Sometime back in the early 2000s, I began following a blog by a mysterious character called ‘K-Punk’. K-Punk wrote with rare brilliance – and at astonishing speed – about music and other idiosyncratic preoccupations: J.G. Ballard’s urban dystopias; films by Stanley Kubrick, David Lynch and David Cronenberg; 70s sci-fi TV series; the coastal landscapes of south east England; writers of otherworldly stories like Ursula Le Guin and H.P. Lovecraft; X-Men comics; Christopher Nolan’s Batman; Kate Moss; the England football team. His rapturously eloquent, bracingly erudite posts on pop music – in its various underground and overground forms – were, though, the first to snag my interest. Often, they were hilariously spot-on
This column was originally published in the January/February 2011 issue of the Visual Artists’ News Sheet. In my column for this publication a few months ago, I called for a new negativity, in the spirit of Herbert Marcuse’s claim that the proper function of art was to be a “Great Refusal”. What better answer could I get than the massive ‘NO’ painted on the grass of Parliament Square in London during one of the recent series of protests against government cuts in the UK? Only four weeks ago, this kind of negativity still seemed to be only a distant possibility in a place like the UK. When, at a conference on
VAI is an all Ireland body, which means that Brexit will have a clear impact on us and on all arts organisations across the island who operate either across the border or ROI collaborations with UK organisations, festivals and events. The unfortunate truth is that the fallout from the vote has already happened. The fall in Sterling has had a direct impact on organisations such as ours that receive funding from Northern Ireland. Around 19% of our funding comes from the Arts Council of Northern Ireland and through our membership in Northern Ireland. With the collapse of the Sterling against the Euro this has now been reduced to around 13%.
The audio-essay I recently produced in collaboration with Justin Barton, On Vanishing Land, was in part a disquisition on the eerie.  For us, the eerie was defined by problems of agency. In the deserted spaces which often trigger the feeling of the eerie, we are forced to ask if there is an agent present, unseen but watching us. If an agent is present, what is its nature? Is it hostile, friendly, or merely indifferent? The feeling of the eerie is also likely to be provoked by the contemplation of the relics left behind by agents who have long departed. The statues on Easter Island, the stone circle at Avebury – these
The artist Michael Wilkinson’s show ‘Lions After Slumber’, which was exhibited last May at the Modern Institute in Glasgow, was a repository of artefacts from past militant moments. The show was dominated by images and objects referring to the May ‘68 events in Paris and the punk and post-punk cultural sequences that happened in the UK in the late 70s and early 80s. The largest item in ‘Lions After Slumber’ was a massive photograph of Piccadilly Circus – the same image that had hung, upside down, in Malcolm McLaren’s shop Seditionaries in the 70s. But, tellingly, Wilkinson exhibited the photograph the right way up, a sign of the ways in
Thank you for flying with transnational commodification we shall shortly be arriving in mayhem if there is anybody on board who can impersonate a pilot it would be of comfort to the other passengers… Never have these lines from Nick Land’s 1992 theoretical-fiction Circuitries seemed more acute. After 2011, it would be perverse for anyone to talk about the end of history any more. It was as if, after a prolonged period of emaciation, history has been bingeing. The density of world-historic events in 2011 was such that it seemed almost impossible either to keep track of them, or to believe that they had all happened in one year: the
We work exceptionally hard in the arts. Whether working day in, day out in studios, travelling the length and breadth of the country, grant-chasing, freelancing or maintaining real jobs at the fringes of day jobs, we move mountains every day. While critical reflection is an inbuilt methodology of what we do, how often do we actually pause to reflect on our progress or marvel at our achievements? As the final Visual Artists’ News Sheet of the year, this issue is positioned to consider recent developments across our sector, while assessing some of the challenges that remain.
For the September/October issue of the Visual Artists’ News Sheet, I’m focusing on forms of participation and collaboration. This concern stems from a continued insistence in my own practice as a curator in a local authority on interrogating the work of artists working in social, participatory contexts. We are thinking of participation as progressive – as preferable to elitism, exclusion and bureaucracy, for instance – but we need to think of the value of participation as completely dependent upon the value of the project in which one participates. It tells us a lot about how art and artists are being routinely interrogated. And I think this is extremely flawed. In
NORTHERN IRELAND MANAGER ROB HILKEN GIVES AN UPDATE ON RECENT CUTS TO ARTS FUNDING IN NORTHERN IRELAND. In October last year 32 arts organisations in Northern Ireland received word that they would each receive an in-year cut of 7% to their budget. Given that the core costs of an organisation are mostly fixed, and that much of the budget had been spent in the first half of the year, many of the organisations were looking at a cut of almost 20% to their ability to deliver their artistic programme during the second half of their financial year.