![[Details on Request]](http://1.bp.blogspot.com/_tvc3MiCIG7U/TPqR9siGmGI/AAAAAAAAAsc/ky-TDXBCkcw/S729/DOR01.jpg)
info@detailsonrequest.com www.detailsonrequest.com
READ IT OUT LOUD:
On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And thro' the field the road runs by
To many-tower'd Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.
You Are Hungry is a proposal to investigate this question by taking a walk with Mikey Tomkins and his "Edible Map” as your guide.
The map displays the potential food that could be grown within the immediate streets, parks and grassed areas around SPACE gallery. The walk will pass through the vegetable belt of Sheep Lane, the Vineyards of Pritchard's Road, and the apiaries of Goldsmiths Row.
Each walk last approximately 1 1/2 hours. There are places for five people on each walk. The walks are not lectures but will form part of a discussion about architecture, planning and foods apparent exclusion and potential inclusion. The walks will be audio recorded and with walkers permission used on a web version of the edible map.
FIVE SOLO PROJECTS
Forthcoming Programme
In September 2011 Cell Project Space will launch a new series of five individual solo commissioned projects, CYcLORAMA which will continue into 2012. Supported by The Arts Council of England, the programme aims to challenge the gallery’s position at a pivotel period of an artist’s career. Cell are making the shift to assisting artists’ projects become a reality. Not always creating a finite statement, but to establish the gallery as an exploratory space to develop knowledge that can be used in the future. A CYcLORAMA made for the theatre is a device that represents a physical interpretation of space as a 360 degree view of the sky with the viewer at the centre of it’s expanse. The project takes the aspirations of the theatrical device as a subject for ideas and working methods.
All five projects within CYcLORAMA dramatise the moving-image event to give viewers an active role in which they can construct their own experience and become aware of the elements that have contributed to it. The programme acknowledges the expanded cinema practices of the 1970’s movement, Filmaktion where artists began to explore the potential of presenting moving image breaking down the ‘fourth wall’ convention of cinematic experience by experimenting with the material qualities of film to create immersive and more expansive events. The most axiomatic characteristic of this movement is that artists did not utilise film as a tool to record a narrative but instead explored the formalistic qualities of both the material nature of the medium of film and the various phases of the production process. The evolution of the notion of expanded cinema has been affected not just by the developments in visual art discourse but also through the actual advancements in the equipment available. The transformative speed of technology has affected not just the resources artists can call upon but also the modes of distribution and display and the way the work is consumed. Moving image can be presented in a multitude of modes with the potential to become a more saturated, confrontational or passive experience for the viewer. The work in this unique series will adopt event-based performative practices to varying degrees additionally expanding usual conventions of the moving image production and presentation by incorporating sculpture, installation, cyberspace, and in some cases collaboration to present a mediated and changed point of view. Through multiple types of sensory elements and devices, spectators are forced to think about how they become implicated and destabilised.
Adjunct to the CYcLORAMA project, Cell will host a series of supportive events, under the guise of THE CYcLE CLUB, which will draw together artists, film-makers, researchers, and other interested groups to collectively explore and compare recent and past expanded moving image projects. The programme starts with a solo exhibition by JESSICA WARBOYS, VICTORY PARK TREE PAINTING, which opens 15th September 2011 and LAURA BUCKLEY's SOLO PROJECT opens 12th January 2012, continuing until 26th February, 2012 THE CYcLE CLUB, hosts a short event with gallery intervention by RICHARD BEVAN in November 4th 2011. Read further future pages .
This show explores the geometry that informs human and artistic expression. The work, in different ways, accesses an alternative language of shape, mark and symbol. It also exposes the measured logic behind the process of making work.
In this show, drawing functions as a primary-making-language. Each work conceives visually of an area of consciousness that exists in the various margins of human experience. We find that it is in the most disordered chaos that order and logic present themselves; and we find the utmost humanity in the most ordered, geometric vision. This humanity exists too in the fundamentality of repetition and the repeated shape; it is the basis of the external image but is also crucial to how we conceive of ourselves and find coherence in our being. Such repetition has a quiet profundity of its own, regardless of initial linguistic or symbolic meaning. It manages to bypass the weight of formalized language and thus reveals something; from infinity to nothing.
This show marks an attempt to locate the very foundations of the image; tracing back to the amoebic beginnings of shape and structure. Most of all, this show is a homage to the artists’ ability to find quiet, measured precision in a plural practise.
Opening Wednesday - Saturday 12:00 - 18:00
http://www.roomartspace.co.uk/current.php
ROOM
31 Waterson Street
London
E2 8HT
If you are in Brighton go down to The Fishing Quarter Gallery, the exhibition runs until the 23rd August.
Issue Four includes writing and work from:
Claire Craig
Copenhagen Place
Field
Hannah Perry
Holly Slingsby
Ian Giles
Juliana Cerqueira Leite
Pio Abad
Preston Is My Paris
Null/Void
Seecum Cheung
Simon Linington and William Mackrell
The Bun House
The Sunday Painter
COMMENT IN THE INDEPENDENT FROM THE FOUNDER OF KID'S COMPANY, WORKING WITH YOUNG PEOPLE IN LONDON:
Shops looted, cars and buildings burnt out, young adults in hoods on the rampage.
London has woken up to street violence, and the usual narratives have emerged – punish those responsible for the violence because they are "opportunist criminals" and "disgusting thieves". The slightly more intellectually curious might blame the trouble on poor police relations or lack of policing.
My own view is that the police in this country do an impressive job and unjustly carry the consequences of a much wider social dysfunction. Before you take a breath of sarcasm thinking "here she goes, excusing the criminals with some sob story", I want to begin by stating two things. First, violence and looting can never be justified. Second, for those of us working at street level, we're not surprised by these events.
Twitter and Facebook have kept the perverse momentum going, transmitting invitations such as: "Bare shops are gonna get smashed up. So come, get some (free stuff!!!!) F... the feds we will send them back with OUR riot! Dead the ends and colour war for now. So If you see a brother... SALUTE! If you see a fed... SHOOT!"
If this is a war, the enemy, on the face of it, are the "lawless", the defenders are the law-abiding. An absence of morality can easily be found in the rioters and looters. How, we ask, could they attack their own community with such disregard? But the young people would reply "easily", because they feel they don't actually belong to the community. Community, they would say, has nothing to offer them. Instead, for years they have experienced themselves cut adrift from civil society's legitimate structures. Society relies on collaborative behaviour; individuals are held accountable because belonging brings personal benefit. Fear or shame of being alienated keeps most of us pro-social.
Working at street level in London, over a number of years, many of us have been concerned about large groups of young adults creating their own parallel antisocial communities with different rules. The individual is responsible for their own survival because the established community is perceived to provide nothing. Acquisition of goods through violence is justified in neighbourhoods where the notion of dog eat dog pervades and the top dog survives the best. The drug economy facilitates a parallel subculture with the drug dealer producing more fiscally efficient solutions than the social care agencies who are too under-resourced to compete.
The insidious flourishing of anti-establishment attitudes is paradoxically helped by the establishment. It grows when a child is dragged by their mother to social services screaming for help and security guards remove both; or in the shiny academies which, quietly, rid themselves of the most disturbed kids. Walk into the mental hospitals and there is nothing for the patients to do except peel the wallpaper. Go to the youth centre and you will find the staff have locked themselves up in the office because disturbed young men are dominating the space with their violent dogs. Walk on the estate stairwells with your baby in a buggy manoeuvring past the condoms, the needles, into the lift where the best outcome is that you will survive the urine stench and the worst is that you will be raped. The border police arrive at the neighbour's door to grab an "over-stayer" and his kids are screaming. British children with no legal papers have mothers surviving through prostitution and still there's not enough food on the table.
It's not one occasional attack on dignity, it's a repeated humiliation, being continuously dispossessed in a society rich with possession. Young, intelligent citizens of the ghetto seek an explanation for why they are at the receiving end of bleak Britain, condemned to a darkness where their humanity is not even valued enough to be helped. Savagery is a possibility within us all. Some of us have been lucky enough not to have to call upon it for survival; others, exhausted from failure, can justify resorting to it.
Our leaders still speak about how protecting the community is vital. The trouble is, the deal has gone sour. The community has selected who is worthy of help and who is not. In this false moral economy where the poor are described as dysfunctional, the community fails. One dimension of this failure is being acted out in the riots; the lawlessness is, suddenly, there for all to see. Less visible is the perverse insidious violence delivered through legitimate societal structures. Check out the price of failing to care.
I got a call yesterday morning. The kids gave me a run-down of what had happened in Brixton. A street party had been invaded by a group of young men out to grab. A few years ago, the kids who called me would have joined in, because they had nothing to lose. One had been permanently excluded from six schools. When he first arrived at Kids Company he cared so little that he would smash his head into a pane of glass and bite his own flesh off with rage. He'd think nothing of hurting others. After intensive social care and support he walked away when the riots began because he held more value in his membership of a community that has embraced him than a community that demanded his dark side.
It costs money to care. But it also costs money to clear up riots, savagery and antisocial behaviour. I leave it to you to do the financial and moral sums.
Camila Batmanghelidjh is founder of the charities The Place To Be and Kids Company
