So here’s the brief lowdown of events as part of 7 Common, hosted by Flux Factory, Long Island City, NY. We (Case Studios) have the gallery space at Flux for one week (Nov 14 – 21st) throughout which we’ll be hosting 3 public events, here’s a link –
To kick start the project below we’re co-hosting November’s Flux Thursday, a monthly potluck and night of presentations at Flux Factory, NYC.
Join us at Flux! – 39-31 29th Street, Long Island City, New York 11101 – Details below!
An evening in collaboration between QUAC and Case Studios
7:30 – 9:30pm
Potluck meal* from 7:30 – 8:30pm
Presentations by QUAC ( Queens Action Council) and Case Studios ( Flux Residents: Sam Perry (UK), Josefin Vargö (SE), Louise Hobson (UK), Will Owen(US) + Discussion from 8:30 – 9:30pm.
*For the basis of the Potluck, Case Studios will gather materials / foods for the potluck dinner starting at the Flushing stop on the 7 train and picking up more foods from each station until arriving at Queensboro Plaza to be shared.
This was once a valley of ashes, various locations throughout New York City, November 2017
In the shifting landscape of an increasingly globalized world yet and increasingly xenophobic governing bodies, an emphasis on commonalities is key. Across boundaries and borders there are key daily moments of shared empathy and listening. Whether a bartender across the hardwood table of a pub in the UK, a multigenerational family in southern Mexico sharing lunch, old friends catching up over a sweet and coffee in a morning fika in Sweden, construction workers in Long Island City waiting behind the counter line at a Bodega — food and it’s production binds our ever increasingly connected lives together.
So together with Josefin Vargö (Stockholm), Will Owen (NYC) and Louise Hobson (Cardiff) I’m about to return to the mother ship Flux Factory, New York City throughout November to examine artistic strategies within food politics, societal culture and commuting in the unique setting of Queens and its 7 train.
From 34th Street, Manhattan to Main Street, Flushing, we’ll be creating collective narratives of North western Queens, its people and its food. We’ll be creating and hosting gathering spaces where we can come together to learn about our individual palates and recipes and where or how these assumptions and habits have been established.
Using the 7 Train route as our ‘dinner table’, we’re interested in offering experiences that move food from inattentive consumption, to a time and space in which the eating happens after you hear the story behind the dish, and the recipe, or the people who made it.
More info as it unfolds…
This project is generously supported by Konstnärsnämnden -The Swedish Arts Grants Committee and Wales Arts International.
I’m going to be giving an illustrated reading and talk this Friday 24th Feb at Hangar Centro de Investigacao Artistica, Lisbon, Portugal from 6-8pm.
As part of Hangar Aberto, a fortnightly series of presentations by Hangar’s international residents, the talk is the result of my one-month residency here in Graca, the highest point in the city, where I’ve been developing a written piece of ekphrasis in response to this location, Hangar itself and life in Lisbon.
Here’s a link to the text – Shopless
Hangar Centro de Investigacao Artistica – http://www.hangar.com.pt/
This residency opportunity was made possible by Wales Arts International.
This is a written aside to LLE’s new show at The London Art Fair, Jan 18-22, Business Design Centre, Islington, London N1 0QH
Artists: Lindsey Bull, Aly Helyer, Ben Risk, Toby Ursell & Casper White.
I’ve had the pleasure of being asked to respond to LLE’s latest outing at The Manchester Contemporary at the Old Granada Studios. LLE is a new artist-led curatorial project with a focus on contemporary painting, showcasing artists via international art fairs and exhibitions.
You can read the piece on This Is Tomorrow here – http://thisistomorrow.info/articles/lle-gallery-at-the-manchester-contemporary
Find out more about LLE here – http://www.llegallery.com/
Their next port of call is the London Art Fair in January as part of Dialogues curated by Miguel Amado. – http://www.londonartfair.co.uk/whats-on/art-projects/
This is a (very) limited edition book titled Bleed I’ve been working on with Neasa Terry and Yvonne Lake. The book is a response to this year’s Supernormal Festival in Oxfordshire as part of our g39/WARP: In Response commission we were lucky enough to get in August.
Supernormal is a weird and wonderful experimental performance and music festival like no other I’ve been to, well worth checking out next year’s festival – http://www.supernormalfestival.co.uk/
You can find it on the bookshelves at g39, Cardiff. In the meantime we’ll knock up a PDF version in due course…
Kelly Best, installation shot, Ca D’oro, 57th Venice Biennale of Art. Image courtesy of the artist.
Until the invigilators begin their morning sweep of the terrazzo floor, the sides and corners of the main room of the palazzo are lined with dust and rubble. In the hallway the daylight pierces the doorway, revealing that this dust occupies the airspace as well as the sides and corners. There is dust everywhere.
The dust has much to do with salt. The lagoon in its watery parts, as well as its urban parts, is saturated in salt. Its people’s biggest asset for centuries, the salt in the ecosystem climes up through the porous infrastructure of the city, like plants sucking up water. Aided by both old-age and sulphur pollution from the nearby chemical plant, it causes the interior of its buildings to crumble, like biscuit. Dust gathers at the edges and corners of rooms and is swept away every morning like the human hair on the floor of the barbers.
It dissolves into the canals giving back the salt to the ecosystem together with the cloudy pollutant sulphur, to be absorbed by the urban infrastructure again, and round and round it goes, with the pulse of the universe, creating dust.
The dust lining the paving from here, where we are stood, to the Palazzo is mostly contained to the outer parts of the fondamenta, kicked into the cracks in the wall or reversely shepherded into the canal by walkers. In the Palazzo the sculptures are wiped clean from dust each hour by said invigilators, lest the upper echelons of the art world should see them unkempt, after all it is the Biennale; no others are as long-running, gregarious, or dusty.
The L-shaped, salt-white sculpture stands with an impossible composite stance in the main room. Someone said you cannot tell what a picture really is or what an object really is until you dust it every day. The invigilators know this more than anyone, and know this sculpture better than anyone.
Part of Form In Fiction, a collaborative project with Kelly Best. Supported by Arts Council Wales.