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
Art and Politics
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
March 2nd is the fast approaching date for the next set of Stormont elections. We recently wrote to all the main political parties asking about their policies for the arts. We also collated existing published information and researched new manifestos to come up with this list of party positions towards the arts in Northern Ireland. This email was sent to all the main political parties standing in the March 2nd 2017 Assembly elections.
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
JOANNE LAWS INTERVIEWS ALISTAIR HUSDON, DIRECTOR OF MIMA AND CO-DIRECTOR OF ARTE ÚTIL. In 2014, Alistair Hudson was appointed director of Middlesbrough Institute of Modern Art (mima), part of Teesside University. From 2004 to 2014, Alistair was deputy director of Grizedale Arts – a contemporary arts residency and commissioning agency in the central Lake District in rural Northern England. In keeping with the principles of Arte Útil, mima describes itself as a ‘useful’ museum, established through ‘usership’ rather than spectatorship.