Ettore Sottsass
Ettore Sottsass 14 September 1917 – 31 December 2007

Robert Smithson's Spiral Jetty threatened
Some of the many histories of Spiral Jetty
One
20 years ago a massive campaign led by Nancy Holt, and supported by cultural activists across the world, saved Spiral Jetty from a plans to pump oil from under the Great Salt Lake. Arguing that Spiral Jetty and its context were of international importance, a swift and successful international action was mounted. The UN declared Spiral Jetty a World Heritage Site, putting it in the same category as Machu Pichu and the Great Pyramid of Giza. On the back of this campaign, the Dia Foundation secured donations in excess of $1 billion. With this funding they were able to secure land around all the major Land Art sites – De Maria’s Lightning Field, Heizer’s Double Negative and Holt’s Sun Tunnels. They joined these parcels up to create Entropy Park which now forms a complete ring around the State of Utah. Arguments continue to rage amongst art historians and critical theorists.
Two
20 years ago a spoof email and web site initiated one of those brief flurries that characterised the early 21st century internet. The email suggested that Spiral Jetty was endangered by a proposed energy development which would involve pumping oil from beneath the Salt Lake. Although it did not come from Nancy Holt, it intimated her involvement in a campaign. The net result was that Jonathan Jemming, a Planning Official in Utah State, received approximately 1,500 emails within a one week period. These emails, from artists and academics, museum directors and critical theorists, were in turn abusive, erudite, impenetrable, passionate, and in every case objected to a planning application that did not exist. In fact Jonathan Jemming had never heard of Robert Smithson or Spiral Jetty. Meantime arguments raged amongst art historians and critical theorists.
Three
20 years ago, despite protests by Nancy Holt and others, they started pumping oil from under the Great Salt Lake in Utah, near Robert Smithson’s Spiral Jetty. Unfortunately no one realised that, due to a lack of maintenance, pressure would build up in the underground pipes and explode on July 20th 2033. The blast made a crater nearly a kilometre across and caused a tidal wave to travel across the lake. No one was killed. Spiral Jetty ceased to exist. This caused outrage in the art world. The Dia Foundation secured donations of $1 billion to reconstruct the work as well as undisclosed damages from the ExMoBphell conglomerate operating the installation. In the past 5 years no work has been done to reconstruct Spiral Jetty. The Dia Foundation have bought additional parcels of land encompassing the whole of the crater and its surroundings. They have designated this Entropy Park. Arguments continue to rage amongst art historians and critical theorists.
What have I been doing recently?
Deutsche Telekom AG Q1 2007 Earnings Call Transcript
Mr. Chris Fremantle from Morgan Stanley, may you ask your question please?
Chris Fremantle – Morgan Stanley
Yes, thanks very much. Two questions. First of all, for Dr. Eick, on what he just said about the unions, could you just clarify that you’re able also to make the reductions in wages without the union’s approval. And also, whether or not you’ve considered taking a different tack, which would be to offer generous redundancy terms rather than reduced wages to the Telekom workers?
And then secondly a question really for Mr. Obermann, on the mobile side, not as much as the (inaudible) but also on the mobile side, there appeared to be a cost problem. In (inaudible), the margins are only two percentage points higher than E Plus, a company which is just over a third of the size.
And obviously in the UK the margin fell nine percentage points versus Q4, even though the net ads were similar. What is your perspective on the costs issues within T-Mobile and how those are going to be addressed?
What art have I seen?
Keith Tyson at Haunch of Venison
A Breath of Fresh Air: Eric Ravilious, Edward Bawden and Douglas Percy Bliss at the Fine Art Society
Jeff Wall at White Cube
What art have I seen
Half-Life by NVA and the National Theatre of Scotland
What am I reading?
The Paradox of Plenty, T L Karl University of California Press, 1997
As I understand it so far, the resource curse is an articulation of the problems faced by those parts of the developing world apparently blessed by an abundance of raw materials – in particular oil. In these parts of the world, the Niger Delta being a good example, the population consistently suffers.
Terry Lynn Karl’s The Paradox of Plenty articulates a chain of consequences taking the oil boom of 1973-74 as a starting point. This runs (very roughly) as follows:
1. Context – Oil is property of State – results in lack of distinction between State political role and State economic role.
2. Context – Oil sector is unpredictable – prices fluctuate.
3. Price of petroleum quadruples and then doubles again in 1979-80.
4. Action – This results in a massive increase in government expenditure attempting to make a ‘great leap forward’ – ambitious and expensive, state financed and focused on industrial development.
5. Thinking – Reserves are understood to be limited and its necessary to move quickly.
6. Thinking – Assumption that value of oil would appreciate if left in ground.
7. Action – Increased foreign borrowing to facilitate the ‘great leap forward’.(by 1980 key capital deficient oil exporters combined debt $100 billion, rising to $275 billion in 1994).
8. Consequences – Expands jurisdiction of State including into industrial production.
9. Consequences – Increases private sector investment funded by increased credit and money supply.
10. Consequences – Wage levels increase beyond increase in productivity
11. Consequences – Influx of foreign workers and other demographic changes including urbanisation.
12. Consequences – Massive imports of luxury goods – domestic production cannot keep up with demand.
13. Consequences – Improved public welfare – middle class grows quickly.
14. Context – Skewed relationship between the regulatory, extractive and distributive functions of the State. Spending has become the primary mechanism of Stateness, as money increasingly us substituted for authority. There is a consistent lack of development of a tax regime and fiscal relationship with the public.
15. Consequences – economy overheats, State expenditure surpasses oil revenues (example the combined current accounts of the cluster of ‘capital deficient oil exporters’ went from 1974 $24 billion surplus to 1978 $14 billion deficit).
16. Consequences – Budget deficits.
17. Consequences – Exchange rates appreciate – currencies are overvalued on the basis of the oil sector. Cheapens imports, undermines local production, leads to dependency.
18. Consequences – Public sector becomes inefficient through overloaded infrastructure. Macro industrial projects overrun, are postponed and cancelled.
19. Consequences – Inflation although high is not as high as other developing countries.
20. Action – To counteract increased reliance on imported food, price controls and import restrictions on, in particular, the agricultural sector.
21. Action – Increased subsidy for low income groups and unprofitable firms.
22. Thinking – Politically impossible to reduce subsidy on economic downturn.
Corruption, one of the persistent issues, occurs because of the tendency to use the buy support using the resource rather than winning it through the achievement of programmes benefiting the population.
What is interesting about the ‘resource curse’ is that it is clearly created by the developed world’s massive demand for, in particular, oil, and other specific raw materials. This has one obvious and one more discrete consequence.
The obvious consequence is that it directly links our actions in the UK and other developed countries with the state of affairs in, for instance the Niger Delta. They would not be ‘cursed’ if we did not have an unlimited appetite for their raw materials.
The second and slightly more discrete aspect of the linkage is that the exploitation of resources in places like the Niger Delta by international corporations is wholly directed towards the efficient extraction and transportation of those resources away. The resource curse basically means that corporations in the developed world only operate in places like the Niger Delta in order to extract oil and ship it to customers in the ‘West’. They have no customers, and therefore no concern with the populations in places like the Delta. All the skilled staff, all the shareholders – all their key publics – are elsewhere. Inevitably therefore anyone who isn’t a customer doesn’t exist.
Nature and purpose of art
“You see in this country for instance (Britain) writers are not involved in the sort of things I’m doing, because it’s a much more settled society, writers write to entertain, they raise questions of individual existence, the angst of the individual. But for a Nigerian writer in my position you can’t go into that. Literature has to be combative, you cannot have art for art’s sake. The art must do something to transform the lives of a community, of a nation, and for that reason you see literature has a different purpose altogether in that sort of society – completely different from here….
And a writer doesn’t earn money in Nigeria, because although you have a 100 million people, most of them cannot read and write there, so literature has a different purpose. So here I am, I’ve written 22 books, I’ve produced 150 episodes of a T.V. programme which everybody enjoys, but I’m poor!
But that is of no interest to me. What is of interest to me is that my art should be able to alter the lives of a large number of people, of a whole community, of an entire country, so that my literature has to be completely different, the stories I tell must have a different sort of purpose from the artist in the western world. And it’s not now an ego trip, it is serious, it is politics, it is economics, it’s everything, and art in that instance becomes so meaningful, both to the artist and to the consumers of that art.”
Ken Saro-Wiwa from ‘Without Walls’ Interview
What am I reading?
Chinua Achebe’s A Man of the People, Heinemann
“As I stood in one corner of the vast tumult waiting for the arrival of the Minister I felt intense bitterness welling up in my mouth. Here were silly, ignorant villagers dancing themselves lame and waiting to blow off their gunpowder in honour of one of those who had started the country off down the slopes of inflation. I wished for a miracle, for a voice of thunder, to hush this ridiculous festival and tell the poor contemptible people one or two truths. But of course it would be quite useless. They were not only ignorant but cynical. ” p2
The economics and geopolitics of the abolition
The wider historical context of the abolition of the transatlantic slave trade by Hakim Adi and published on Pambazuka
This essay provides and alternative analysis for the Abolition of the Transatlantic Slave Trade in 1807 It addresses the role of Africans and working class people, and re-describes the history highlighting economic and geopolitical motivations of the ruling classes in Britain.
Sol LeWitt
born September 9, 1928; died April 8, 2007
Sol Lewitt at MassMOCA until 2033
Collaboration
Oren Lieberman, at a dinner during Wendy Gunn’s Making Places workshops in 2002-03, offered an interesting analysis of collaboration. I was reminded of this and encouraged to actually note it down by Tony Beckwith (from Gunpowder Park) phoning up and asking me to remind him about it – I had offered Oren’s thought up during the Bright Sparks Seminar (9 March 2007).
So back to the point, Oren’s analysis of collaboration. He said there is Multi-disciplinary practice. This might be characterised by a group of different disciplines (architects, engineers, planners, perhaps even artists, sitting around a table, each addressing their area of responsibility within a project. Having them round the table is useful, but collaboration is functional. Then you have Interdisciplinary practice. I would understand this to be when the people around that table are interested in understanding each others roles, skills and tasks. I might further suggest that they draw on each others roles skills and tasks through interest. Finally Oren offered Transdisciplinary practice – when people change roles and start doing each other’s jobs. I would offer Michael Singer and Linea Glatt’s 27th Avenue Waste Transfer Station project in Phoenix Arizona as an example – as I understand it they had been employed as artists to decorate the building, found their were decorating a basically bad building and persuaded the commissioner to allow them to redesign the building as a public space which in the documentation, looks like the hanging gardens of Babylon (case study at publicartonline).
The first thing to say about Oren’s analysis is that it is not an increasing scale of good: Trans- is not better than Inter- which is not better than Multi-. They are different. Trans- is more difficult than Inter- which is more difficult than Multi-.
Given that they are more difficult, and probably in the context of any form of collaboration, we need to think about how to achieve collaboration. To achieve collaboration you cannot start around a table in an office. You can only do it by constructing shared experiences, relevant to the project and characterised by conviviality.
Here I would point at John Maine’s tactics at the beginning of Place of Origin (for more on this project follow this link). He insisted that we (himself, Brad Goldberg and Glen Onwin and myself) go on a road trip. We went to Lewis, via Clava Cairns and Assynt. Ostensibly we went to look at the interpretation centre at Callanish, but in fact we went to get to know each other and to develop a shared visual language. Interestingly, though John and I had been to Kemnay Quarry on a number of occasions, this road trip happened before either Brad or Glen saw the site. I suspect the result was that when they saw the site, at the end of the road trip, we all had a shared experience to interrogate it from. What was averted was each artist arriving at the site and immediately going into a singular “what do I do here?” and instead, what occurred was “what do we do here?”. I think this latter point may be very important – it certainly resulted in an amazing collaboration over 10 years.
Reading
Left Shift: Radical Art in 1970s Britain
John A Walker
I B Tauris & Co Ltd, 2001
Reading
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
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
Variant Lauch
Variant Magazine – The Oil Issue
see also
PLATFORM for activism and further links into campaigning and art including andwhilelondonburns and remember saro-wiwa
What art have I seen?
ONCE, a collaboration between Dalziel + Scullion and Craig Armstrong
The Earth Turned to Bring Us Closer – Dalziel + Scullion
Memory Takes My Hand – Craig Armstrong
What art have I seen?
Anselm Keifer’s Jericho at in the RA Courtyard and Aperiatur Terra at the Whote Cube Mason’s Yard.
Stunned by the power of art – a new contemporary art gallery inserted into open space in Mayfair! Definitely not regeneration. And more than just money, though it was not cheap.
Reading
Ivan Illich, ‘In the Vineyard of the Text: A Commentary to Hugh’s Didascalicon,’ University of Chicago Press, 1993
Ivan Illich's Address to CIASP
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.
What art have I seen?
At the Photographers Gallery, London
Bound for Glory, America in Colour 1939-1943
and
Bert Teunissen – Domestic Landscapes
Remember Saro-Wiwa
Remember Saro-Wiwa, the Bus, the first Living Memorial by Sokari Douglas Camp
I’m working with PLATFORM on this major public art project. I’ve been involved since July and this is the day of the official launch.
Producing and Project Managing > Remember Saro-Wiwa
Sokari Douglas Camp – Sweeping
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’.
What art have I seen?
Mark Neville’s exhibition, Port Glasgow, at the Dick Institute, Kilmarnock, of his public art project in Port Glasgow. Saw David Harding and Gair Dunlop. David was just back from filming in Mexico. We talked about Ivan Illich.
What art have I seen?
Material World – Sculpture from the Arts Council Collection at the Gallery of Modern Art, Glasgow
What art have I seen?
Ron Mueck at the Royal Scottish Academy building, Edinburgh
and
Marijke van Warmerdam at the Fruitmarket after a very good lunch
What art have I seen?
Jackson Pollock: Small Poured Works 1943-1950 at the Pollock-Krasner House and Study Center, East Hampton, LI
Originally posted 10 August 2006
What art have I seen?
Through Farms and Fields: Farmscapes, Wainscott Chapel, Southampton, LI, organised by the Peconic Land Trust
What art have I seen?
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
John Latham
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
What art have I seen?
Hauser & Wirth – Ellen Gallagher
Natural History Museum – The Ship an exhibition in association with Cape Farewell
What art have I seen?
Master Drawings 16th to 21st Century
Flavia Ormond Fine Arts
at
Deborah Gage, Bond Street
What art have I seen?
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.
What art have I seen?
Manchester Piccadilly – This City Wall
Len Grant and Phil Griffin


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