Writings From HMS Brexit was made for our exhibition ‘Will The Last Person To Leave The 20th Century Please Turn out The Lights?’
Although this pub conversation only consisted of 4 (absent) speakers, this dissection is approached from very different angles.
Thanks to all involved.
I will be showing a few of my pieces alongside more from our recent Fighting For Crumbs (Art in The Shadow of Neoliberalism) project, at The World Transformed, an exciting event going off in Liverpool next week from the 24th to the 27th.
“The World Transformed is a celebration of politics, art, music, culture and community. Hosted by a coalition of grassroots groups and powered by Momentum, The World Transformed will promote a radical, positive vision for the future.
Running alongside the Labour Party Conference, 23rd – 27th of September in Liverpool, we will host over 200 hours of workshops, talks, art exhibitions, gigs and cultural events. While there will be big name speakers, we are particularly excited to host a range of inspiring grassroots groups who wouldn’t usually be able to exhibit at conference..
The vast majority of the festival will be free to attend. All of the festival will be open to the public. Information on tickets, accommodation and transport are coming soon.
THE WORLD TRANSFORMED
24th – 27th September.”
£$[We]€$[Can’t]$£[Take]£€[Any]$€[More!!]$£ (2016) is one of the pieces I will be showing
Fighting For Crumbs (Art in the Shadow of Neoliberal Britain) is a group of artists from Yorkshire working amidst the after-effects of Austerity Britain 2.0.
The project was inspired by the film ‘Invisible Britain’ (based on the work of Sleaford Mods) that looks at overlooked UK towns and cities, and motivated by a request to contribute to the 50th anniversary celebrations of ‘The RedShed’ (Wakefield Labour Club). The event is based in Sheffield and Wakefield and explores the position of art, and artists, in a period when we are all being pressured to ‘strive’ for crumbs – a time when wages are low, and the market dictates creativity
Monday 8 August: Opening night. 6:30 – 9pm
Friday 12 August. Music and poetry night. 6:30 – 9 pm
Saturday 13 August. 1Pm onwards. Film-viewing, and talk by JD Taylor
Normal gallery opening times: 8 August – 13 August, 7-11pm (call 01924215626 to check room is not in use).
Reflections gathered from performance in the Anti-Gallery Show, weekend 16,17,18, January 2015
This text is a reflection on the performing of Non-Stop Inertia: A Stuck Record – inspired by Ivor Southwood’s book Non-Stop Inertia. Part of a wider collaborative project between myself and Leeds-based artist/curator John Wright, Non-Stop Inertia was played intermittently over a 3 day period as part of the Anti-Gallery Show, at The Espacio Gallery in Shoreditch, London. As this text deals purely with reflections during and after these 3 days, the explanation for the motives behind this ongoing work can be found here: https://johnledger.wordpress.com/2014/12/07/non-stop-inertia-a-stuck-record-the-anti-gallery-show/ . However, the writing uses other points within the 3 day period in London to talk about a larger project, in which Non-Stop Inertia is just one part.
A Psychological Experiment…
That I am in a well-and-truly-spent state the day after our Non-Stop-Inertia piece means that if it was as much a psychological experiment as it was a piece of artwork then the experiment was successful. The carefully-chosen texts we chose to read out were so fitting, but fitting within the eternal-now, ‘in the loop’ of the performance. Because the gravity of their content could as easily fall from mind as it could be put back there once there performance resumed. The content itself became looped; there was no further level of understanding. It was the poetry of a ghost trapped in the machine.
And ghosts trapped in the machine we became. Neuro-psychically electrocuted by the randomly occurring door-alarm signal, I for one can testify to the physical effect (in my manic body movements) that such internalising of the constant expectation of random interruptions can have. Certain lines read out from our texts would land in unison on the pulse-line of the subjectivation, at which point we’d look to each other as if to confer “yes, that’s what this is, exactly!”, but cognitively building on what was being said/read felt impossible due to this anticipation of interruptions. How can you build on things if you are in a perpetual state of siege?
The door alarm noise signaling our ‘calling’ to disseminate emotionally-laboured welcoming-spiel (language absent of life aimed at an absent customer) was, of course, implemented in a random-fashion by our own design. But the intention was to show how this unending anticipation of unpredictable interruptions of our thoughts is a constitutive part of contemporary life, which (we believe) is intrinsic to the inability of individuals and societies alike formulate, or even imagine, a way out of the current global cultural situation that consumes the hopes, desires and visions of alternatives with the same level of ferocity that it consumes the people and resources needed to constitute a future world full stop.
We came away from this performance with no answers to this, but this was the intention: to give poetic form to the very structures preventing us from finding the answers to the current situation. We believe that if the structures permeating contemporary life are dismissed as irrelevant to the task of building towards an alternative, then any kind of positive alternative is impossible.
No Desire to Converse
Whilst in London, myself and John Wright frequently discussed the difference between desire and drive: that, in an ‘always on’, no-future, hyper-competitive, hyper-capitalist world, desire is both short-circuited and disemboweled from drive. This leaves us trapped in a ‘nothing-left-but…’ state, where we often feel a zombie-like-entrapment to the motions of tasks, duties and habits and especially the end-game pursuit of sugary, narcotic, or sexual stimulus; that can often feel like being in a state of seizure due to inconceivability of there being anything else we can do “but pursue pleasure”. (an overly referenced section of Mark Fisher’s Capitalist Realism book, which I attempted to read out as part of the performance).
As well as the resulting post-performance-state leaving us in a state of incomprehension of what we could possibly do except going and getting alcoholically intoxicated in the city, the performance itself also functioned through pure signal-actioned drive. The words were spoken out of drive, rather than desire. This is why others who attempted to engage in the dialogue, and who weren’t used to the nature of the represented job-type to an extent that they could ‘go through the motions’ like we could, very quickly became frustrated (as was partly the intention). One of the participating artists in the Anti Gallery Show said he couldn’t see the point in trying to make conversation. What was the point of him trying to gain something from a conversation if he was to be constantly sent back to square one by the interruptions?
If we are correct in viewing this predicament as endemic in contemporary life, could it not be said that the breaking down of thought and communication to a sound bite-form isn’t merely the result of a reduction of our attention-spans caused by our immersion in cyberspace, but is actually caused by the lack of desire to engage in conversation due to the anticipation of interruptions slicing through it? We also argued that the increasingly competitive nature of contemporary life further reduces the room for conversation, because the constant sense of the self-under-siege within such a competitive world makes it seem an immediate necessity to get our point heard rather than allow the time for other points to be heard (I, for one, am very guilty of this). Indeed, what was left of our broken up conversations was used to discuss the breaking up of dialogue intrinsic to one of the largest social media platforms: Twitter.
All in all Non-Stop Inertia: A Stuck Record was successful – too successful perhaps; afterwards, the necessary walk (climb) back to Kings Cross station seemed almost daunting.
The (Un)realised Project
This inability to transcend, to get beyond the “this is so relevant!” point whilst we were reading the texts/debating perhaps makes Non-Stop Inertia:A Stuck Record pivotal to a wider sensation myself and John Wright are investigating. That, as numerically-measured time pushes onwards, and one’s skin slowly sags downwards, somehow one hasn’t merely become ‘stuck in a moment’, but that the moment has terraformed, re-landscaped the horizon so that the next step beyond this ‘stuck moment’ seems to have never even existed, and that the places that proclaim to have movement are merely just full of frenetic ghost-like actions, speeding up but going nowhere. The unending nature of the sentence I have just written embodies a unending struggle to put to sleep the ghosts that haunt me. After countless debates around this matter, myself and John Wright began an investigation, of intertwined stories (personal to me) and wider post-millennial cultural moments, that we aim to turn into a solid body of work under the umbrella title The (Un)realised Project.
Thus far it has been agreed on that one specific work, The Mary Celeste Project (The Scene of The Crash), will take centre stage within this body of work. The Mary Celeste Project (The Scene of The crash), completed in 2014, uses my own turf (post industrial areas stretching along the foothills of the Yorkshire Pennines) to examine near pasts, lost futures and dead dreams to understand the wider contemporary social condition. Focusing on two lost futures and the un-locatable present, the condition of which is largely caused by the loss of the previous, and their haunting presence. The first lost future is that of popular modernism, which died in the latter quarter of the 20th century. The second lost future being the naively optimistic early to mid-1990’s, and its utopian gaze toward the coming new millennium. The un-locatable present here refers to a specific intensification of life under digital capitalism, looking at a severe disconnection to the passing of time since the 2008 financial crisis. The Mary Celeste Project (The Scene of The Crash) is crucially inspired by my sense of a loss of narrative and of being out of time, amidst a feverishly neoliberal reality. But certain locations I spent time in prior to the beginnings of this project were crucial to reasons behind making of it.
It is clear then that specific geographical spaces are very important to this whole investigation. Thus, with the rarity of two people from northern England planning to embark on the south at the same point, it was essential we had to go another very symbolically important location: Greenwich.
So what makes Greenwich so important? We’d arrived in darkness, and the specifically-threatening-looking silver Met police cars guarding the gates put us off trying to find a way in, so we circumvented Greenwich Park wall right down to the river. One point of agreement on that walk was pivotal to the whole text I’ll write thereon after: my ‘stuck in a moment’ fixation with a 3 month (yet 3 year-long-feeling) time spent in London, unsuccessfully trying to complete an MA in Cultural Studies just down the road in New Cross, prompted John Wright to say to me (in a supportive manner, of course) that I really ought to have done the MA in Leeds (I had considered doing the MA at the University of Leeds, the institution John had recently been awarded an MA qualification at), but we both instantaneously and almost simultaneously responded by agreeing that I had to go to London; that there was something much larger and important at play.
I’ve written way too much already about the mental state I found myself in down London that forced me to leave, and the time leading up going and the time afterwards is far more crucial to the project and the reasons for the usage of my experiences within Greenwich. However, there is one crucial line explaining my state down there that activated this entire project: I believed I’d reached a total dead end, that there was nothing beyond this spell in London.
During this 3-year-disguised-as-3-month-spell, I found myself at Greenwich quite a few times (even ending up with a part time job there, just a week before finding myself back in bed in the north), finding the momentary ease under the autumnal ‘avenues all lined with trees’ an embodier of the wish for a granting of indefinite residence in a place I never really wanted to leave – “I like it here can I stay?” as the lyrics from The Smiths’ Half A Person that weaved through all other thoughts within my room in nearby New Cross.
Something had occurred here to a degree that I was finding it incredibly hard to get out of bed in morning after 15 years of habitually getting up at 7am. The years preceding had seen a building up of both foreboding and understanding of the global cultural situation, to which 2011 felt like the zenith; a clicking into place of a new reality from which we couldn’t go back. And now I was here, in the last 3rd of 2012, and it truly felt like the eye of the storm; the “that’s exactly it!” masters course (that I wanted to last forever, not 1 year of pressurised performance); the financial epicentres seen from my windows; the potential of meeting the world in a world-city; THE HEART OF DARKNESS – as it really did feel like I’d finally found it in as if in an inversion of Joseph Conrad’s novel – because, as comical as it sounds, the plentiful Megabus trips down there looking for a home were symbolic of a wider feeling of being worn right right right down into a man in search of a resting place. And, after the year 2011, there appeared to be no way of going back. And at that initial point before it all went wrong it didn’t matter that there was no way forward.
But as the London-endeavour lead on it became unavoidably clear that there was a dead end rapidly approaching. Throughout the preceding years there had been so much effort to show how entangled my inability to perceive a future for myself was with the dead end that was the endgame of the course the world was taking, to the point where I was exhausted just as it all seemed to come to a head. But as I walked around Greenwich, a place arguably unsurpassed in symbolic importance to creation of the world as we know it, to the extent that it often feels like the meridian was the first line ever laid, it became very clear to me for the first time how our ‘always on’ global capitalist culture was trapped by the past.
Greenwich is a place symbolically laden with traces of ghosts from other eras that refuse to die; a fusion of what-might-have-been’s (lost futures) and unshifting-has-been’s’ (archaic tombs that won’t close up). One that caught my attention was the Queen Elizabeth Oak, an important tree for the Tudor dynasty (a crucial period in the formation of Imperial expansion and modernity). Yet the tree is 100+ years-dead, and has laid on the floor like a wooden carcass for some years now too. Trapped under the weight of the past, with no future to speak of, the speed of life/the ‘always on’ endless labouring within the infinitely accelarating capitalist technosphere, traps us in a frenetic eternal-now epitomised by the Non Stop Inertia project. But in such a Stuck Record state, the present is also a void without a perceivable future in its wake, meaning the past, especially the near past, seeps into the void left by the unlocatable present (think of how traces of the optimistic 1990’s seem to cling to everything); impounding the pressure between the new reality demanded in the wake of 2011 and the lack of ability to be able to even think beyond the current moment. This is well and truly an hauntological state, and through my endeavouring after abandoning London to engage on a cognitive level with the South/West Yorkshire landscape I lapsed back into, these past 2 two years have been profoundly hauntological; all that has followed as felt unrealised…undead.
Connections….Always Looking for Connections…
Of course if we didn’t deem all this crucial to some wider situation we wouldn’t have embarked on the (un)realised projects investigation, nor would we have bothered taking the bus to Greenwich on a cold, dark night. The very fact that I also ‘sound like a stuck record’ on this blog now is more to do with my emotional energies smashing against 4 walls, looking for a way out, than the indulgences of dwelling in the past. Or at least this is what I tell myself. I have to tell myself this, because I am profoundly sick with the way things are, and the conviction that I am not alone means that the current direction of my work is as much as political act as the works I made in my early 20’s that dealt specifically with the threat of climate change.
The closed brackets around the ‘un’ in unrealised, was John Wright’s idea, positing it as the hope that all that is hanging around in a ghostly form will one day be realised. Using Jacques Derrida’s differentiation between an Ending of something and a Closure of something, John and I discussed how this dead-end feeling doesn’t have to be (or at least shouldn’t have to be) the end in itself, but a closure of something that allows the beginnings of another. Of course, our usage of specific geographical locations was a way of simultaneously commenting on this as both a deeply personal and deeply global cultural state. Perhaps using landscape is one of the strongest methods or articulating the fusion of two issues that would appear very distinct on a surface level?
The Utopian Never Truly Dies
As much as we felt it necessary to travel to Greenwich after our performance on the Saturday, after our final, most exhaustive, performance on the Sunday, we deemed it necessary to spend time in the Barbican complex before we set off back for the train.
There is something truly special about this place, which gets beyond the facts of why it remained like this whilst other Brutalist utopian residential schemes failed drastically; that this estate was designed for the well off, the cultural elite, and thus corners weren’t cut in its construction (nor was it fucked up socially by mass job losses), is a seperate matter to to truth of the place which is that it exists as a realisation of the utopianist society that truly could have been. This place doesn’t even seem to have been bothered by the onslaught of Thatcherism; neoliberalism seems to have been kept at the gates of this fort-like-structure, and you can imagine the same being true in long night of fascistic, repressive governance if we don’t find a way of changing the course we are on. It may be a place of the communal/the shared for those who already have their fair share, but in that it actualises elements of the ideal, it shows that they could, and should exist elsewhere.
What I like about this place is what makes me realise that as undead as I often feel, as emotionally-turned-to-stone as I regularly feel, I am still deeply utopian. Utopian is different from a Utopia; arguably Utopia can never exist, but to be Utopian is to be an idealist in life, not to accept any given reality as ‘the way it is’ – such fatalism is dangerous, and has arguably made the situation we are in profoundly worse to deal with.
The Barbican reveals traces of the utopian in the past that was left behind when neoliberal economic theory and postmodernism galvanised the TINA (there is no alternative to capitalism) reality. We sat in the canteen (the only place I know of in contemporary life where the word canteen isn’t associated undesirable eateries), and just sat, without the need for more pleasure-seeking, drink, etc – just sat. As we moved on toward the station, making a closure on this situation still felt as far off as it did before the performance, in the Barbican we did at least get a glimpse of elements of a place that could exist beyond this stuck point. This point has to be moved on from; personally speaking, I cannot stay here any longer.
Achieving and Getting Things Done was an installation I made for a recent exhibition, Globalsapiens: an Introduction. In this exhibition 3 of us were all trying to speak/yell about the state of the world deeply concerning us within the year 2011. But within the confines of an art gallery, within a confines of our individual artist egos, within the confines of our increasingly atomised and forced-self-entrepreneurial lives, is this possible?
Thus within this exhibition we played on this inescapable doubt of ineffectiveness by placing each of us within individual cell-like spaces within the gallery in general. The installation Achieving and Getting Things Done attempted to bring all this doubt within all of my works in this cell into a more clear light.
Here I languish; informed but passive; not knowing which foot to put in front of the other; so letting faint hopes of something better do the walking for me.
Here in my cell there will constantly remain the doubt that my artworks/artist shows may end up as nothing more than self-profiling within [what I often feel is] a dictatorship of individualism; the fetishisation of the self in the forced-competition of status advancement, based on an ultimatum of prosperity and a terror of failure. Thus, everything I have done within my isolated little world sometimes feels so counterproductive: that the truth may be that I am simply bolstering the realism of a system my work fundamentally opposes in its messages, by seeking recognition, and respect from it, for my individual endeavours.