Hi all

I've restructured the next two Tuesday sessions of the project, mainly to convene smaller crit groups to critique and advise on individual development of work. It is important you check your yorksj.ac.uk accounts where you'll find details.

Thanks 

Roddy

“If you want to know something you should ...

...spend your time with somebody who knows something."

George Brecht & Robert Filliou, cited in Nieslony, Boris (date unknown) Art Of "Begegnung". Available from http://www.asa.de/magazine/iss3/15boris.htm#1 (accessed 12 March 2009)

Arrange a dialogue with “somebody who knows something” which could be helpful in developing your work. You should think of finding out something that is not yet evident from either the deriving/, mapping or public records brief. Interview them, show them your maps, explain your project, and discuss your ideas for your project with them. Listen to their responses and allow this to shape your developing ideas about art in context. Document this dialogue in a way of your own choosing and present your research at one of the next two sessions. 

Simon Sheikh: In the Place of the Public Sphere

Simon Sheikh is a critic and curator based in Copenhagen, Denmark. He was director of OVERGADEN, contemporary Exhibition space of the cultural ministry, Copenhagen, from 1999 to 2002. He is currently an assistant professor in art theory at the Malmö Art Academy, Sweden, where he is head for the Critical Studies Programme, an international one-year course for artists, critics and curators, a joint venture btw. The academy and the Rooseum in Malmö. Since 1996 he has been co-editor of Øjeblikket, a danish magazine for visual cultures, and has since 1997 been writing for the daily newspaper Information. (He is currently writing a number of articles regarding the changing public sphere within cultural production in the United States after the changes in civil liberties and freedom of speech since 9-11 for said paper). His curatorial interest center around notions of narration, space and publicity, particularly within public works and the realm of video and film. Besides his work at OVERGADEN he has curated larger group shows, such as I Confess, Copenhagen 1995, Compartments, Copenhagen 1996, DIY - Mappings and Instructions, Vienna 1997, In My Room, Paris 1998 and Models of Resistance, Copenhagen 2000. He has edited anthologies such as The Meaning of Site, Ø, Copenhagen 1998 and We are All Normal (and we want our freedom), Black Dog Publishing, London 2001, as well as the forthcoming In the Place of the Public Sphere?, b_books, 2002 and a monograph on the work of Knut Åsdam, 2003.

See also:
Public Spheres and the Functions of Progressive Art Institutions
In the Place of the Public Sphere? Or, the World in Fragments

access public records and make a 'data-work'

Identify an 'institution' which holds public records or information pertinent to your developing ideas, work or potential setting. Negotiate access to this 'institution'. Think about libraries, archives, internet sources. Devise a strategy to shape your research and compile a body of information generate a range of data (e.g. geographical, economical, demographical, historical, social, political, cultural, etc). In your studio, submit this data material to some form of intervention/manipulation. Carefully document this investigation and the ideas that arise from it. Present this as an artwork-in-progress next time we meet.

NB Some organisations will need to be approached in advance of your visit and you should plan your activities accordingly. You should also consider a number of lines of enquiry in case some approaches are rejected or need more time to pursue.

examples of artists to research

Krzysztof Wodiczko, Wendy Kirkup & Pat Naldi, Stefan Gec, Jenny Holzer, Lawrence Weiner, Mierle Laderman Ukeles, Guillermo Gomez Pena, Coco Fusco, John Newling, Brian Catling, Alastair MacLennan, Martha Fleming, Anna Best, Platform, Those Environmental Artists, Cildo Meireles, Vong Phanophit, Tehching Hsieh, Rachel Whiteread, ARTANGEL, Jeremy Deller, Roni Horn, The Yes Men, The Atlas Group, Jennie Savage, Becky Shaw, A Constructed World

Skip Arnold

Skip Arnold, Façade, Public Activity, Geneva, 1996

www.skiparnold.com

Find as many artists as possible ...

... whose work relates to discourse of outside the white cube.

Locate key images of their works and upload to the blog.

Provide full details of artist, work, location, date, etc.

Compile a list of key words that describe the image or discourse in detail.

Every one should upload at least five such images and be prepared to discuss them next time we meet.