Time slides. I feel it. Back and forth. I know that I’m the same person that I was before I almost died during a massive heart attack (yes that’s what the paramedic said to me in the back of the ambulance “Don’t worry Paul, you’re having a massive attack, just try and relax”) but something feels changed and I think it’s the way time moves or the way we move through it.
It seems to say ‘Welcome to The New Reality – come on in!’
Okay – let’s go!
Easter Wings by George Herbert
Found this great example of metaphysical concrete poetry by George Herbert as I prepare for some work with artist Ashokkumar D Mistry in the 1620s House and Garden at Donnington Le Heath in North West Leicestershire.
In its original published form it’s published at ninety degrees to the norm so as to look like butterfly wings whereas in most modern publications it’s published the same as way as other poetry, other texts, so losing its butterflyness.
I’m off up to the 1620s house later this morning to meet up with Ashok as we further plan a forthcoming piece together, a workshop looking at developing new ways of engaging with and interpreting the house and grounds.
Millree Hughes is seen here with legendary filmmaker Nick Zedd at the opening of our Involuntary México show in Metro Hidalgo, México City. It’s so good to see Nick there along with many from México City’s vibrant art world, metro workers, art lovers and commuters. Some of them I’m sure fall into all those categories.
It’s been said to me on more than one occasion that the Involuntary Movement is against the art world, that we undermine the skill of real artists by displaying bits of decaying crap, spills, damp patches, signs, the sounds of spin dryers and the like as though they were paintings, sculptures and music. I really don’t mind that they think that. That they think that speaks more of what the involuntary concept is about than perhaps myself, Millree Hughes, Aldo Flores and others involved with the Involuntary Movement ever could.
Nick Zedd (pictured on the right next to Millree above) coined the term Cinema of Transgression in 1985 to describe a loose-knit group of like-minded filmmakers and artists using shock value and black humor in their work. I’m not sure you could say that in general the work and ideas of the Involuntary Movement is shocking (though some might be) but there is a sense of playfulness and dark humour underpinning many of the ideas, actions and shows produced by the movement. Maybe we do transgress when we suggest that there are things out in our streets that aren’t art but could easily be mistaken for art and that might act as mediators between us, our everyday sometimes banal surroundings and other worlds, otherly thoughts, art histories, dance, the spirit world, baby doll nighties, neon lights, poetry, fine art, pornography, crochet, crap TV and more…
THE GALLERY OF THE STREET IS OPEN!
September 17th 2019
Now go read Nick Zedd’s ‘Cinema Of Transgression Manifesto’
the city moves on
the sweat of workers
I’m at the dentist’s later today. I’ll be thinking as the drill buzzes of how impossible it seemed after my heart attack, actually even before, that I would be having a show with my friend of forty years NYC based artist Millree Hughes and my new friend the master Méxican artist and curator Aldo Flores.
I might record the sound as an Involuntary Music piece.
An exhibition as large as Involuntary México, our show in México City’s Metro Hidalgo Station, cannot come together without the hard work, the sweat, of many people, many workers.
Here are just some of them pictured with my long time collaborator New York City based artist Millree Hughes and our visionary Mexican collaborator, artist curator Aldo Flores of Salon Des Aztecas. Our wonderful producer, Yardley Flores is also in the photograph.
We can’t thank the installers and all the workers of Metro Hidalgo enough. They were and are magnificent!
And so too are the people of México City who have been so welcoming to Involuntary México and the new huge Public Art Gallery that is Metro Hidalgo.