A Trolley of Folly

A Trolley of Folly

A Trolley of Folly LIAM CRICHTON | CALVIN LAING | LORENZO TEBANO A Trolley of Folly is an exhibition held at Bruno Glint Gallery in October 2013. It aims to fuse three artist’s work in the combination of material, sound and action into something that exceeds the sum of its parts. It is installed in a large industrial space situated in the Tram Depot in Clapton, a place where labour and toil have been prominent and where inevitably soon the embodied energy of this place will be demolished to make way for expensive apartments. The artists exhibiting fall loosely into the categories of Sculptor (glorified technician), Performer (self-doubting popstar) and Dramaturg (fretful fire-starter) respectively. Documentation of the work from the show can be found online.

This edition of Allotrope both gathers and underpins the work of Crichton, Laing and Tebano firstly with an essay Follies of Truth by Drs. Kevin Zdaniecki to help contextualise ‘folly’ for the reader/viewer. Secondly, included is a short story by writer and director Alan Fielden. His tale succinctly punctuates the visual meanderings of the following imagery with a chilling story of fear, panic, paranoia and ultimately...

The distribution of the images of the artist works following are situated adjacent to one another in a flowing form that allows the reader to experience them in the way one might in an artshow. This is also to better illustrate an artistic approach by all three artists that I deem to contain elements of folly. For example, Lorenzo Tebano, who at one time being unemployed decided to pose as a prospective buyer gaining access to numerous flats.

Once inside he asked to be photographed by the estate agent. This formed his collection of photographs he titles The Problem with Leisure. There are also questions surrounding the dark, minimal sculpture of Crichton regarding function and use-value. In one work, Vacant Echoes, Crichton shifts 15 tonnes of sub-base up a set of stairs to a gallery mezzanine and spreads it out evenly as a surface for which the visitor can tread on. On one part of this surface he installs 4 x 4.5kW heater lamps that burn bright and hard into infinity. Crichton’s work assigns raw material to his curious apparatus that initially appear as useful but later sustain a sense of confusion. This however is his tactic, to suggest a moment in a ritual, to portray something formally and to prompt us to bow down to the God of Aesthetics (yeah, the one we all believe in). Lastly, Calvin Laing’s work, perhaps the most likely to tell us if there is any truth to be found in folly, exists between his daily triumphs and his vulnerable self-doubts expressed in video, photography and performance. His eccentric games lift something refreshingly unusual out of everyday experiences played out (and remember given) to an audience both on-screen and live.

His titles start us off, always linking himself to the subject; ‘Calvin & __’. In Calvin & Circle we see Laing lift himself up by the centre bars on a London tube and idly swing with the natural movement of the train between stops. In another work, Calvin & Businessman, we witness him overtaking the same man on the escalators time and time again.

Why? ........... Why not?

allotrope press edition eleven (limited to 100 copies) ISSN 2046 - 2859 Curated and edited by Keef Winter

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Follies of Truth Firstly, to begin, the definition of architectural folly, according to Wikipedia, an ‘online free encyclopedia’, is as follows: “In architecture a folly is a building construction primarily for decoration, but either suggesting by it’s appearance some other purpose is merely so extravagant that it transcends the normal range of garden ornaments or other class of building to which it belongs.”

Secondly, this essay or article is written to underpin the exhibition A Trolley of Folly, an installation involving the fusion of three artists work in the combination of material, sound and action into something that exceeds more than just the sum of it’s parts. These educated, skilled and remarkable artists include Liam Crichton (sculptor), Calvin Laing (a performer and video artist) and Lorenzo Tebano (a sound and installation artist) in conjunction with artist, Keef Winter, of Bruno Glint, as curator of this exhibition designed for Art Licks Weekend. The three artist’s input will be discussed later. Suffice for now to say that the ‘architecture’ of this installation carries with it the combination of philosophies, artistic innovative ideas, energies and creations, as well as the discussion pointsoutlined below under the umbrella of architecture and its follies.

Architecture and its spatial concerns, notably in Westernised structures, has been regarded as an art form arising from its projective origins within individuals and society. Perhaps from our childhoods in fact, the putting of structure and form ‘onto paper’, or whatever medium current technology determines as appropriate within our schools or homes, is regarded an essential form of so-called ‘development’. It forms, and is considered as, an enormously important part of realising an inner concept, or feeling, as an object in a physical space along the spectrum between inner and outer spaces. The psychological and analytical value of this cannot, indeed should not, be diminished in any way.

Our individual tool bags are full of introjections, as well as projections, and are put to full use, or in some cases even abused say for theological and political ends. The importance, therefore, of how we comprehend the hermeneutics of these projections and introjective mechanisms in our everyday world is addressed, with the all-important critique, by these art installations. This is alongside understanding the truth of architectural follies or perhaps the follies of truth itself. This will be discussed further, later in this article.

For now, however, it would be better to continue with the emotional significance of these architectural packages which themselves are intrinsically bound to both socio-economic and theo-political confines.

Arguably, all our childhood stories reach further than these architectural ‘boxes’, be they of post-Renaissance or post-modernistic conceptually theoretical or pragmatic ilk. Yet within these structures even our pathologies or non-pathological desires, aims, hatred, loves, curiosities, romantic and/or erotic encounters, compassions, empathy, etc all find place. Even the social and spiritual meanings of our psyches ‘walk the corridors’, rest, open and close doors between the mentally internalised, and physically symbolized, emotional living spaces, irrespective of how architecturally dismembered these embodied

constructs may be.

Some people desire to be in these places, non-threatening and non-abusive ‘safe places’, for others these are places of appropriate regression. It might be seen that it is out of hope of finding such a place in reality the emotional embarkation might result in tragedy, anxiety, depression or inter- or intrapersonal conflict. It may also lead to some regression, to retreading childhood or adolescent romantic pathways, or the stereotypical long-gone roads, or alleyways, with a childlike and youthful curiosity and excitation about life. Only to find that all of this was like a dog farcically chasing it’s own tail, no development or evolution and never really moving on to anywhere. Although our home as a child may physically be gone, that same childhood emotional space becoming in itself, partially or wholly, ‘the home’. This might well be regarded as ‘folly’ if not tragedy. For architecture to embrace this state in the actuality of this homelessness; albeit unspoken and unconscious, is no small demand. Possibly, such are the questions architects ask in their art, and philosophy. Importantly, the emotional experience of architecture and architectural spaces, in ‘the home’, in cinemas, in theatres, in music and art installation venues, in these and in other transformational spaces, are what is attempted by this installation A Trolley of Folly. Structures, objects of desire with respect to others not to mention immigration and identity are all part of the many quests facing these artists. Creative and thoughtful architects, such as the Finnish architect Alvar Aalto, have sought to tackle such quests for answers. He addresses ‘the role of the psyche’ in the creative process of architecture.

He himself has been described as a modernist attempting to ‘humanise’ architecture. Most other architects at the time, in various countries, were innovated by The Machine rather than the more individualistic, even idiosyncratic, needs of ‘the little man’, in whatever perspective, be that of tragedy or comedy.

Furthermore, from my psychological perspective, there is yet another folly dramatically ‘burning’ into our lives - that of the effects of architecture on our identity, precipitating for many, even today, an identity crisis in the light of modern, or so called post-modern reflections in questions of social and individual estrangement, alienation, exile and the previously discussed psychological homelessness. Eric Erikson, written about as an ‘identities architect’ wrote Childhood and Society, while Max Horkheimer and Theodor W. Adorno’s Dialectic of Enlightenment and Herbert Marcuse’s One Dimensional Man all excoriated conformity and revealed alienation. Although Erikson placed pivotal importance on the resolution of developmental ego struggles, Lacan, however, saw the ego as an inauthentic agency functioning to conceal a disturbing lack of unity.

This further demands seeing the individual as a composite of social and linguistic forces. Before you associate this with respect to the sculpture of Crichton, the performances of Laing or the mood-setting sounds of Tebano, reference will first be made to post-structuralist deconstruction.

From readings and understanding of this deconstruction, it might best be described as representing a complex response to a whole variety of theoretical and philosophical movements of the 20th century; most notably perhaps Husserlian phenomenology, Saussurian and French structuralism as well as Freudian and Lacanian psychoanalysis. Derived from Martin Heidegger, so-called radicals like Jacques Derrida, who is understand by many to be one most important thinkers of the 20th Century, dissembles structural layers in the system. In fact, more or less, in Derrida’s own words it is a translation of ‘terms’ and what is translated is ‘architectural’. He ‘loosened’ past ways of thought and perceiving ‘reality’ in what may be seen as a similar way to Heidegger and even Nietzsche. As perhaps so too Freud did in many ways. Derrida talked of ‘de-centering the universe’. A destablisation in fact.

This in turn might be seen as perceiving ‘reality’ from a different, more relative, position. However what makes Derrida so remarkable is his suggestion that the meaning of words, and perhaps extrapolated to the art inherent in architecture, never escapes the text or the whole or gestalt of the ‘build’ or ‘installation’. In other words, the only reality they say can be known to us is the one constructed in the text or gestalt of the ‘build’. Derrida stated that there was ‘nothing outside the text’ and that ‘the absence of the transcendental signified extends the domain and the play of signification infinitely’. Hence opening radical insights into the ‘follies’ of so-called truths that are empirically held and deemed falsifiable (Karl Popper). The distinction between truths and fiction, ideologically or perceptually, is in fact redundant. Thus, the installations of A Trolley of Folly might well be associated with this definition tied between architecture and philosophy, both to be understood as inseparable effects, of the same transaction, discourse or dialectic. Non-linearity, non-temporality are perhaps to be seen as features of this installation which may well impact on the viewers/audience’s engagement, possibly positing subtle questions as to reality and thereby the related variety of follies both in and of ‘architectural truth’. But to discern, or not, the artists intentions would perhaps detract from not only the title of their installations and their ambiguity but also, importantly, whether or not the exhibition is in fact a folly within itself, even should there be a secondary intentional purpose or use to the installation.

To return to Derrida, however, he had close connections with, and impact on, such architects as Bernard Tschumi renowned for his famous design for the Parc de la Villette in Paris (1987). Derrida in fact referred to the project in Points de Folie - Maintenant Architecture (1985). Such a link to this French thinker was denied or played-down by COOP Himmelblau (1988).

Nevertheless, these deconstructionalist architects loudly opposed the ‘well made’ previously anthropocentric architecture. To quote Wolf D. Prix and Helmut Swiczinky (Himmelblau 1988): “We don’t want architecture to exclude everything that is disquieting, We want architecture to have more... Architecture should be cavernous, fiery, smooth, hard, angular, brutal, round, delicate, colourful, obscene, voluptuous, dreamy, alluring, repelling, wet, dry and throbbing.”

In this or possibly any other respect, parallels to the artists’ installation in material terms would be worth noting.

The above named architects, according to Anthony Vidler’s 1992 The Architectural Uncanny have been inspired by the ‘Uncanny’. Not only found in such literature as that by Philip K. Dick, William Gibson’s Neuromancer but also in films such as those of David Lynch.

A literary piece from Philip K. Dick’s book Time Out Of Joint (1959) accompanies the written introduction to A Trolley of Folly. This might be associated firstly to the ‘Uncanny’, so typical of Dick’s novels one of which Do Androids Dream of Electric Sheep (1968) was translated into the rather well known film Bladerunner (1982). And/or secondly, perhaps, because of the very nature of it’s content, that is to say someone making a spatial mistake, banging his head into a cupboard, indeed a personal ‘folly’ amongst an apparent architectural folly involving a predicted and expected, yet non-existent, light cord. This, all whilst looking for his pill, the space, analytically, being full of ‘objects’, possibly attributes, of a depersonalised and seemingly paranoid character. Insight, as associated to the light switch and not cord, not easily found. This possibly relates to the term ‘uncanny’.

Something weird in the world that makes things not only quite as they seem but questionably related to a mental ‘so called’ pathologised ‘illness’ as arguably a reflection of the socio-political-technological times. Nevertheless, this particular text excerpt chosen for A Trolley of Folly highlights brilliantly the questions related to ‘what is reality?’ or ‘is reality more fluid than we supposed?’ and maybe related to personal identity issues and/or crises.

Such is part of the nature of the installation of drama in this piece. So appropriately and well chosen as a short literary introduction to premise the exhibition. Most poignantly, this uncanny is to be witnessed in the disembodied energies of the installation space and the origin of the chosen materials. Or even, it could well be suggested, in the historicity and memories of the space, albeit perceived in more Jungian terms as part of the dynamics and symbolic recollections and archetypes of the collective unconscious, or for some even consciousness.

It may well be worth mentioning at this point, in terms of this personal identity, a particular existential folly which Jean Paul Sartre describes as ‘bad faith’. Sartre, not considering architectural folly, saw bad faith as designating the strategies we employ to deny the freedom that is inevitably ours irrespective of architecture and it’s defined follies. Manifest as a lack in authenticity. Sartre’s axiom, as outlined in Being and Nothingness (1943) and Nausea (1938) amongst many others of his books/works, was ’I think, therefore, I exist’. According to Sartre there can be no other truth to begin from. The related ideas of consciousness, and what he calls the ‘For-itself’, is defined by awareness of its emptiness, its nothingness. To embrace our freedom necessitates embracing emptiness. Franz Brentano who followed such pivotal thinkers as Soren Kierkegaard and Maurice Merleau-Ponty first developed the intentionality referring to the directedness of consciousness.

Perhaps also even Edmund Husserl or G. W. F. Hegel, this is but merely conjecture. Avoidance of this embrace with emptiness giving rise to such personal folly as bad faith in terms of a ‘spirit of seriousness’ according to Sartre; that is to say the serious person starts from the world and attributes more reality to the world than to his or herself. This may well be arguably somewhat, albeit it vaguely, associated with ideas related to subjectivity and the associated inner realities. However, again it is emphasised this may be a point of contention. Albert Camus’s concept of ‘Absurdity’ comes to mind, either way, perhaps the nature of reality, absurd, shared or unique, and its possible fluidity especially in terms of our perception, can conceivably be reflected and manifest itself in architectural and artistic structural relationships. Even in the aforementioned, popular subject of the ‘Uncanny’.

The above-mentioned ‘Uncanny’ is also to be found in other literary works as well as architectural art. Awareness of the Uncanny in the context of architectural art ‘builds’ is to be found in Edgar Allen Poe or E. T. A. Hoffman.

The homely safe places are intruded upon by very weird and alien presences.

Then came the disturbing individual alienation created by the advent of the Metropolis with its enormous psychological consequences. Certainly folly, but not that as described as architectural folly, rather something more potentially or actually damaging to the individual and the collective psyche. In this light it is maybe possible to gain insights and other formulations into agoraphobia and claustrophobia, as written about by Anthony Vidler in Warped Space (2000).

Indeed, such are resultant follies of a much wider connotation than that in the ‘mere’ context of architecture. Even in the arts it seems defamiliarisation became evident in terms of modern feelings related to the Uncanny. The Uncanny, to no great surprise, also appeared in romanticism. So this architectural Uncanny emerged. Doubtless the influence of Lacan and Derrida, with their re-readings of Freud played no small part in this. So the seeming desire, innovated by this Uncanny, by art and architectural artists to provoke, rightly or wrongly, unease. As well, seen as a need for post-modern architectural art and structure to create discomfort and an ‘unbalancing of expectations’.

Of particular note is Freud’s essay on The Uncanny written in 1919. Freud refers to Uncanny not as a word but as a theory in itself. He draws on E.T.A. Hoffman’s tale The Sandman about an evil man who visits children who won’t go to bed and throws sand in their eyes such that they jump out of their beds bleeding terribly. In this tale a boy Nathanial has the ‘living daylights’ scared out of him and takes the tale into adult life causing him to go mad, constantly plagued with the fear of being blinded and eventually he commits suicide. Freud put this down to his dreadful fears of childhood being carried well into our adult lives, as was the case with Nathanial. Freud relates this with a fear of castration. When truth reveals itself it is often in dissonance to our childhood idealisms. As with Nathanial who falls in love with a clockwork doll called Olympia believing her to be as ‘real’ as he is. And on discovering the terrible truth the dissonance drove him mad. The consequences of the inanimate becoming animate or vice versa.

However, there are important aspects to this fear of the Sandman of relevance.

Freud calls upon the ‘Uncanny of childhood’ as holding the fears and anxieties that we take with us into adult life. This perhaps, rather obviously, manifests itself in architectural art and design also. And so too in installations and areas that have been sculpted and contain a design or dramatically performed in, integrated or matched with music/sounds/Sonics as the most relevant, planned,

overall intended mood. As is the case, specifically, in planning for the exhibition A Trolley of Folly. Such presented short-term installations, seen perhaps as containing all the aforementioned architectural deconstructional embodied and Uncanny themes. In the case of such historicity and age as emphasised by Freud’s article, this might be found to be centred on the most physically orientated types of the Uncanny - traumatic history. Feelings of disorientation, displacement, bewilderment, defamiliarisation, body as building, or installation-sculpt, together with bodily restructuralisation and fragmentation, may create feelings of dismemberment or disablement and can all be well conveyed to its spectators. And so too the conveyance of feelings, already discussed as fluid opposed to temporal linearity in relation to the nature of reality and time. An altogether very powerful, and breathtaking, installation mixed media sculpt, of design, and framed architectural art.

With all this in mind, we return once more to the exhibition at hand, to contemplate the installation dynamics in terms of the above potentialities and actualities.

A Trolley of Folly is installed in a large industrial space in an old and now evacuated Tram Depot in Clapton, a place ‘where labour and toil have been prominent and where the soon embodied energy of this place will be demolished to make way for apartments’. The exhibition embodies a form of journey along art and architectural place to pause here. Inherently and innately looking below, deconstructing if you will, the surfaces of folly with its ambivalences, ambiguities and functional and philosophical values, potentially full of personal or even collective projections.

So we have the artist and architect as a sort of archeologist. An awareness inducing medium of body as inanimate object and realising it’s threats, personal and social dynamics, it’s power struggles. The French philosopher Michel Foucault is brought to mind. In particular his work The Archeology of Knowledge (1969) in which he brilliantly discusses and contemplates enmeshment in networks of power and authority, figures in psychiatry, in politics, and in prisons where Discipline and Punish (1975) ruled the moment, especially his thoughts on what he called the ‘final mode of objectification’, which he saw as a subjectification. Here again are questions related to reality.

All of these ideas and their potential possible influence on architectural art, or the artists themselves, being worth consideration.

All disciplines have both a type of archeological folly and a broader type defined folly. Albeit existing on various levels.

© 2013 Drs. Kevin Zdaniecki, CPsychol. Associate Fellow BPS FullMem. DCP Expert Witness. ~notes and references available on request~

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His head smacked against the corner of the medicine cupboard and he cursed.

“Are you okay?” Margo called. “What happened?”

“I can’t find the light cord,” he said, furious now, wanting to get his pill and get back to play his hand. The innate propensity of objects to be evasive… and then suddenly it came to him that there was no light cord. There was a switch on the wall, at shoulder level, by the door.

Time out of joint, Philip K. Dick, 1959

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A WALK One foot forward, away from A and toward B then likely on from B at some point until not, and before that one foot before the other and then the next hopefully and on again and on, yet, now and eternal, haunted, ever the feeling, now after many thousand steps, that the feet may not; may stop; will stop; the will; the feet like breath; that the step like breath, ‘hmm’, in, like breath, ‘haa’, out; that the breath; heart could stop, foot falters, mid-fall.

How! I find myself walking, one foot follows the other, now, and then, now, one after, there I go, on the grey street, overcast, frosty, and nude trees. A wise day for watching feet, ground all black ice like so. Find me following my feet, now crossing the street briskly, from one side to the other.

Crossing because I never liked to be followed. Crossing because behind I hear a woman’s stilettoes crack the ice, crack, crack, crack the ice and I want to pick up her stilettoes and crack her smooth white skull – but I cross the black ice grey sky street, which is less trouble, for me, and for her one can presume. It takes only four steps to cross the street at this angle.

I have crossed the street before, to avoid the maimed and needy, and strangers, but I have never counted the steps. “The cold has brought out the mathematician in me”, I think, as I look down.

Now something happens. Crack, crack of her stilettoes. I am one, now, and then, now, one. She is one; one and one and on, now, behind me, hunting me, she crosses the street. To my side and to the behind of me. I have never been hunted. Or if so, I did not know it. I did not know or it is my memory. Either it is my memory, then, or they were wearing no shoes or quiet ones. This woman, behind me, her hot breath down my cold neck, loud and proud and therefore open. This is danger. Click, clack, click, clack. There she is, breathing down my neck, with a snake most likely. A snake outstretched, fangs poised, eyes squinty, to eat me, a cold man, walking, I do not know where, a cold thin man. There is only one maneuver. It is, once more, to the previous side of the street, a four step cross. I pad that black ice, one, now, and then, now, one. A very bad day for walking. The sun is coming out. There is a change, trust me, in atmosphere, as if the earth, in glory, like a rose, or a baby’s fist, outstretched opening.

It is clear, it would be clear to any person, any human, that we have now shared, shared clearly, this street. That we have deemed the right walkway her dominion. It is hers. Freely, without much envy. Though she would do well to consider the left side a land of ultimate prohibition, inhibition, a land of derelict living. That is my left side of the street. If I and she, who I’m entirely certain I could one day find it in my heart to in some way cherish, like some dog in heels, continue along, one now, and then, now two, with this understanding then we are destined to succeed as lovers, succeed and profit.

One night, a little tipsy, things are said, a bum is squeezed, perhaps futures, perhaps children. And then. Horror of horrors. Confirmation. But five yards. But five yards. And here she comes again. Behind me she crosses the street. I cannot cherish her now, not even love. Though love before death is fine, and not a problem. But in these circumstances. To be followed from one side of the street to the other by a dog in heels. But, oh, I cross the street, the heels cross behind me, I cross again, heels cross behind me, what is the end of this dance. And then what. A scream like cancer, a gargling. I am not dead. I feel a turn in my stomach. I don’t look. I look. Behind a woman in heels, clutching her chest, screams, falling slowly, reaches for air. My feet, one and now one, do for now continue in repeat. That scream like cancer and a gargling of the throat and the quick sound, skit, skat, skit, skat, of soft shoes on ice, his, not mine, a thief, running, bloody, with neon pink handbag, skit, skat, skit, skat, now bloody, a real sprint on black ice yet now, it only takes that trick, brain exhales, sprinting on ice, a careless footfall and he has slipped, and fell, and crack, bloody face, skull cracked, spread like dough on the street as it begins to snow.

And it’s snow on blood now on black ice. He is breathing now yet not walking whilst I can do both, and soon perhaps, not breathing whilst I can.

Though I do not have a neon pink handbag and a bloody prick of a knife. I want to speak but I won’t but my feet do not stop and I instead walk around him as to maintain the ability to look and I say, “twib” or words to that affect and I pick up his knife and I wipe it on my old coat and I take the pearls from his grasp and I wear them too and I take the bag as I like it all the while walking and I again say “twib” or words to that affect as I can think of nothing else to say and clearly he cannot think of one thing to say or else there is too little blood in him, too much on the black ice and my feet now walk, one, now, and then, now, one, in some new direction and before long call it intuition I find myself in a cemetery, darker now, the light, the sky, overcast and snow is falling in heaps like little Godless coughs and the gathered-here-today are in black gathering white, a funny sight, as the coffin is lowered I overhear a man, fat and tall with a cap say, “He was a cunt” and two people nod and I think I’d better push for the bridge as it’s getting dark and then with no warning and no reason

ALAN FIELDEN

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BIOS >> Liam Crichton graduated from Sculpture at ECA 2010. He has shown work in UK, Ireland and Germany and has work in various private collections. He is currently based in Belfast and was 2013 Cathedral Quarter Arts Festival resident artist. This is his first showing of his work in London. http://www.crichton-ross.com/ Calvin Laing recently completed the New Work Scotland Programme where he had a solo show in February at the Collective in Edinburgh. He is a recent graduate of ECA (2011) working in video and performance and has work in public collections including the Scottish Gallery of Modern Art. He lives and works in London. http://www.calvinlaing.com/ Lorenzo Tebano graduated in fine art graduate from Kingston University in 2010. He works collaboratively with artists and collectives such as Auto Italia alongside producing events for non-gallery contexts. He makes sounds and games and lives/works in London. http://cargocollective.com/LAFTebano/L-A-F-T-e-b-a-n-o Alan Fielden is a writer and director, and founder of the National Art Service.

His words have been performed in Prague, Amsterdam, Brighton, London and Melbourne. His next play, SUN, will take place in St Leonard’s Church, Feb 2014. His poetry has been published in the German Der Greif and Londonbased The Literateur.

Drs. Kevin Zdaniecki, CPsychol. Associate Fellow BPS FullMem. DCP Expert Witness, is a fully Chartered Psychologist and Member of the BPS and full member of the Division of Clinical Psychology. He was granted Associate Fellowship following clinical training in the Netherlands and the UK. Following training he worked as a clinician in the NHS and privately. He has specialised accents in psychodynamic analytical and existential phenomenological orientations as well as neuropsychology and CBT. Other skills and interests include traumatology, schizophrenia, psychosis, history of psychology and psychiatry, philosophy of mind and additionally academic writing and research as well as theatre, and film analytic reviews. (e) kzclipsy@gmail.com

INDEX>> i. Calvin Laing, Calvin & Circle Line, video loop, 1 min 19 sec, video still, Hunky Dory, KARLIN STUDIOS Gallery, Prague. 2013. ii. Liam Crichton, Vacant Echoes, 4 x 4.5kW heat lamps, sub-base, Cathedral Quarter Artist in Residence, Belfast 2013 iii. Lorenzo Tebano, The Problem With Leisure No.03, Kuboaa Issue 3, London 2012.

iv. Lorenzo Tebano, The Problem With Leisure No.02, Kuboaa Issue 3, London 2012.

v. Lorenzo Tebano, Wrestling, C-Print, Clubbing Society Archive, London 2012. vi. Lorenzo Tebano, Milk Challenge, C-Print, Clubbing Society Archive, London 2010. vii. Lorenzo Tebano, Not, C-Print, Manchester 2013. viii. Calvin Laing, Calvin & John. 10 min performance, part of NWSP, Tramway, Glasgow.

2013. ix. Calvin Laing, Calvin & Varma. Video still, video loop 29 sec.

GENERATORProjects, Dundee. 2013 x. Calvin Laing, Calvin & Drylaw. Photograph, C-Print on aluminium, 409 x 629 mm, NWSP, Collective Gallery, Edinburgh. 2013. xi. Calvin Laing, Calvin & Steph (what are we going to do?), Video loop 5 min 39 sec, Video still courtesy of 37 Gallery, Bethnal Green, London. 2013 xii. Calvin Laing, Calvin & Steph (we can make this happen!), Performance 4 min 20 sec, photograph courtesy of 37 Gallery, Bethnal Green, London 2013.

xiii. Liam Crichton, Oscillations, Acrylic on canvas, Edinburgh College of Art, Edinburgh 2010. xiv. Liam Crichton, Vacant Echoes, concrete, sub-base, amplifier, Cathedral Quarter Artist in Residence, Belfast 2013. xv. Liam Crichton, Vertical Equinox, concrete, mirrored acrylic, steel, Edinburgh College of Art Degree Show, 2010.

cover image: Calvin Laing, Calvin & Marble, GENERATORProjects, Dundee 2012. rear image: Liam Crichton, Witch Dance, mirrored acrylic, sub-base, striplights, Cathedral Quarter Artist in Residence, Belfast 2013.

All images courtesy of the artists

allotrope press ISSN 2046 -2859