ARTISTS TALKING

# 26 [28 August 2010]

Today I need to take a brief detour to examine the term 'curate.' I am writing with reference to the thoughts that I noted here on 15th August about a conventional gallery exhibition and how this may not be the most appropriate or interesting outcome of this blog and project. If I decide not to produce a white cube exhibition containing artworks in space as the end product for 'Group Therapy', have I curated an exhibition at all, or have I just organised it? Or is it in fact my artwork? AND does it matter anyway as long as the project manifests something of interest?

Luckily I am an obsessional collector of books and whenever such ponderings overtake me I can usually reach for one volume or another to begin to resolve things. On this occasion I've come straight to JJ Charlesworth's essay Curating Doubt in Issues in Curating Contemporary Art and Performance. This essay tracks the progression of curating from practice based archiving and display of objects in museums and galleries to a discourse based theoretical paradigm that generates its own creative perspectives. Charlesworth says that "curatorship can now be understood as the synthesis of institution context and artistic content- the product of an 'artist' rather than a curator." He goes on to quote the warning that Paul O'Neill made in Art Monthly, on the inherent danger that "we are becoming so self-reflexive that exhibitions often end up as nothing more or less than art exhibitions curated by curators curating curators, curating artists, curating artworks, curating exhibitions."

Over the past three years I've been fortunate to partner with some very unusual individuals who have blurred the boundary between the archetypical roles of artist and curator. In 2008 my work as an assistant to Hannah Hurtzig http://www.mobileacademy-berlin.com/ on Blackmarket for Useful Knowledge and Non-Knowledge No 11 On WASTE: The Disappearance and Comeback of Things & Values certainly involved a process  of assembling and framing a collection around a theme, although Hannah herself did not refer to this process as curatorial but as artistic. The project offered visitors the opportunity to book an appointment with an expert from various fields and to sit for a five minute conversation which would relate to the central topic: waste. The process was catalytic of conversation and functioned almost as a 3D library which users could draw on to inhabit new perspectives. I would love to find a way for Group Therapy to provide a similar discursive space, but still wish to include some conventional elements of an exhibition.

Let me also add here that buried within the multiple academic references that permeated Blackmarket No 11, I often wondered about 'the talking cure' or psychoanalysis as a reference. Hannah talked occasionally about friends who were taking anti-depressants or her own brief depressive experiences.... I often wished I had pushed her to talk more about this, but I was quite young back then and really quite frightened of the woman...... Have a look at the images and I am sure you will see why the low lit intimacy of these face to face conversations puts me in mind of some kind of therapy.

I have used this blog so far to talk about the work of other artists, to look at some commentaries on mental health in the media, to discuss books that I have read and to retell some of my own experiences. I am not sure if it becomes to ambitious to attempt to include all of the above in the final project, or if I ought just to be content to show artists work and accompany this with an interesting conference. Maybe that it enough for now and maybe anything more gets too close to Charlesworth's fears around excessive curatorial complication?

# 25 [15 August 2010]

By the way..... given that I am basically a massive egg head, I sometimes get excited about the most abstract of things. I nearly wet my pants earlier today when I discovered that that temple of academic sexiness The London Consortium is running an Mres short course on some of the very same topics that I am discussing on this blog. Its called Down: Melancholy, Depression and Regeneration. To be honest its more about manifestations of depression as a cultural and economic concept than a direct link between technology and mental health. But it's close enough for me to feel that I'm working with issues that are academically vital as well as interesting to me for personal reasons. My god check out the beast of a reading list that they have given..... http://www.londonconsortium.com/courses/down.php. I think I'm basically going to have to lock myself away until I have read every book on here.....

Nah I'm only joking...... kindda.....

# 24 [15 August 2010]

I've been going a bit nuts for the past week or so. This is often moment when I have my best ideas so I have been holding onto my hat and hoping that something good comes of it.

While sitting in my hotel room in Edinburgh on Thursday morning something about the Group Therapy show started to form in my head around the idea of research and resource. This blog has become such an interesting and useful forum for my ideas over the past three months and has provided a catalyst for really good discussions with so many artists. It almost feels that a highly polished curatorial 'show' as an outcome would somehow neglect to address the many open-ended questions that surround the field that I seek to engage with. I feel intuitively that to propose further questions rather than seek to provide answers might prove a more interesting process at this stage.

Having said all of this I would love to commission some new work and Hans from Ubermorgan would be the favorite at the moment. I am also still visualising video installations having a presence in some sense as I have discussed so many good ones on here. However I would really like to propose Adbusters as a partner in the project (after reading their ecopsychology addition) and work with them to curate a programme of talks and actions on the the theme of ecopsychology. A library (or web archive) is a possibility and then there is also that whole other area of how technology is being used in psychotherapy which I have not even started on yet (but intend to soon). We could bring in examples of the equipment and software being used. 

God its exciting......

I think my next step might be to approach someone from the AND festival http://www.andfestival.org.uk/ as it feels to me that the 2011 festival would be the perfect context for this project to reside in. If I have their buy-in I can think about talking to Adbusters and MIND or CALM as I still really want to see if I can get a mental health charity on board in some capacity.

I need a proposal and a budget....

I think it might be admin time......

# 23 [8 August 2010]

I've been intending to blog about Matthew De Kersaint Giraudeau http://www.dekersaint.co.uk/ for some time now, following an email exchange that had with him in June. I know he's performing at the Royal Standard in Liverpool tonight at 7pm http://www.the-royal-standard.com/events/, so thankfully my procrastination means that the post will be 'timely' rather that just 'late'.

Matthew first came to my attention via the April issue of New Art Criticism where I found his video piece "The Sadness Of Mark Speight." It tells the tragic tale of the children's TV presenter who took his own life in April 2008 after his girlfriend died of severe burns and a cocaine overdose. http://www.newartcriticism.co.uk/markspeight.html. What I loved about the film was its 'youtube' type viral video aesthetic (its made entirely from found footage), coupled with Matthew's deadpan voiceover. Images of Mark "gurning around and generally looking enthusiastic" sit awkwardly against a disassociated commentary by the artist, that conveys minimal emotive intonation toward its subject matter. In our email conversation Matthew says:

"I'm personally interested in psychological dissociation and its implication in the possibility of a chaotic reality (the possibility that meaning and coherence are imposed on a nonsensical series of events by an incredibly powerful, fully functioning mind - the idea that normal life is a psychosis)."

There are moments of nostalgia within the narrative and an analysis of how suicide might be a difficult concept for a child to grasp, yet in essence the video unhooks tragedy from the emotive experience of grief in order to express the view of a distanced observer. In doing so it questions the usual trajectory of response and the sense of psychological order that we use to impose this, suggesting that no single mental process is more sane than the next.

The video is an outtake from a performance lecture which I have not seen, although I do believe that he is doing a performance lecture tonight at the Royal Standard. I'll be there!

Matthew also has a series of "Psychosis Drawings" on his website which are inspired by a repetitive behavioral tendency called Stereotypy http://en.wikipedia.org/wiki/Stereotypy, often seen in autistic patients and children with developmental difficulties. He describes the imagery used as "paranoid hallucinations inspired by mass media." I particularly like Networking and Coverage posted here.

# 22 [7 August 2010]

After my previous post on ecopsychology, I decided it was time to finally get around to watching a film called You Live In Public by Ondi Timoner. On the whole it made me want to do a digital detox (yet here I am blogging about it doh!)

The film documents the life of Josh Harris, who made his fortune during the 90s dot com boom. He used his riches to create projects that predicted the revolutionising impact of the internet on human relationships. In 2001 he and his girlfriend Tanya Corrin turned their home into a lavishly designed webcasting studio where they broadcast their entire existence online via webcam and hosted their own chat room where users could comment on the minutia of their existence. Needless to say the relationship and the experiment broke down after 81 days, when both appeared to be suffering psychological consequences from their unusual existence. Of course the project predicted the format of shows like big brother as well as the rise of surveillance culture.

The portrayal of Josh Harris feels quite indicative of a certain male archetype that we are seeing more and more in the media: lonely man with an abundance of money, technology at his finger tips and no capacity to make real relationships, who lavishes himself with obscure riches and hedonism with little regard for the feelings of others. The dot com boomers seem to be portrayed similarly to how we might understand the portrayal of rich bankers in the current media climate, greedy, hedonistic and detached from reality. I raise this because I am interested in how technology, money and power converge around specific instances of emotional and psychological disturbance.

Its clear from the film that Josh Harris had his own longstanding psychological problems stemming from a lonely childhood spent in front of the TV and its no surprise when his obsession with living publicly manifests itself in a particular kind of madness. Whats more surprising is how quickly participants in his millennium project Quiet http://post.thing.net/node/2800 started to show signs of extreme disturbance after living together for a month in a New York basement that was populated by surveillance cameras. Under constant pressure to perform for the cameras participants became distressed, depressed and startlingly hedonistic. A worrying fact when you consider how rapidly our social and digital environment is evolving to mean that we all live in public to some extent.

# 21 [5 August 2010]

This week I have discovered a new movement called ecopsychology http://www.ecopsychology.org/ which advocates that the health of the planet can have an impact on the well being of it's inhabitants. It makes sense that the condition of a person's immediate surroundings could change their psychological state and that things like noise pollution, traffic congestion and overcrowding in cites could contribute to rising numbers of mental health issues within the population.

I made the discovery when I picked up the most recent copy of Adbusters in my local indi bookshop. There is a featured essay by Kalle Lasn and Micah White called Ecology of the Mind https://www.adbusters.org/magazine/90/ecology-mind... which makes the claim that

"in the last couple generations, we have largely abandoned the natural world, immersing ourselves in virtual realms. Along with this transition to a new psychic realm, we have also seen the exponential rise of mental illnesses."

The article outlines six contributing causes of mental atrophy which occur as a result of digital culture: noise, infotoxins and infoviruses, the erosion of empathy, loss of infodiversity, the fragmentation of our psyches (jumpy brain syndrome) and running out of culture. All of these are caused by our ongoing dependancy on computers and digital devices, particularly the internet. The authors quote Nicholas Carr http://www.roughtype.com/ when he claims that

“Over the past few years, I’ve had an uncomfortable sense that someone, or something, has been tinkering with my brain, remapping the neural circuitry, reprogramming the memory… what the Net seems to be doing is chipping away my capacity for concentration and contemplation. My mind now expects to take in information the way the Net distributes it: in a swiftly moving stream of particles."

When writing about new technologies I have always been careful to avoid the reactionary riot of technological determinism that was prevalent within early critique of the internet. At the inception of platforms such as Second Life it was often fantasied that humanity might depart earthly realms in order to eat, sleep and reproduce virtually. What this edition of adbusters points out is that almost 20 years on from the birth of the internet, our bodies have not been so easily abandoned. While a little occasional internet use is in no way detrimental, when combined with 24 hour TV, constant use of iphones and ipods and the fact that more and more people sit alone at their laptops during 12 to 15 hour work days.... it could easily be changing the way our brain functions.

# 20 [29 July 2010]

I'd imagine its impossible to write a blog on the topic of art and mental health without eventually having to consider the practice of art as therapy. So I've come to Belfast his week to hook up with some old friends and to take part in some of the Northern Ireland Group for Art Therapy's summer school.

I have two aims for my time here

1) Find out what Art Therapy is and how it is practiced
2) Take part in some practical workshops and see if it works

So far the most compelling presentation on the practice of Art Therapy has been with a lady called Karen Huckvale who practices as an art therapist within the NHS in Devon and who is also an artist. Karen clearly approaches her work from a Jungian perspective as she made constant references to alchemy during her presentation. Jung saw artistic processes as accessing the subconscious through symbols and storytelling and thought that most human struggles originated in material stored in the subconscious.

She told a captivating story about an eleven year old girl with an abusive family history, with whom she had spent 30 hours separating glitter and sand in a process that seemed to be symbolic of transition and recovery. Her role as therapist was as a listener and a guide with the materials and art making acting as prompts for discussion and disclosure. This had clearly been a relationship where the development of trust was crucial with the art making providing a way of focusing feelings and images and providing shared goals.

Yesterday I also did my third three hour art therapy workshop with a group of six other women. I've been finding these sessions pretty tough going. Its amazing how four years of arts training has in some way damaged my most basic ability to make mess with materials and to be primitively and frantically creative. I could not in any way say that what I have produced has been part of my art practice..... but it has been oddly therapeutic. The pieces that I have made have been about my own experiences of my body, particularly focusing on heart and lungs. This has been stimulated by our workshop leader Saadia Parvez who has been leading us in a number of mediative and breathing techniques as well as more artistic and pictorial processes. Yesterday as a group of six women we all held hands and let out the most liberating and earth shattering scream as a way of rediscovering our voices and connecting with the energy in the group.

I've uploaded some of the images that I have produced so far. I feel a strange kind of embarrassment in doing this as they seem so naïve and unaccomplished!! But its also wonderful to rediscover that not everything that I produce has to be perfect and that not everything that I am not proud of has to remain a secret!!

# 19 [17 July 2010]

The term 'emotional and psychological disturbance' is taking me to interesting places.

I've been curled up with a vat of espresso and the latest edition of Mute magazine for the past half hour. I've stopped reading part way through an interview with artist Alexa Wright (interviewer Stefan Szczelkun) as there are a few passages in here which feel are worth documenting.

The interview touches on the theme of trauma and emotional affect, an area that I have been reading around quite extensively in the past week or so. There is discussion of Wright's work Killers made in 2002, which situates it's audience in solitary booths and plays back narratives of murders telling the real life stories of how they killed someone and how it made them feel. This is identified in the interview as a moment of transgression, where the viewer is forced to confront something beyond the normal experience of being human and to deal with their own hateful or empathetic response to these confessions.

There is a reference made to Kristeva here and her use of the term abject:

"According to Kristeva, what causes abjection is anything that disturbs our sense of identity, system or order. Anything, or perhaps anyone, that is in-between, ambiguous or composite."
Alexa Wright

The interview then brings in the theme of trauma which the interviewer describes as:

"An experience that overwhelms one's ordinary emotional abilities - something that is too difficult to process with the resources you have at that time."
Stefan Szczelkun

Killers takes the transgression of an excepted social norm to territories that encounter emotional extremity or trauma. Of course what it might also highlight is the level of emotional and psychological disturbance that lead to the murderous acts and the level of such disturbance that is translated to the viewer during their encounter with the work. We are in the realm of deviation where shock can equal disturbance and emotions that are are almost too difficult to process.

While the piece does not deal overtly with 'mental health' it seems to ask the viewer to consider the extremity of what the disturbed mind can conjure. Yet by instigating the moment of an intimate encounter between artwork and audience it also emphasises the fact that such grotesque acts generate from everyday human minds that function just like our own.

In its way the above is only speculation as I have not seen the work and have only read this single interview with Alexa Wright. But it been a useful read in terms of exploring trauma in the emotive encounter and the reconciling psychological extremes into the everyday. Here's a last quote from the artist:

"I am interested in exploring the fears and prejudices that set in when we are unable to establish a clear and tangible boundary between what we thing of as 'us', 'really normal' people and 'others'. Alexa Wright

All quotes taken from Stefan Szczelkun's interview with Alexa Wright in Mute Vol 2 Issue 16 http://www.metamute.org Listen to audio extracts from Alexa Wright's work Killers here: http://www.alteregoinstallation.co.uk/main_site/ki...

# 18 [9 July 2010]

I got very frustrated last weekend when I couldn't attend a seminar at the Arnolfini called The Lost Object: On Gesture and Psychoanalysis http://www.arnolfini.org.uk/whatson/events/details... due to work commitments. However thanks to the genius of the Arnolfini's marketing department there is now an audio recording of the first part of the afternoon available online which I have been pouring over this morning and am excited to report back on http://www.arnolfini.org.uk/downloads/LostObject71.... I am in the process of pestering the Arnolfini about getting the rest of the presentations online, particularly so that I can hear psychotherapist Professor Jeremy Holmes make his presentation.

The seminar referenced the exhibition Otto Zitko and Louise Bourgeois; Me, Myself and I, which has just closed at the Arnolfini. It focused specifically on the relationship between psychoanalysis and drawing but also explored wider themes of memory and the subconscious.

Tom Trevor director of the Arnolfini spoke first and discussed the curatorial process that fed into the exhibition. He brought up the very interesting fact that he had considered including Antonin Artaud's http://en.wikipedia.org/wiki/Antonin_Artaud drawings in the show alongside Zitko and Bourgeois. I have come across Artaud's drawings before but I did not know that many of them were made in the later stages of his life when he was very ill and having electroconvulsive therapy for what are retrospectively thought to be symptoms of schizophrenia. He's of particular interest to me for his writings on theatre and is someone to research at more at some point.

Next Ann Coxon Curator at Tate Modern read from her forthcoming book on Louise Bourgeois, making detailed mention of the artists insomnia drawings. As a lifelong insomniac I've always identified with this series of Bourgeois work and it's frenetic style. Coxon specifically drew comparison between these works and the process of meditation, noting that their consistent use of circular patterns and repetitive imagery mirrors a kind of rocking motion and the gentle attempt to lull oneself into sleep. One aspect of Bourgeois life that Coxon particularly foregrounded was her role as a mother. For some reason I had never imagined a woman like Bourgeois having children, but apparently she had three daughters and was famed for saying that a woman can only ever come to understand her own mother when she herself gives birth to children. I guess the cyclical implications of this make sense. A lot of Bourgeois work often portrays issues of nurturing and care, offset against anger and betrayal, which I can see now might express the duality of being both mother and daughter and understanding this difficult relationship from both perspectives.

So I am really hoping that the Arnolfini makes the second half of the seminar available and I can continue to chew over these presentations. From what I have heard so far they didn't really succeed in getting to the truely meaty psychoanalytical stuff but hopefully this happens later in the afternoon. To be continued.....!

# 17 [6 July 2010]

Oh and I forgot to mention....

I've dug out this exhibition catalogue for a Haywood touring exhibition that Jill Bennett mentions in her book Empathic Vision (see post from 24th June). It uses Trauma mostly in relation to a more collective awareness of national and international disasters from what I can tell so far...., but its got some pretty interesting artists in it such as Willie Doherty and Felix Gonzalez-Torres. I'll let you know how it is when I have had a proper read!