CHRIS FREMANTLE

Variant Lauch

Posted in Texts by chrisfremantle on March 17, 2007

What art have I seen?

Posted in Exhibitions by chrisfremantle on February 25, 2007

ONCE, a collaboration between Dalziel + Scullion and Craig Armstrong
The Earth Turned to Bring Us Closer – Dalziel + Scullion
Memory Takes My Hand – Craig Armstrong

at the Kelvingrove Art Gallery and Museum

What art have I seen?

Posted in Exhibitions by chrisfremantle on February 25, 2007

What art have I seen?

Posted in Exhibitions by chrisfremantle on January 31, 2007

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.

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 Parts of the speech are outdated and must be viewed in the historical context of 1968 when it was delivered, but the entire speech is retained for the full impact of his point and at Ivan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

What art have I seen?

Posted in Exhibitions by chrisfremantle on January 4, 2007
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What art have I seen?

Posted in Exhibitions by chrisfremantle on January 3, 2007

Remember Saro-Wiwa

Posted in CV, Producing, Sited work by chrisfremantle on November 10, 2006

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

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Reading

Posted in Texts by chrisfremantle on November 1, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on October 26, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on October 17, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on September 14, 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 Exhibitions by chrisfremantle on August 25, 2006

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.

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Paul Carter 4th March 1970 to 12 August 2006

Posted in Uncategorized by chrisfremantle on August 25, 2006
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What art have I seen?

Posted in Exhibitions by chrisfremantle on August 25, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on August 23, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on August 14, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on August 10, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on August 6, 2006

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 Exhibitions by chrisfremantle on July 6, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on July 4, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on July 3, 2006

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.

What art have I seen?

Posted in Exhibitions, Sited work by chrisfremantle on June 29, 2006

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 Exhibitions by chrisfremantle on June 21, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on June 17, 2006

What art have I seen?

Posted in Exhibitions by chrisfremantle on June 16, 2006

What art have I seen?

Posted in Exhibitions, Research, Sited work by chrisfremantle on June 15, 2006
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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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What art have I seen?

Posted in Exhibitions by chrisfremantle on May 25, 2006

What art have I seen?

Posted in Sited work by chrisfremantle on May 25, 2006

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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What art have I seen?

Posted in Sited work by chrisfremantle on May 13, 2006
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What art have I seen?

Posted in Exhibitions by chrisfremantle on May 12, 2006
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What art have I seen?

Posted in Exhibitions by chrisfremantle on May 11, 2006

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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Failure – unrealised projects

Posted in Failure by chrisfremantle on May 9, 2006

Murdo Macdonald had told me about the duplication of statues of Robert Burns.  The ones we are familiar with in Scotland also exist in the USA, Canada, Australia and New Zealand.  We made a proposal to the Maclaurin Trust to develop an exhibition for the 250th anniversary of the birth which was going to happen in 2009.  We did a presentation to them.  They never responded – they must have buried it.  Read it: Proposal Burns Statues MM.

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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