—Issue 4, June 2018
Editors Letter (iv)
Rites of Social Engagement
Seth Randall-Goddard & Esther Lovell
For Perry, this inability to self-criticise is especially clear through his choice to broadcast his project on TV; his anthropological studies come across as a safari of the world he has left behind, yet might still represent, i.e. pertaining to be an authentic working class voice from newfound fame and the accompanying wealth and social status - the pots or banners emerging at the end as a souvenir, or a relic, of his time interacting with these communities and couples. It could be that these objects, the artworks created by Perry, benefit the people they are given to, but they introduce an unfortunate power imbalance, as they represent a colonial enterprise.
‘Belonging’ may also point to an individual’s agency in the interpersonal network that forms a community. In Garnethill, the community’s displacement was not only manifested in the physical repercussions of having been separated from their livelihoods, but in their mental state too. In a community meeting, one resident suffered a nervous breakdown when recounting her experiences. Another required counselling for PTSD and was left mentally and physically unable to face what was once her home, having to later draft in help when it came to packing up her possessions to leave her property. Returning to premises has been described as a “living hell”, with the mere sound of sirens posing as a triggering reminder of recent upheaval. On the whole, the unremitting consequences of the fire – be it damage to their property, financial, or the psychological fear of a similar incident happening again – has lost the community a few familiar faces: those who can’t or won’t return. These ramifications could have been prevented had the local community been better informed.
Judgements of Cade, 1450-1997
Where is ‘IT’?
We become lost in this ‘satanic game of mirror-on-mirror’, where reflected images of prescribed capitalism slip into our stream of consciousness, filtering into our instinct for pleasure and satisfaction.A formula consisting of the primal id and plastic wrapped commercialism, we have become hybrid, meshing into the cycle of satisfying desire and creating new desires; this aspirational economy running on the implicit knowledge that human desire will always outstrip the range of commodities on offer.
However, the waters of ‘slowness’ are shallow. Duration provides the context through which ruptures in the flow might emerge, but it does not actively intervene in the flow, slowness is not a rupture in itself, only endurance of rupture. In that way, slowness fails to ‘engage constructively’ with anything other than surface.If we are truly to understand the ‘acceleration of reality’ as it occurs through the prosthesis of technological development, the ‘globalisation of the gaze’, the ‘limit-performances’ of post-modern science, we need the unanticipated growth that ruptures provide, in order to grasp something to hold onto as we continue to accelerate.When acceleration is exponentially powered by its own momentum, it seems that slowness offers only weak and momentary inertia. At the point where speed becomes light and therefore disappearance, at the moment of collapse - we can choose to either condense or refract. Ruptures of lateral, multi-directional heterogeneous motion at this point of no return, I would argue, are a counter force to acceleration and disappearance that may prove more powerful than slowness as blind and sluggish resistance.
Jens Masimov & Jenny Wilson
Yeah, I can talk a bit about that exhibition in general and the video specific! The title U R was formed out of thoughts around heritage, family and context, and especially but being mixed (armenian+finnish+swedish=me). I grew up in Sweden and have been in Finland quite a lot, and never been to Armenia. Im not particularly Finnish nor Armenian but through getting older and also through making work and approaching topics of identity combined with simulation, technology and meaning of objects I’ve more and more started to embrace and form my mixed background. The notion of FORMING/CREATING/ALTERING was key to the exhibition and its contents. I see a strong connection to notions of the simulation through my agency over my background. It is like walking down a generic LED-tube lit corridor with a door in the end, opening the door and finding a giant room filled with possibilities. By having multiple ’cultures’ within me I can use that to form it however I want, and that combined with my actual lived experiences creates an interesting tension between whats is ME and what is M_simulated_E. In that there is also thoughts about assimilation, i’e forced into ‘being’ Swedish.
Opulent Living & Memory
Completion Through Renewal
Bataillean principles were also influential upon deconstructivist architect Bernard Tschumi, who recognised deconstruction (as opposed to destruction) as a tool that can be used in architecture to allow for wider structural change. Like Neubauten, he understood that space is political, because it is created by the social structures that occupy it and that the ownership and usage of spaces dictates the morphology of the city. In the essay Space and Events, Tschumi explained that “there is no space without event, no architecture without programme” and that when an event takes place in a space, architecture “ceases to become a backdrop to actions, becoming the action itself.” As a part of his unbuilding, Tschumi looked beyond the discipline of architectural practice to other mediums, including music.