August 16, 2014

Israel

1. homotopy equates to autoimmune disorder : 
to transform every figure into a Compendious Book on Guernica
by incidence and effects enshrine pernicious anemia around 
anthropic argument: verb sensitive to assumption reports 
exogenous acts of God – concurrent operations run their inquisition. 
All the texts submitted and accumulate authority to help 
run their Inquisition moving a negative quantity 
from one side of the equation to the other side with changing 
its commutation all the same. These so irretrievable. 
The overstaid fraction, so irretrievable, overstaid, auxetic, 
coloured by pungent ahistoricism; unsettling sonorities 
webbed over the other ideas report adverse events
deterred from becoming expert witnesses 
no human conjecture is involved, a physical transportation, 
curfewed 
to prove its own consistency to a basic telomere 
assumption, without realising inverse geometry penetrates 
both ways, blood poisoning on statistics, with fanatical 
odds, analogy admonition against misinterpretation, 
restoration and uncompensation. With significant outside 
support apostasy equals the pun of impenetrability 
according to looking at this dead baby. The underachiever 
anomaly applies even with the Name change where it is the final
word in law ... 0


May 06, 2014

Text Festival 2014 - opening weekend (part 2)

Sarah Sanders great "I used to" on the gallery stairs

 Liz Collini work in progress
 Steve Giasson


Ron Silliman, Rachel Defay-Liautard and Marton Koppany 









Text Festival 2014 - opening weekend (Part 1)

I think this may have been one of the strongest Festivals so far and a successful opening weekend - great people, great installations and performances. 
 Jayne Dyer's 'Blood Sport' with Carolyn Thompson's 'The Beast in Me' in the distance.
 Derek Beaulieu's Dante window
 Me chatting with Ron Silliman and Derek Beaulieu (Peter Jaeger and Eran Hadas in the background)
 Ron Sillliman participating in the drawing shed installation
 Some of the staff team - everyone has worked very hard.
 Works by Simon Patterson, Riiko Sakkinen and Rachel Smith

 View into the Dark Would installation
The night Barney met Sarah Walters' Tommy

 Penny Anderson's Travel Bag in the foreground

Polari Mission exhibition in Bury Museum

May 04, 2014

Bury Sculpture Centre Opens


Opening speeches from me, Cllr Sharon Briggs (Mayor of Bury) and Ian Tabbron (Arts Council of England) - and Greville Worthingon [out of shot](Yorkshire Sculpture Park).






April 17, 2014

Bury Art Museum and Bury Sculpture centre


Just two weeks off the opening of the Bury Sculpture Centre and the launch of the fourth international Text Festival. Pulling the forthcoming programmes together has been one of the toughest workloads I can remember for various reasons beyond my control; but I think it is a programme to celebrate: I'll  expand on the individual aspects as it gets closer to the day, but I'm pleased to list some really great people involved in the Text: Lawrence Weiner, Ron Silliman, Phil Davenport, Simon Patterson, Riiko Sakkinen, Jayne Dyer, Caroline Bergvall, Penny Anderson, Jaap Blonk, Derek Beaulieu, Sally Labern & Bobby Lloyd, Tim Etchells, Sarah Sanders, Carolyn Thompson, Marton Koppany, Vanessa Place, Jez Dolan & Joseph Richardson, Peter Jaeger, Liz Collini, Mike Chavez-Dawson, Maria Damon, Juxtavoices, Rhys Trimble, Debbie Walsh, Richard Barrett, Tom Jenks, Bobby Parker, Lucy Harvest Parker, Tim Allen, Steve Giasson, Andrea Cotton, Carol Watts & Will Montgomery, Eran Hadas, Jorg Piringer, Rachel Smith, Erica Baum, Flo Fflach, Holly Pester, Rachel Defay-Liautard (that was the order I could remember them in I've probably forgotten someone). 

April 12, 2014

Arriving at the same place at the same time

The Text Festival has had a relationship with Lawrence Weiner since the very first one in 2005. Back then we commissioned WATER MADE IT WET and acquired his Horizon work from its original location in Hull, which he reconfigured to become Radcliffe Horizon.In the Festival exhibitions programme, we supported the public art works with a survey show of Lawrence’s poster art works.


Burned out after the insanity of creating a Festival that was 9 months long( never make that mistake again!), in 2006, I took a sabbatical to write 50 Heads. Within which the poem ‘Sculpture’ was my personal creative response to Lawrence.


Sculpture


0. The object of making your opponent weep descriptions
between the upper and lower structures in vertebrates
forming the framework of the mouth, containing the teeth,
the parts of tool or machine. That body language material
with the tongue intropunitive instead of angry, anger our
faults are most obvious as nothing hides them breasts
move as sacks of liquid dynamic contents. The knife
fixation on things in evaluation, of sweat-scented straps
forward and back in the infantile world of ready-made
values, woman, the happy or resigned slave lives allowing
both misogyny and visionary context. Scattering
amplitude internationally is that difference in any given
place. Choice language to present material realities,
histories that I only deal with divergent objects and all
translatable to stand outside a less human presence more
profound for their human attachment to non-living things
and construction of bridges to be crossed as opposed too
catalogued: 1


Lawrence read 50 Heads on the plane to the Venice Biennale and sent me one of his famous postcards with the aphorism ARRIVING AT THE SAME PLACE AT THE SAME TIME. At some levels true, others not. 

So in 2009 in Basel, I wrote the poem “Arriving At The Same Place At the Time” which was published on Veer in “Space The Soldier Who Died For Perspective” 

In programming the 2014 Text Festival who else but Lawrence Weiner could open the new Bury Sculpture Centre? And ARRIVING AT THE SAME PLACE AT THE SAME TIME is part of the installation. I think one of the things that the Festival does is create a space where artists from many different fields come together, opening dialogues and possibilities for new ideas, new exchanges, new works. So I suppose I could end this blog by asking: what new possibilities will open up for you, if you arrive in Bury at the same time as the Text Festival? 

March 12, 2014

Bury Sculpture Centre work in progress

Probably been the most intense period of my career, preparing on the Text Festival, planning the programme for the rest of 2014 and on into 2015, more projects in the Far East, and of course getting the Sculpture Centre ready.
As we pared back the old uses and abuse of the space, the thick layers of carpet and paint, something really beautiful has emerged. The space is exhilarating and some of the uncovered and restored Victorian detail is fascinating. The floor is magnificent. We open on 2 May with the preview for the Text Festival.