems. She argued that the same rules that govern the development of ecosystems also apply to economies, and we explored the application of this thinking to ‘arts development’.

  • What is really important is to recognise that development occurs at multiple levels simultaneously (ie fractally),
  • that all development requires co-development (ie nothing happens in isolation),
  • that all development requires various forms of governors (ie feedback loops, bifurcations and emergency adaptions).
  • Development occurs qualitatively and quantitatively.
  • Development occurs in a cycle of differentiation from generality.

I am very sad that such an important thinker, who I only recently learnt so much from, has died.

Originally posted 1 May 2006

Grant Kester

Posted in Research, Texts by chrisfremantle on April 21, 2006

Kenneth White

Posted in Texts by chrisfremantle on December 24, 2005

To return to the present
Cathcart Road, October 11th, 1977

‘A waant ma hole
a waant ma hole
a waant ma hole-idays
tae see the cunt
tae see the cunt
tae see the cunt-ery
fu’cu-
fu’cu-
fu’curiosity.’

Kenneth White, The Bird Path, Penguin 1989

Renewable Energy

Posted in Texts by chrisfremantle on July 14, 2004

The Energy Sang
by Sheena Blackhall

Tune: Underneath the spreading
chestnut tree

Petrol, ile an deisel, poor it in,
Fuel tae makk yer motor rin.
Win an fire an watter aa can gie
Pouer tae use as energy.

North Sea gas can cook yer tea
Hydro dams makk electricity
Win an fire an watter aa can gie
Pouer tae use as energy.

Tarry coal an kinnlers, wid an peat
Burn in the fire tae gie us heat
Win an fire an watter, aa can gie,
Pouer tae use an energy.

Hydro-Electromania
by W. L. Ferguson

GOD made o Scotland a braw place,
Wi knowes an howes an burns that race
Doon mountain sides wi foamy grace
To meet the tarns
That i’ their azure depths embrace
The gowden starns.

But cunnin chiels frae Babylon
Maun turn Creation upside doon;
God’s solitude becomes a toon
Wi mills a’ birlin;
Its reekin lums mak nicht o noon,
-An a’ for sterlin!

Thae Babylonians, oot for gain,
Wad rin oor rivers throu a drain,
Or pit a loch whaur there was nane;
A strath, they’d move it!
Oh! gowd can mak ruch places plain,
-Thae chiels’ll prove it!

Commerce an Industry an Lear
Hae lang been Mon’s chief end doon here,
But noo he something’s fand, I fear
‘ll blast an blaw Himsel, his schemes, poo’er, plant an gear
To smithers a’!

If you know of any others please send them to me.

Art Futures

Posted in Sited work, Texts by chrisfremantle on July 14, 2004

Concerned about the position of the artist in the Cultural Review? Sensing increasing marginalisation? Worried about your ability to become a social worker?

Support artfutures and the campaign to value visual artists as artists.

Carron, Ravenscraig, Glengarnock

Posted in CF Writing, Sited work, Uncategorized by chrisfremantle on July 10, 2004

Starting at the only remains of the Carron Works, looking at the stone tower with carronades in the gateway.  Finding the blue gate (a triumphal arch) from the Edinburgh International Exhibition of 1886.  Going to the cemetery and seeing family graves, crying.

Through Ravenscraig without stopping (Gavin was not there to ground us).

Ending in Glengarnock, seeing Lorna’s gate, finding all the different bricks telling a story of industries drinking in the Masonic Lodge.

Photos by Chris Fremantle, Anne Douglas, George Beasley

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Some Reading

Posted in Research, Texts by chrisfremantle on July 8, 2004

children, spaces, relations – metaproject for an environment for young children
Ed. Giulio Ceppi and Michele Zini, Reggio Children, 1998
‘The municipal infant-toddler centers and pre-schools of Reggio Emilia are internationally recognised as an experience of particular cultural interest and constitute a model of “relational space” dedicated to young children.
As part of a range of activities and initiatives organised to further develop and promote this educational experience spearheaded by Loris Malaguzzi, Reggio Children initiated a line of research in conjunction with Domus Academy on designing spaces for young children. The aim of this project is to enable a “meeting of minds” between the avant-garde pedagogical philosophy of the Reggio Emilia preschools and innovative experiences within the culture of design and architecture.’

Figuring It Out: The Parallel Visions of Artists and Archaeologists,
Colin Renfrew, Thames and Hudson, 2003

Leon Battista Alberti: Master Builder of the Italian Renaissance,
Anthony Grafton, Penguin Books, 2002

Ghost Riders: Travels with American Nomads,
Richard Grant, Little Brown & Company, 2003

Francois Matarasso’s Nine Principles of Success

Tim Rollins

Posted in Sited work, Texts by chrisfremantle on June 13, 2004

The Civil Arts Inquiry currently being undertaken at the City Arts Centre, Dublin, by it’s new Director, Declan McGonagle, is an innovative piece of social/arts development.
One of the treasures on the site is the transcript of a talk given by Tim Rollins – ‘Art in the building of the beloved community’. I had not come across Rollins before, but he is clearly one of the real practitioners of arts in communities. It seems to me that he is interested in the same radical agenda as Rob Fairley and Room 13 in Caol Primary School in Fort William, Scotland.
Tim Rollins talk, sadly without visuals though he refers to the slides he is talking about, conveys his energy and enthusiasm. It demonstrates the need to work slowly, and to be present over a long period of time. It also highlights the importance of pushing very hard. Inspirational.
Interestingly he talks about two phrases – ‘what if?’ and ‘why not?’ He outlines the background to these – Martin Luther King Jnr. used them to focus his argument about the American left during the Civil Rights period. The danger of ‘what if?’, according to King, was that it stopped you doing things. The attitude required is ‘why not?’.
I had picked up on ‘what if?’ and ‘why not?’ from the work of Helen Mayer and Newton Harrison, American environmental artists. They use in their work a dialogue between the ‘witness’ and the ‘lagoonmaker’. They use questions and phrases such as ‘what if?’, ‘why not?’ and ‘if not here then somewhere else’ in the Dragon, as means to challenge communities and bureaucracies.

Lucy Lippard: Shaming the Devil

Posted in Texts by chrisfremantle on February 25, 2004

The Animating Democracy Initiative undertaken by Americans for the Arts is a critical investigation into the role of the arts in relation to civic society. Excellent research has been undertaken into arts project which engage with civic dialogue. The introductory essay Shaming the Devil by Lucy Lippard is excellent in its own right. Lippard sets out the importance of critical writing in advocating for the arts. She teases out the importance of an ethical and positive culture of writing within the arts in a way which is inspiring.

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Live Art

Posted in Exhibitions, Texts by chrisfremantle on February 15, 2004

New Territories – Scotland’s International Review of Live Art
The Live Art Development Agency,
The Live Art Magazine and ‘Focus Live Art’ (Live Art Development Agency Nov 2001) about sustainability of the sector which contains much useful insight into the sector (read between the lines of advocacy directed at the Arts Council)
An interesting critique of the Whitechapel’s (so far) two part series ‘A Short History of Performance” published on Metamute.
Robert Morris ‘From a Chomskian Couch, the Imperialist Unconscious’ I have not been able to find this on the web. It sounds very interesting – Robert Morris in dialogue with his therapist, Noam Chomsky, discussing the Imperialist agenda of American art in the 20thC. If anyone can direct me to it I’ll make the link.

And now I’ve found it. Critical Inquiry 29 4

Other Blogs

Posted in Texts by chrisfremantle on February 13, 2004
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James Turrell

Posted in Texts by chrisfremantle on February 7, 2004

Extract from James Turrell’s lecture on Roden Crater at the ‘Art in the Landscape’ symposium at the Chinati Foundation.

“I suppose this is how artists think: you take a photo of it; you make plans of it. It was all pretty reasonable. I got the land. I had to buy a ranch to get the volcano. It’s hard to just buy a volcano. I made the mistake, though, of not ranching out there first, because this is open range. Arizona and Nevada are still entire states that are open range, so if you don’t want cattle on your land you’re obliged to fence them out. Even Texas has changed those rules, although there are open range areas here as well, but not the entire state. Arizona claims to be open range, as well as to not change its clocks. It doesn’t recognize daylight savings time, but that has more to do with militia-favoring political views.

I began to plan how this space at the top, in the top, would shape the sky. At the beginning, I phased it in three steps to change the shape of the rim so that it began to shape the sky. I made a plan so that I could present it to the contractors, and then they could use machinery to move the earth to shape the sky.

This is similar to breaking a few eggs to make an omelet, and it is something to take such a beautiful geologic formation as a volcano and change it. The change was not large in my mind, and there was this chewing up so it would still be a volcano and look as one, no matter whether you saw it from outside or from above. But it would then have this aspect of changing perception. That had some effect on people in terms of ecological thought. Also, the fact that I had bought this ranch and decided not to ranch or do anything with it was, to some degree, like buying a farm and letting it lie fallow, and it actually had more effect on people than I had realized it would. There is more to it than the fact that I wanted to change the volcano. The nearby volcanoes are being mined for cinder, because cinder block and cinder tracks that people run on are made from this material; this is a great building material and people have no qualms about mining it there. There are four hundred volcanoes in that volcanic field, and twelve of them are being mined actively. I see now that it was not so much that I was changing the volcano as that I was coming in and not needing to ranch as anyone else would have who bought the same land.

At any rate, I began to work on it. I had the plan of what it would take to change the sky. The problem is that sometimes you have these ideas, and it’s like having an idea to make an acoustically beautiful symphony space. Some of the worst spaces are made in the name of acoustical engineering. A lot of it is the fact that it is an art that doesn’t scale well from one situation to another; it’s something you have to inherently discover. I had an interesting way of going about that, in the sense that it was about 220,000 cubic yards before I had any way of knowing how to do this. At a dollar-fifty a yard, we were about 300,000 dollars into this and the sky hadn’t moved. Of course, the other situation is that the people form the community who were actually working on it wanted to know what it was that they were doing. After dealing with the landowner and finding that the best way is to put people aware of the truth, I said, “You know, the reason you’re moving this land, this earth, is to change the sky.” Well, they just asked if they were going to get paid on Fridays.

This is the most work that was dine to the outside of it, right here, and you can see that it did take quite a bit of changing and moving to begin to do this. I think that it is very interesting that, after the workers would work on this moving of earth, they would leave and go eighteen miles to the 2 Bar 3 Bar, which it the closest place you could get a telephone and also the closest place you could get a beer. They would go there, and they would talk to their friends about what they were doing. But after about 220,000 cubic yards, after I had changed plans on them as to what they were doing and figured out that it took something different from what I had first thought to effect this shaping of sky, they would get down off their graders and Caterpillars and come down and look – they would stand there and look at it and lie down and look at it and get back on and do more work. Pretty soon, they were bringing their friends out from the 2 Bar 3 Bar, and they would stand there and look at it and lie down and look at it, and they would get up and exchange money.

Here it is now, shaped this last winter [1994-95]. I’ve also since been convinced that we did have to ranch there, and that was because a rancher that came in had a vested interest – they seriously overgrazed our land – which, of course, everyone in the area realized was my fault. We actually had to sue and get involved and get leases back for every other state section that was leased to somebody not in the area. We’ve been ranching this land for five years now, and it has helped a considerable amount. There has been a lot more support for the project, and, in fact, there was unanimous support at the planning and zoning meetings that we had, which required that we actually zone this for art, which has been done.”

Art in the Landscape, Chinati Foundation, 2000

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Ross Sinclair: Scotia

Posted in Sited work, Texts by chrisfremantle on February 5, 2004
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Dada2data by Chris Joseph

Posted in Texts by chrisfremantle on February 3, 2004

A short essay on the relationship between DADA, the influential artistic movement of the early 20th Century, and new media art. Many of the strategies of new media art (manifestos, collaboration, simultaneity and multiple media, use of chance, collage and montage, cabaret and shocking the audience out of complacency).

Hans Haacke

Posted in Texts by chrisfremantle on December 23, 2003

Symbolic Capital Management: or what to do with the Good, the True and the Beautiful.

The Artist engages in critique the relationship between business and the arts.
The worker interrogates the industrial means of production.

See also PLATFORM and the project Funding for a Change.

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Umberto Eco

Posted in Texts by chrisfremantle on December 13, 2003
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Public Meeting on Windfarms, Lumsden

Posted in Civics, Texts by chrisfremantle on June 27, 2003

Found this in a folder on my laptop from June 2003 and thought I’d post it in its historical context (for the record actually posted 8 March 2014).  I haven’t edited it, mostly because although stylistically weak, it was and still is not far off the mark.

Windfarms

I attended, along with many other people, a meeting in Lumsden Village Hall about the proposed windfarm at Kildrummy. This generated a number of thoughts.

As a visual arts professional working in a remote and rural location I believe that the current development of windfarms in rural areas is an appropriate subject for reflection.

Firstly, windfarms represent the largest industrial development that will take place in rural areas in the foreseeable future.

Secondly, these windfarms are subject to public consultation, but the level of debate about the subject is uneven.

Thirdly, much of the resistance movement articulates its core argument around visual impact, and as a person with some expertise in this field, it seems appropriate to begin to explore the subject with a visual ‘hat’ on.

Background gained from public meeting

There are a significant number of wind farm proposals at various stages of development in the Marr area. These include the proposal for Kildrummy as well as proposals at the Clashindarroch Forest behind the Tap O’ Noth, and at the Glens of Foudland. These are all being developed by different companies.

There are many views about the efficiency of the wind farms. According to the presentation and discussion at Lumsden Village Hall the companies are seeking planning permission for periods of around 25 years with a life expectancy for the wind farm of 20 years and an allowance of time for installation and decommissioning. It appears that it takes about 10 years for the wind farm to pay for itself, i.e. in financial terms the all the cost associated with the wind farm is met from income earned during the first 10 years. After that the wind farm is generating profit for the company.

This is not necessarily the same as the point at which the material and energy consumed in constructing the wind farm is ‘paid off’. There is a negative environmental impact from the material and energy consumed in construction, and a positive impact from the generation of energy from a renewable source.

There is therefore an argument about the efficacy of wind farms as a means of generating energy.

One of the major concerns expressed in the meeting was that in decommissioning only about one third of the concrete used in the foundations of the turbines would be removed.

There is also an argument about the impact of the wind farms on the inhabitants and communities.

Two specific arguments were made against wind farms:

  • They would reduce tourism in the area.
  • They would lower property prices in the area.

These arguments are made, but are rarely contextualised by the more general issue about the impact of infrastructure developments in our environment. These include High Voltage Power lines, Mobile Phone Masts, Water and Waste Water infrastructure, the proliferation of signs along roadsides, etc. We have, perhaps even since humankind ceased to be hunter-gatherers (around 4000 BC in this area), modified the landscape. It is difficult to identify the man-made versus the natural in our environment. Perhaps since the agricultural revolution, and the intensive programme of farm improvements, seen increasingly industrial scale infrastructure within the landscape. Perhaps the most basic form of this is the road, starting with the turnpike.

In this context it is worth noting that windmills have been a characteristic part of the landscape in other parts of the UK and Europe over a very long period. Water wheel meal mills have been an important localised infrastructure in villages across the North East of Scotland for a long period.

According to the discussion in the meeting at Lumsden Village Hall there is no ‘national renewable energy strategy’. Two reasons for this were raised at the meeting. Firstly it was suggested that the government’s view was that the most efficient means of achieving targets was to put in place financial incentives. The financial incentives drive the energy companies to implement the most achievable systems quickly, hence wind farms rather than other forms of renewable energy. The second reason suggested was that any national strategy would have to look at sites, and this would effectively involve the government in prioritising benefit to some landowners over others. The result has been what was described as a Klondike effect with landowners rushing to see if they have suitable sites.

The lack of a national strategy means that there is no authoritative assessment of the means of producing renewable energy, i.e. no analysis of the effectiveness of wind farms in comparison to wave power, solar voltaic, combined heat and power, geothermal, etc. Just the ability to list this number of alternatives highlights the need for broader analysis. It also suggests that the development and commercialisation of renewable energy technologies is ad hoc rather than rational.

It is of interest that the specific wind farms in this area have funding in various forms associated with them. This will benefit:

  • The landowner
  • The community
  • The local authority

All are likely recipients of financial benefits. These are perceived as a bribe.

It is estimated that the community of Lumsden and Kildrummy will receive approximately £30,000 per year over the life span of the windfarm. It is expected that this will be distributed through an independent trust or other body to the benefit of the community.

It has struck me that rather than frittering this away, one might prepare or commission a renewable energy strategy for the local area. There are sources of funding for this sort of work from various agencies in any case. One might then invest the £600,000 that will be made available to the community during the lifetime of the wind farm in implementing the renewable energy strategy within the community. This might take the form of incentivising people to use solar voltaic panels on their roofs, or, preferably, implementing a mixed economy of renewable energy technologies.

At the end of 20 years the wind farm could then be removed because the community was making its own, appropriate and well thought out, contribution to energy demand.

Culture and the New Scottish Parliament: Report by Anne Douglas

Posted in Civics, On The Edge, Texts by chrisfremantle on May 23, 1999

This event took place at the point where the first candidates for the new Scottish Parliament were standing, and it was more or less a hustings.

Report for Artist Newsletter on the meeting at Lumsden Village Hall on 23 May 1999

Culture and the New Scottish Parliament.

Report by Dr Anne Douglas, Senior Research Fellow in Fine Art, Gray’s School of Art.

With the imminent election of members to the new Scottish Parliament, the second meeting in the series Culture and the New Scottish Parliament took place at Lumsden Village Hall on Friday 23 rd May. The panel consisted of three prospective candidates from Gordon district; Maureen Watts, representing the Scottish National Party, Gordon Guthrie, representing the Labour Party and Mike Rumbles for Liberal Democrats. The fourth invited member, ? of the Conservative party was unable to attend. The meeting was, like its predecessor, an initiative undertaken by Chris Fremantle on behalf of the Scottish Sculpture Workshop at Lumsden. Building on the success of the July meeting, the aim was to question candidates specifically on their parties’ plans for the provision for culture within the new Scottish Parliament. The candidates had received three prepared questions drawn up by representative members of the community within Gordon district as a means of focusing the debate. In the chair for the second time was Eric Robinson, who is currently involved in the promotion of culture within the voluntary sector. The meeting drew a significant cross section of people from Gordon District, some professionally involved in the development of the Arts through practice, education and administration as well as other participants engaged on a voluntary basis.

The ensuing discussion debated a range of issues on culture, creating a matrix of links between, for example, access to culture and education; support for national institutions (such as the Scottish National Ballet) and provision at a local level; the choice between supporting professional and/or amateur activities, between so called ‘high art’ and/or popular culture, between heritage and/or contemporary culture. Deep concern was expressed on the depletion of resources, in particular within education, with the cut of visiting specialists to primary and secondary schools, and its negative effect on future participation and awareness of the Arts. The importance of local indigenous culture was stressed, specifically in creating and nurturing a meaningful Scottish identity, as opposed to a contrived ‘Tartan culture’. The nurturing of Doric culture was linked closely with the issues of engaging participation across age and specialism, through education. as well as dedicated festivals such as the anual Doric Festival in the district of Gordon.

All three parties acknowledged the importance of decision making at a local level. Mike Rumbles (Lib Dem) cited with regret the retention of the control of broadcasting at Westminster and the opportunity that local control of the media offered, in promoting local culture. All three candidates saw the opportunity that the New Scottish Parliament created for reviewing the procedures by which funding and cultural resources are distributed. Where, at present, decisions rest with the Secretary for State for Scotland, it should now become possible to influence the political situation on an area basis. The possibility for extending a practice of positive discrimination presently ongoing in the Highlands and Islands, to other less privileged and geographically dispersed areas of Scotland was largely supported with a view to enabling, among other developments, a more appropriate fit between Lottery funding and local Arts plans.

Gordon Guthrie for Labour responded on a number of occasions with the clear view that both the production and consumption of culture was a question of debate open to Scotland’s citizens. While Labour were committing £60 million to support the Arts over three years, there was an issue as to how this should be divided up. He compared Scotland to Iceland, where the development of culture, in particular popular culture, was instrumental in developing self confidence as a nation. This situaton was helped by the lack of segregation between culture, politics and business. He proposed that the professionalisation of politics in Britain with its current centres of expertise in academic institutions and trade union offices, resulted in distancing politics and business from culture.

The discussion was drawn to a close, perhaps fittingly, by a question about the Per Cent for Art Scheme for the Visual Arts. The panel and members of the audience alike were informed of the current position by professional experts; the sculptor, John Maine and Chris Fremantle himself , both currently collaborating on a Per Cent for Art Scheme in the area at Kemnay, Aberdeenshire. Their role and recent experiences demonstrated quite poignantly the way in which meetings of this type and quality can function. At one level they create an opportunity to exchange important experience. At another, they form a mechanism for engaging a community in first raising the crucial issues impinging on current practice, and from these , in developing informed strategies in the company of political representatives.

Dr Anne Douglas, Senior Research Fellow, Centre for Research in Fine Art, Grays School of Art.

This report was originally published in Artists Newsletter and on the Scottish Sculpture Workshop website.

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Culture and the New Scottish Parliament

Posted in Civics, News, Texts by chrisfremantle on July 3, 1998

This event was held following the referendum on devolution which had taken place the previous September, but prior to the establishment of the new Scottish Parliament.  It was inspired by Gavin Renwick and Wendy Gunn’s project Whaur Extremes Meet and the evident need for a space for discussion about cuture and politics particularly in the context of significant change.

Summary of Meeting held on 3 July 1998 at Lumsden Village Hall

Culture and the New Scottish Parliament

Chairman: Eric Robinson

Attendance: Robert Smith MP, Cllr. Rhona Kemp (Chair COSLA Language and Culture Ctte.), Cllr. Jock McGregor, Cllr. Stanley Tennant, Cllr. Mitchell Burnett, Cllr. Kenneth Benzie, Jim MacDonald (Chair Gordon Forum for the Arts), Sandy Stronach (Chair Doric Festival), Alison Simpson (Banff and Buchan Arts Forum), Roxanne Permar, Suzannah Silver, Sarah MacKenzie Smith (all Grays School of Art), David MacLean (Scott Sutherland School of Architecture), Mary Anne Alburger (Elphinstone Institute, University of Aberdeen), Ian MacKenzie Smith (SSW Board and Museums & Galleries Commission), Jonathan Young (Head of Service, Planning), Ron Reid (Leisure and Recreation), Barbara MacLeod (Senior Arts Development Officer), Sheila Waterhouse (Arts Development), Fiona Bushe (Visiting Specialist), Frank Bruce, Jonathan Claxton, Chris Bailey, Frederick Bushe, Keiji Nagahiro, Gavin Renwick (all artists), Phil Sands (Mobil North Sea Ltd.), Mavis Wainman, William and Edith Petrie, Gordon Gillies, Kenneth MacLean.

The Scottish Arts Council Initial Submission on Culture and the New Scottish Parliament to the Constitutional Working Party was circulated at the meeting.

Eric Robinson opened the discussion by highlighting four issues for culture and the new Scottish Parliament – structure, policy, regional needs, and rural issues.

It was agreed that critical points should be highlighted from the meeting, rather than a verbatim report. For the purposes of this report culture is used to include art, music, drama, poetry, language, etc.

Education

There is increasing pressure to deliver a widening range of subjects, and focus on the core curriculum. The result is that cultural and art teaching is being marginalised. This must be remedied, with culture becoming a fundamental component of the curriculum involved in every subject. If Scotland is to have a unique identity, this must be part of the educational system.

Language is critical in the support of culture and all children should have the right to be taught in their mother tongue. The strength of Gaelic culture is a result of the promotion of the language. This is a model for Doric. At present the strength of Gaelic culture has created a focus for tourism in the Highlands, brought £9 million into broadcasting as a direct support for the language, and created a strong cultural identity.

The involvement of youth in culture is vital. Sport presents a model for youth involvement. Sport is seen as an everyday part of life, not the domain of the adult, or of the school. ‘Education for leisure’ is a necessity in the light of the evolving nature of employment.

IT, which is currently prioritised, should be integrated into other disciplines. Alford Academy published the definitive CD-ROM on the Scottish Colourists – this is an excellent example of integration.

Visiting Specialists should be a statutory provision. Without culture teaching in Primary Schools children are disadvantaged in pursuing cultural subjects.

The Review of Scottish Culture report to SCCC was brought to the attention of the meeting. This report highlights many of these issues. This is clearly an area that requires further discussion.

Structures and Lines of Communication

The new Scottish Parliament should be transparent, its agencies should be transparent, and there should be ‘multiple lines of communication’ on cultural issues. The parliament should have a Select Committee on Culture. It was highlighted that the nature of the electoral process will create regional groupings of MSP’s. This should enable regional identity and culture to have a line of communication.

Regional and local arts forums, Local Authorities, and individuals should all be contributing to culture in the new Scottish Parliament. The national cultural agency should be transparent and dspersed. It was noted that SAC did not reflect on itself directly in its submission.

The tax system provides an opportunity for supporting the arts.

Scottish Culture and Culture in Scotland

There needs to be a balance created where the many Scottish cultures are promoted, and culture in Scotland is promoted. Scotland needs to develop culture in relation to Europe and look to models in other small European countries and regions. Beyond this Scotland needs to develop its culture on in an international context.

Point 2.12 in the SAC submission was commended “…the ability of the arts to be free ranging, unimpeded and dangerously creative.”

Broadcasting and International Cultural Affairs should not remain a Westminster responsibility. This is clearly an area which requires further discussion.

This note was originally published on the Scottish Sculpture Workshop website.

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Christopher Fremantle 1906-1978

Posted in Texts by chrisfremantle on December 1, 1978