Events this week

The Other Room
Wednesday 2 February 7pm @ The Old Abbey Inn, 61 Pencroft Way, Manchester,
M15 6AY (Manchester Science Park)
www.otherroom.org

JOSEPH WALTON (aka JOW LINDSAY), POSIE RIDER & STEPHEN EMMERSON
Joseph Walton (aka Jow Lindsay) is a poet, fiction writer, and editor of Sad Press.
Posie Rider is author of the chapbook tristanundisolde from Arthur Shilling Press (2010) and, City Break Weekend Girl forthcoming from Critical Documents (2011).
Stephen Emmerson’s poetry has appeared in numerous magazines and journals including Jacket, Great Works, Cake, Poetry Salzburg Review, Freaklung, Sunfish and Department and Poems found at the scene of a murder (Zim Zalla, 2010).

Islington Mill James St, Salford, M3 5HW
– Thursday 3 February 6pm
Irene Barberis, Australian artist and curator will deliver a talk about her work as part of the “Say Something Series”.

Counting Backwards is a series of text-sound-performance events. It takes place on the first Thursday of alternate months at Fuel Cafe Bar in Withington. The fifth evening in the series takes place on Thursday 3 February 2011 at 7.30pm with performances from Philip Davenport, James Davies, Juxtavoices, and Helen Shanahan.

wave us goodbye

Poetry films on the BBC Big Screen in Manchester will commemorate the Holocaust, bringing together the memories of older Jewish people.

The project, titled BRING LIGHT TOWARDS YOU, is one of many arts projects run by the arthur+martha arts organisation. In the build-up to Holocaust Memorial Day on 27th January, poetic texts created by the older people, many of whom are Holocaust survivors, will be displayed ‘in lights’ on the Screen at The Triangle in the city centre.

The Holocaust has often been linked to trains: millions of people, particularly Jews, were taken to concentration camps by train before being killed in the notorious Nazi ‘Final Solution’ during the Second World War. These 30-second films give fragments from accounts of their journeys: to destruction and journeys of escape.

Artist Lois Blackburn and poet Philip Davenport worked with older Jewish people living at The Morris Feinmann Home, Manchester, exploring issues related to the Holocaust. “To hear these stories has been a powerful, haunting experience,” said Davenport. “The poems are little pockets of emotion that bring alive one of the most notorious events in recent history. It's hard to imagine the reality of the Holocaust because it was so huge, so brutal. What these tiny moments of remembering do is connect to ordinary people's experience.”

Lois Blackburn added: “As in all our projects, we talked to people about the small details of their experience, because it is people’s everyday lives that collectively make history. It’s the sandwiches your mum made, or the look on your sister’s face as you said goodbye. The fact that we’ve been able to help people transform these memories into messages that will be seen my thousands is an extraordinary privilege.”

Some of the pieces were shown on the electronic billboard in Piccadilly Railway Station on Holocaust Memorial Day 2009, but this is the first time that the whole sequence has been seen. arthur+martha have continued to develop the project in partnership with Holocaust Memorial Day Trust, working with young people with special needs, Roma children and many others.

arthur+martha will be contributing A Map of You during the Text Festival. http://www.textfestival.com/education-and-projects/education-and-projects.php?eid=8

Irene Barberis and 5 Places

Irene Barberis arrived in Manchester yesterday for a two week residency at Bury Art Gallery. Melbourne-based Irene and I have begun work on various projects, of which this project is the first part of an international curatorial collaboration called 5 Places. The concept of 5 Places proceeds from the notion of mobility, unpredictability and interchangeability brought about in networks challenged through curatorial and artist dialogue. As the name suggests there will be shows in 5 international venues around the world. The next show will also be in Bury in October as part of the Manchester Asia Triennial, but after that shows are planned in Hong Kong, Melbourne, New York, and one other to be confirmed.

http://www.irenebarberis.com/home.html


Showing alongside Irene's installation is Mike Parr's video project "Breathless", here he is talking about it.

Digital Immortality

I was pleased to read about the Michael Wolf show in Paris http://www.we-make-money-not-art.com/archives/2011/01/michael-wolf-we-are-watching-y.php which looks interesting in its own right but resonates with me


because I am also immortalised on Google in this street view (you can zoom closer!):

http://maps.google.co.uk/maps?f=q&source=s_q&hl=en&geocode=&q=m3+4jn&sll=53.476835,-2.256918&sspn=0.011825,0.05476&ie=UTF8&hq=&hnear=Manchester+M3+4JN,+United+Kingdom&ll=53.476809,-2.248807&spn=0,0.05476&z=15&layer=c&cbll=53.476669,-2.257167&panoid=WZiPiAC8XPRTg5C-F3tQdw&cbp=12,10.3,,0,10.67

Text progress report

I've not had time or brain space to blog much for a while now. Mainly tied up with pulling the Text Festival together and preparing the plans to save the Bury Arts & Museums Service from the onslaught of government destruction of public services. The Text Festival has been a massive undertaking this time but there's enough organised now that if I am run over by a bus the event won't notice my absence. As I am getting interesting stuff offered constantly, I may eventually be guilty of either putting too much in or missing out good people. Anyway, the website is pretty up to date now so it's worth a look. www.textfestival.com There are a number of set pieces which I am particularly pleased with:

- Ron Silliman's first public art commission - this will be unveiled as part of the Sentences show and after the Festival will be re-sited in a permanent prominent outdoor location.
- Christian Bök's first UK performance but more than that I'm pleased with the concept of that whole show mixing sound art and Eduard Escoffet from Spain and London-based Holly Pester. Holly is also working on a new work utilising the sound art commissions and recorded concerts of earlier festivals to be shown in the gallery.
- Satu Kaikkonen and Karri Kokko not only performing for the first time in the UK but also for the first time as a 'duet'. This gig should be very striking in Bury Parish Church: in addition to the Finns, the bill includes Ron's reading and Phil Minton's Feral Choir http://www.philminton.co.uk/feralchoir.html
- Phil Davenport's A Map of You project with homeless people which will see the participants doing workshops with Derek Beaulieu and Geof Huth and probably others...

Although previous festivals featured visual poetry, this is the first one to celebrate vispo in a show specifically curated with that work at its core. In addition to showing the work itself I am interested in questioning how vispo is usually shown - a curatorial vocabulary which has been limited I believe by the location of vispo near to poetry rather than visual art. I'll talk more about this when I have actually installed the show. By the way, I am still open to late submissions of vispo for this show - I'd particularly like more artists' books. There's also still work to do on the "Requiem" show at the Fusilier Museum so I am open to ideas for that too.

By the time the shows are ready for opening, I'll be more stressed by it than excited - though hopefully the audience will be more excited and not stressed. So the thing I am most looking forward to is the buzz that will be around all the great people who are coming. It's fascinating to think that in these times global networks of friendship exist but a lot of people have not actually met - something that I am really looking forward to witnessing at the Text gathering.

2010 - the end of days

I did a review of the year for 2009 which felt like my tradition but I now realise that it was actually the first time I had done it. As I sit down to consider 2010, I am surprised to find that the pressures of the year make a simple review less easy. The combination of the depression across the UK at the dark forces that have assumed control of the state, the professional pressures from this (which put many of us in the position of being resistant while charged with tasks of implementing the destruction of public services), the sadness from bereavement, and the massive but more exhilarating challenge of putting together the next and last Text Festival (while also working on its replacement) – all this gives the year a somewhat distorted retrospection. For a start off when I look to review cultural highlights I find that I only managed to get to the cinema once all year – that was to see Inception. A shortlist of one would hardly have much credit, though I could just say Inception and imply that I had seen more. I had the energy to see a lot more video films so the film of the year would have to be Tom Ford’s A Single Man – which actually came out last year, but to quote Michel Serres, whom I was reading while in Marrakech before Christmas: “Few people and even fewer thoughts are completely congruent with the date of their times”.

I did see a lot of exhibitions this year – a lot of which were very strong making it invidious to pick out the exhibition of the year. An honourable mention should go to the Moomin exhibition in Bury - while I set it up, the curation of the spaces was a collective effort in the Bury team to whom congratulations are due. But the final decision comes down to Jannis Kounellis at Ambika P3, London, and Brass Art’s The Non-existence of the Unnamed at International 3.

Both great shows - the only way to settle it was to think if I could see only one of them again which one would I re-visit: and therefore Brass Art just shades it (pictures).

In terms of poetry, I haven’t read very much this year either – the three books that most stick in my mind are Derek Beaulieu’s How to Write, Helen Hajnoczky’s Brocade Light and When blue light falls 2 by Carol Watts. Of the three, I probably enjoyed Carol’s most, but I think the first part also ‘won’ it for me last year. Saying I haven’t read much poetry isn’t strictly true as I have read loads of visual poetry, in research for the vispo show in the Text Festival. Locating many of these books by date is pretty hit-and-miss so as with my criteria above, I ignore the date of publication. Particularly brilliant, but also probably the furthest from a contemporary publication date was Márton Koppány’s Investigations. I am very fond of Satu Kaikkonen’s Fif poems and The Hidden Point which she gave me when we met in Tampere in October, but the most beautiful vispo book I got this year was Derek Beaulieu’s Silence http://www.redfoxpress.com/dada-beaulieu.html . The best poetry performance I saw was also by Derek at Bury Art Gallery in July.

When I realised that due to the pressures already acknowledged my review of the year was going to be thin on positives and in the depressed mood of the time, I considered whether to supplement it conversely with ‘awards’ for the truly awful shows one sees in a year. But the despicable Conservative Government assault on British society is a low point against which even the worse exhibition of the year can’t compete. So I leave this year instead with a contender for the funniest moment of the year. Browsing in a bookshop I picked up a poetry book and read:
“I am a sperm-whale”... The opening line of Simon Armitage’s latest book.

Happy New Year

Merry Christmas!

Barney opens his presents

Marrakech

I am in Marrakech writing the Tragedy of Althusserianism.

Ghosts move about me patched with histories

Philip Davenport and Nicola Smith
Chinese Art Centre, Manchester 30 November - 17 December

Artists' Talk: 9 December 5.30- 6.30pm
Preview Evening: 9 December - 6.30pm - 8.30pm
Tour dates: 9 - 11 December

Ghosts move about me patched with histories is an immersive text/art experience, designed by poet Philip Davenport and performance artist Nicola Smith. Both have previously taken part in artist residencies in Chongqing and will use the exhibition to reflect on their experiences in China. The exhibition counterpoints the freedom of being in a strange environment with the limits imposed by social control.

Davenport’s text installation is a poem written into wallpaper, covering one side of the gallery. Nicola will act as a deliberately misleading tour guide, taking visitors through the environment created by the pair, including a pause for snacks, some trashy TV and a computer that rewrites Davenport’s words with infinite variations, programmed by poet Tom Jenks. A live chicken will be ‘resident’ in the space.

The artist talk is free but booking is required: please follow the link below for tickets: http://whisper-residency-artists-talk.eventbrite.com/

The Other Room

KEN EDWARDS, NEIL ADDISON, LOUISE WOODCOCK

7pm 1st December 2010

The Old Abbey Inn, 61 Pencroft Way, Manchester, M15 6AY (Manchester Science Park)

Admission is free and there is a well-stocked book shop.

Ken Edwards is the publisher and editor of the small poetry press Reality Street. He has had numerous books and pamphlets published including: Good Science: Poems 1983-1991 (Roof Books, New York City, 1992), No Public Language: Selected Poems 1975-1995 (Shearsman Books, 2006), Songbook (Oystercatcher Press, 2009).

Neil Addison’s latest book Apocapulco is in the new Salt Modern Voices series. His chapbook The Everyday of Irma Kite (2009) was published by Arthur Shilling Press. His blog is flyingpigfoldingchair.blogspot.com

Louise Woodcock is an artist currently residing in Manchester. She works in a diverse range of media including Live Art, Installation, Sound and Fibre. Recent projects include a collaborative performance with Jennifer McDonald at Counting Backwards, a live crochet at Mill 24, a video piece in Unsungfest at Contact Theatre and a talk and performance at University of Huddersfield’s Sonic Arts Forum.

http://www.otherroom.org

Every Day is a Good Day

There's been a buzz about the major retrospective John Cage, currently on display at Huddersfield Art Gallery - originated by the Hayward Gallery and the BALTIC, an excitement I also shared today when I got to see it. I say 'shared' because despite all its marvels, I found a flaw which has nagged away at me since I left.

You enter the exhibition to a film of Cage being interviewed and photos of him doing various things, and even if you don't hang around to watch the video the drift of the Zen contentment of his conversation seems to gently locate your consciousness as you pass into the exhibition proper. The individual works are mostly beautifully deep and subtle images, for obvious reasons, reminiscent of Japanese Zen painting, punctuated by the equally striking diagrammatic compositions. Seeing such a body of work is fascinating, wash-away calming and affirming. It's just great stuff.

Then there is the hang: inspired by Cage's use of chance-determined scores, according to the catalogue "the exhibition differs markedly from a traditional touring exhibition. The procedure that Cage often employed, using an I Ching-like computer programme, is used to determine the layout of the exhibition at the gallery, with the programme determining the position of each work through chance operations. This results in works being displayed at many different heights, and in groups that no curator would ordinarily choose; such chance encounters between quite different works gives a sense of them being part of an ongoing creative process, rather than merely being the result of one creative moment." And on first experiencing the spatisalisation of works as no curator would not ordinarily choose, it is very striking. Knowing that the works are juxtaposed by chance adds a new layer. But as I walked through the galleries a second time (as I was waiting to meet Phil Minton who was performing at the Gallery), something about it began to bother me. It's no more than a deep feeling but how to explain that there is something fundamental and subliminal not right? I began to wonder about the "I Ching-like" computer programme. I realise that I am not convinced by the computer programme - not that it isnt random or that someone cheated, but that its randomness is not Cagean. I know that Cage did use a I Ching computer programme to generate chance operations which he created with Ed Korbin but he also used the I Ching itself - as I have frequently in the past. And it is this familiarity with I Ching that makes me uneasy. I didn't investigate the mathematics of the hang but I can only call its effect 'mechanical', and for me it seemed to clash with the ethereal Cagean gestures in drawing and paint. I am left thinking that an installation using an actual I Ching ritual would have delivered a more organic chance driven curation.

Just on the comment "in groupings that no curator would ordinarily choose", I am also reminded of the Schalauger (Basel 2009) hang which delivered a similar aesthetic (other areas not pictured here had the Cagean sparseness).

So I found Cage's works beautiful but I was less convinced by the artifice of the mock-Cage installation concept - not because it was over-egged or contrived but because I could feel that it was machine generated rather than spiritually random.

Worksetting - in every dream home a heartache

Last night's launch of "in every dream home a heartache" at the worksetting gallery, huddersfield. It opened with a performance of a structured accordian ensemble improvisation by experimental music composer Alvin Curran. Although it was interesting in its intervention in the distinctive arcade space, it was over long and too tonally restricted.

http://www.hcmf.co.uk/page/show/144

The most striking element of the show was the corian furniture by amanda levete.





Also included (on ipods) was the first stage of the nono project: sound-poetry works by
Ben Gwilliam (sound treatment of American poet P.Inman) - "Nono"
Carol Watts & Will Montgomery - "Pitch"
Simon Smith (with sound treatment by Jamie Telford) - "The Angel"; "Angel Cut-Up"; "Six Bold Flavours"
Sarah Boothroyd - Power and Freedom.

I am still working on curating the nono project so anyone out there still interested in responding to Luigi Nono can still get something in.

Newspeak

In London in the week making a presentation about the Irwell Sculpture Trail http://www.irwellsculpturetrail.co.uk/ to the Chartered Institute of Water and Environment Management (http://www.ciwem.org/ ) to develop future project partnerships. (A bit scary to realise that I started the IST in 1993).

Anyway, the only show I had time to take in was Newspeak: British Art Now at the Saatchi Gallery http://www.saatchi-gallery.co.uk/artists/new_britannia/

It wasn’t clear why it called Newspeak. I guessed that it somehow implied that as this is Saatchi’s next generation they are supposed to be speaking new. That was me assuming that they were trying to say something positive about the new collection. But it did seem a bit risky because of the Orwellian interpretations – that Saatchi is attempting to control the discourse (again) about contemporary British Art. I discover via Google that "this exhibition turns that Orwellian vision on its head, showing that the range of visual languages being exploited and invented by these new artists is, in fact, expanding and multiplying." This in itself is a mad newspeak distortion of the meaning of newspeak.

And the claim made for it is not supported by the work or oddly the curation. On my previous visits the latter aspect has not really struck me because the work carried the hang. But while there are some works worth seeing the absence of a sense that this is a cohesive vision makes the linear circulation pattern of the hang seem lumbering. The only locational surprise is Gareth Cadwallader’s Dead Horse installed alone in a thoroughfare between two galleries. In the loose context, I found myself more in the mood for abstraction and so liked (top picture) Marcus Foster’s Untitled form, which he describes as hot air balloon-like but for me was reminiscent of forms from 17th Century Chinese fluted ceramics.

Dean Hughes never puts a foot wrong but I didn’t think Saatchi displayed it very well.

And the other work that stood out for me was Systems House with his mix of minimalism and manufacturing.

Unusually nowadays, the only noticeable use of text was James Howard and his 46 digital prints appropriating the graphics and language of advertising and information posters. Apart from the soft spot for me of finding an artwork which features a dog called Barny in the Saatchi, I enjoyed Howard’s word play

EARLY WARNING
When its fact of life teaching schedule remember to
Include tell her most important one.
ASK YOURSELF
“Is any other dog?
Has it happened
To Barny?
At an alarming rate?”
“Has the children?”

Death and the idea of museums

(My usual excuse for not blogging much = Text Festival organising, preparing for the government destruction of public services, writing the Tragedy of Althusserianism, etc.).

Anyway, I joined the Museum-id network recently (http://museum-id.ning.com/ ). A quick trawl through more recent discussions that drew my attention to a question from Steph Mastoris, Head of the National Waterfront Museum: Are Museums About Stories or Objects? He answers:

"The boring and safe answer is, of course, that museums are about both. Objects are central to the very existence of the museum, but without telling stories about them the museum is just a storehouse. For me, the key issue here is much more about whether the museum's displays begin with the object or the story. I feel that the concept-centred display is far more robust and logical than one driven by what is available in the stores. The imperative to inform that lies at the heart of the museum's purpose is best served when coherent narratives are on offer. Once these stories are established the museum's collections really come into their own by providing unrivalled sources of evidence. Indeed, such a clear narrative structure also enhances the more random inspirational powers that objects possess. It is so easy to say "let the objects speak for themselves", but their language and their messages are often difficult to understand without a good narrative context. So we need museums that are story-driven, but object rich. "

Although Mastoris uses the phrased ‘concept-centred display’, ‘story-driven’ privileges narration, linearity over concept; I read his conclusion as bypassing ideas as the driver of the concept of a museum (despite the word itself of course being rooted in ‘the place sacred to the Muses’).

Contrary to a response framed in museological theory, my reflex in these sorts of debates is more phenomenological, referenced back to my own first museum ‘epiphany’ in the Isle of Man. Back before the Manx Museum had its rationalising extension and modernisation, it was a magical place. When asked questions about what museums are for, or how museums work best I am always taken back to a memory from 1972 standing in the museum’s reconstruction of a dimly lit Victorian shopping street and looking up to see the giant skeleton of a whale hanging overhead. It made no sense (probably a mixture of historic display accident and/or lack of storage space) but it remains my most striking experience in any museum. When I last visited everything had changed for the less imaginative. This panorama link:
http://www.gov.im/tourism/attractions/virtualtours/ManxMuseum.xml
now shows the whale skeleton hovering above where it ‘should’ be in a natural history gallery. I have thought often on why this bizarre juxtaposition worked. It clearly wasn’t a curatorial strategy – generally deliberate curatorial surrealism is egotistic and irritating – it had hung like that since the early Sixties, I think; I’d guess in a time when a little isolated island museum didn’t even have what we now think of as a curator. It wasn’t an ostentatious surrealist act; it was just the way the architecture of the building worked. When you were upstairs you could see the skeleton contextualised with the natural history collection but in the ‘street’ the outline of whale flew overhead. In terms of the debate about what are museums about, this experience is about an object (the skeleton) but, unless you are a museum professional who can interpret the installation as an operational configuration, there was no story. I recall and still find that the installation was unfathomable: it was what it was and was magical because of that. That moment represented, and still does, the possibility of imaginative space; in negating any meaning at all except itself it offered the exhilaration of creative freedom in an act without precedence. My answer to “Are museums about objects or stories” is neither. For me, museums are about the possibility of freedom, the ground for creativity. The curatorial responsibility is the mobilisation of objects to create the opportunity for that space. This is why the political imperative over the last decade or more for UK museums to be educational, to spoon feed the visitor and the school pupil with the story, is fundamentally destructive to museums’ value and raison d’etre.

With the new Dark Age pending in the UK and the sad and sudden death of Sue’s father, this question and my intuitive response to it, were in my mind when I checked out the People’s History Museum exhibition “Death and the Working Class” this week.

http://www.phm.org.uk/changing-exhibitions-gallery/death-and-the-working-class/

This video link gives a pretty good visual of the layout.

http://player.vimeo.com/video/16393923

Although I have blogged previously about how disappointing the new PHM is, I approached the show with an open mind, maybe even optimism – reasoning that the banality of the permanent displays could be put down to funder sensitivity/expectation of political neutrality but that a temporary show working with such an emotive subject has the room, even the imperative, to address the seriousness of its intent.

Predictably given where PHM seems to have located itself, Death and the Working Class lacks the idea that would make it a serious show: anger. It is a bland social history show of objects supported only by fragments of context. It doesn’t evoke the idea of death or the experience of people dying. The display goes down the route of parsing the subject by themes:

preparing for death
causes of death
laying out
the ceremony
wakes and wills
mourning and remembrance

but the absence of the theme of struggle leaves you wondering why it bother to mention Class in its title. How can you curate such as show and not impart a sense of injustice in the viewer?

Whatever seriousness the exhibition could claim is badly undermined by the ubiquitous nonsense of ‘access’ play. In amongst the exhibits you are invited to read an epitaph and guess whose name it relates to under a flap you lift. There is a comments board where you are invited to write your own epitaph. On the floor there is a snakes and ladders game with coloured plastic skulls as pieces. But the stupidity prize has to go to the rack of mourning clothes with its sign “Put on these mourning clothes: how do they make you feel?” This is really unacceptable - especially having had Sue's father's funeral last week.

The Olympics and Poetry

In 2009 I was shortlisted for one of the 2012 Olympic commissions called "Artists Taking The Lead" - which would develop an international language festival featuring many of the world's leading poets, sound and media artists. Held in Manchester in 2012, The Language Moment would be the largest ever celebration and dialogue of language in the arts.
http://www.artiststakingthelead.org.uk/north-west/info


Simon Armitage was shortlisted for "Any Distance Greater than a Single Span", which would see an epic poem carved into the rock on Ilkley Moor and a range of spectacular performances. Neither of us got the final commission - mine was beaten by the proposal for a crap fountain in Liverpool; I dont know who beat Armitage but I like to think that his proposal was beaten by the offensiveness of its own egomania.

When the powers that be realised that the 2012 Cultural Olympiad was becoming shambolic, they brought in respected cultural leader Ruth MacKenzie to give it new direction. Various people said to me: MacKenzie is a shrewd judge of a good project, re-submit the Language Moment, she might have more insight than the previous discredited judging panels. So I did. I got a reply that she would pass it on to her team to consider. I heard nothing more and readers here will know the Language Moment has continued to develop and will subsequently be the legacy project I take forward after the Text Festival (freed from any constraints that the Olympics would have imposed).

Suddenly the BBC announced yesterday "An ambitious project to assemble poets from all of the Olympic nations in 2012 has been launched in London."
http://www.bbc.co.uk/news/entertainment-arts-11674308 apparently"Simon Armitage, the poet behind the idea, said: 'My hunch is this will be the biggest poetry event ever - a truly global coming together of poets.' The fucking poet behind the idea! Jude Kelly, the Southbank Centre's artistic director, (which is hosting the event) said: "Poetry has always been so associated with the Olympics - It seems appropriate to make poetry this central idea of something that is about a world gathering." Tony Trehy of the Language Moment said (in 2009 and again to the new Olympic Culture people in 2010): "Poetry was as much a feature of the ancient Olympics as sport. By the 21st Century the concept of global friendship has become central to the Olympiad without recognition of the role that the language arts could play in enhancing this world dialogue."

Apparently they are aiming for 200 poets from all continents. Hmmm... the Language Moment had 200 poets signed up from all continents. The only differences I can see is that the event will happen in London where the Language Moment happened in Manchester - to which people living in the north will no doubt look askance sky-ward, tutting "the usual story". And the other difference is that Hegemony of the Banal continue to limit the possibilities of language in poetry thus ignoring its relationship and dialogue with sound art, visual art, multimedia, etc.

A Sustainable Future for the Rollerball Museum

Since May, the cultural workforce in the UK has been nervously anticipating the onslaught of the dark regime that now governs the country. The disaster that this will be for British culture is universally accepted – except maybe by intestate liberals in denial, who for the sake of realism can be ignored as hopefully they will be for a generation - Charlie Brooker commented in the Guardian this week that the liberals represent the acceptable face of abuse but we have to hope that they are treated as unacceptable for many years to come. The only question in most people’s minds is the degree of destruction we face. I think that the most telling comparison I have heard is with the Conservatives' last ideological attack: the destruction of the labour movement and the closure of the once mighty mining industry: culture’s future looks remarkably like the fate that befell the wasteland of pit villages and blighted a generation of workers. My epigrammatic assessment is that this government could destroy one hundred years of British culture in the space of three.

The ‘Arts’ and ‘Museums’ have been producing various briefing documents and lobbying campaigns that set out why the arts are so important and there are various online ‘save the arts’ websites and petitions. The problem with all of these is that they rely on the arguments that the arts have developed over 2 decades of New Labour target-driven non-culture imperatives which have fundamentally undermine chances of survival in the current situation. Basically, the arts argue for the economic/social/educational value they provide but the new government is only interested in costs (and that is charitably to give them an economic justification rather than the more likely ideological truth): in this simple equation, the value of the arts is irrelevant.

The dangers are compounded because of the clever nonsense of ‘Business Transformation’. For decades, cuts in public service have been referred to as ‘efficiency savings’. Everyone knows that this is newspeak bollocks; but the unprecedented speed and scale of this debacle implementation is dressed up with this new language which suggests that services can be saved by radical re-configuration: “Business Transformation” is more than a distortion of the language – it is a plain lie. The propagation of this lie is compounded by the naivety of a sector of museum/arts administrators who were trained in the ethos of neo-Puritan museums as useful – it’s a generational thing. They are quick to accept the cuts as inevitable – because they are conditioned by the methodology of the previous regime to hit the target, even if the target is perversely destructive. So you get nonsense out of them such as “it is better to have one good museum than four mediocre ones”. This is supposed to suggest that the recent times of plenty have resulted in too many museums, some good some mediocre, and therefore the new governmental cull is actually an opportunity! This is plainly bollocks. Maybe it would be better to have four good ones – good museums don’t cost any more to run than mediocre ones.

I am pretty frequently getting email bulletins now with titles like “Fuelling The Necessary Revolution”. Every single word of that title makes me want to slap the writer, who goes on to claim that “The funding cuts announced this week are bringing into sharp focus the need for us to consider different ways of thinking and different ways of doing. Whilst artists have a proud and promiscuous history of collaborating across every imaginable boundary, arts organisations have too often tended to work in isolation or in competition. It has been written especially for public and private funders in order to persuade them to encourage and support more collaborations. This guide includes an explanation of the competencies, qualities and attributes necessary, describes the early stage challenges and offers a framework for assessment. It explains what disciplined collaboration looks like...” The exasperation I feel reading this is nearly debilitating – maybe to reduce my use of expletives in this blog I could just observe that the cuts are so large that most of the thinking is already directed to not doing things rather than doing differently; that for those of us who have been ‘promiscuously’ collaborating with artists for years and crossing every imaginable boundary this is patronising shite; and explanation of competencies, qualities, attributes and frameworks for assessement (just what we need!) is the tiresome bureaucracy of HR-Fordist model imposed on arts management over the last decade which paradoxically has artistically de-skilled arts management while pretending to professionalise it.

The other delusional strategy being offered is that the way to survive is to focus on the young – “we need to illustrate to government and society that our organisations can teach young people about the past so they can construct their futures.” There are two misapprehensions in this: the first relates to my earlier observation – under New Labour, working with young people was a consistent governmental imperative (to the detriment, I would argue, to the quality of the arts themselves): the working with youth card is already in the game and clearly has no value to the rich bastards that now govern the country. The other problem with it relates to the sustainability of the Rollerball Museum, which I come to below. Sustainability is another bit of jargon that has a multiple life in the current situation. Until recently it was used as part of the green agenda, reducing the carbon footprint of museums and galleries, etc. Now it has an additional use, much as ‘transformation’ means ‘dismantle’, sustainability now means survival.

Along with the liberal “don’t hurt us because we are good with the poor and dispossessed” strategy of the arts (liberalism after all is dead in the final act of coalition), the other humiliation some are swallowing is “The Big Society”. This is the Government’s vision for replacing the ‘big state’. I can’t be bothered to parse this nonsense, but suffice it to say, that there are arts administrators arguing that there is an opportunity for the arts to survive by ‘delivering this new agenda’. I am just not convinced that enough of the cultural infrastructure will survive because the sentence includes its own demise “for the arts to survive by delivering this new agenda”. This assumes that the arts are supposed to survive; but this is an ideological dismantling of public life to be rebuilt in a different image much as it was with monetarism in the 80s-90s. It doesn’t need or want the past. One of the founding concepts of museums is that access to the past informs the future - “our organisations can teach young people about the past so they can construct their futures” – to dismantle the infrastructure of British museums and galleries is to overwrite history, to disconnect the past so that a different, forgetful future is forged. The new government’s schedule for destruction is 2014 (so that British society has been irrevocably changed before they can be kicked out in the 2015 election), but this story makes me think of a slightly later date: 2018.

By the year 2018, the Corporate Wars have ended and crime has been eliminated around the globe. To entertain and divert the bored masses, the sport of Rollerball -- a cross between hockey, roller derby, and motocross -- has been invented and become wildly popular. Veteran player Jonathan E. (played by James Caan) of the Houston team has become so big with the fans over his ten-year career that the corporate owners fear his stardom violates the team ideology of Rollerball and may inspire a revolution. Mr. Bartholomew (John Houseman), an executive with Energy Corp., the team owners, tells Jonathan E. “Corporate society was an inevitable destiny”. Increasingly suspicious, the previously dumb jock Jonathan tries to investigate the history of the game and the corporations by going to visiting the last library-archive in the world, which is Zero, the world's most powerful computer based in Geneva. Jonathan only finds more evidence that the world is all wrong. The head librarian is madder than a hatter and the computer is twisted. Somehow they have lost the entire 13th Century and who knows what else. To paraphrase George Orwell “Who controls the past, controls the future”. And how better to control the past than to lose chunks of it. You never know, maybe they’ll win a second term, in which case they will be in power in 2018 - with the unemployment in the arts that's coming, there'll be plenty of applications for the museum director.

Moomin Valley at Bury

Magical Moominvalley
23 October - 15 January 2011

To celebrate the 65th anniversary of the Moomins Bury Art Gallery has recreated the feeling of visiting Moominvalley itself. The world of the Moomins, created by Finnish artist Tove Jansson has delighted and captivated children and adults alike for the last 65 years. Finnish writer and artist Tove Jansson created the white hippopotamus-looking creatures whose adventures have been translated into 34 languages. Jansson wrote and illustrated eight books about these eccentric creatures, the first of which The Moomins and the Great Flood was published in 1945.

Tove Jansson was a prolific illustrator and less well-known for her work produced in newspapers. Her beautiful drawings of the Moomins will be shown alongside a collection of rare examples of Jansson’s illustrations published in Finnish daily newspapers, as well as illustrations of JR Tolkein’s The Hobbit and Lewis Carroll’s Alice in Wonderland. The exhibitions will appeal to children who are fascinated by tales of the Moomins but also to adults who can appreciate Jansson’s expressive drawings and the darker subtexts of the images and stories.

Events
23 October - Special Opening, The exhibition will be formally opened by the Mayor and the Finnish Ambassador.

The Other Room

Tuesday 19 October 6pm FREE
The International Anthony Burgess Foundation,
The Engine House, Chorlton Mill,
3 Cambridge Street, Manchester M1 5BY.

JEROME ROTHENBERG, ALLEN FISHER, MAGGIE O'SULLIVAN

Ron Silliman's Text

Ron's neon text extracted from his poem Northern Soul which, I think, is part of Universe, begins production.
www.textfestival.com

Back from Finland

A great week in Tampere.

The Tragedy of Althusserianism started badly - so badly in fact that within a couple of days of arriving and struggling hopelessly, I seriously considered giving up the writing break and flying home early. I found an internet connection and started costing up flights. Then returned to my computer, and as if the threat of stopping turned on a tap, 19 sections of the poem poured forth.

"ichnologic years after inserting one mental
state into another, the space between but
the excuses as color-naming systems
deviate from the predict of universal forces would
predict"

I was very pleased to see Karri Kokko again and to meet Satu Kaikkonen. I gave Satu a copy of Reykjavik and she gave me 3 fabulous hand-made books (one of which featured the namepoem pictured here) and a couple of visual poems (which are now both on the wall in the apartment).

(Picture:Karri and Satu)

We had lunch together, and agreed their participation in the Text Festival, and then visited Tampere Art Museum, Tampere Contemporary Art Museum and the Sara Hilden Museum. Added to two shows I saw at TR1 and it felt like a cultured week. I had great meetings with Toimi Jaatinen and Taina Myllyharju, both social and establishing future projects. Taina was a great host throughout the week.

The next fruit of the Tampere partnership is the opening of the Moomin Valley exhibition at Bury Art Gallery on 23 October.