Issue 3 / The Impossibility of the Word by William Hibberd

Is sue 3 / O ct N ov D ec 2012 / FR EE

The Impossibility of the Word

6 10 Nom de Strip promotes culture across the arts, regeneration and creative entrepreneurship in the South West, focusing attention on the individuals, groups and organisations that contribute to the regions growing cultural profile.

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John Court

We speak to the Finlandâ&#x20AC;&#x201C;based artist about his first solo exhibition in the U.K.

The Pleasure of Reading: Why I'm a literary Pervert A eccentric confession by Bysshe Coffey

D plsr of d txt

Sketchbooks

<< Back and Forth >> L.I.E. to Tertulia

Nick Davies translates Roland Barthes The Pleasure of the Text into textese

A space for visual exploration and explorative play

Discussion between Mark James, Christopher Green and Phil Owen

I Love the Smell of E-Books

Notes from Nowhere

Flash Fiction

Lars Breuer

Zack Helwa

Hollie McNish

The Language of Protest

Fresh Meat

Soon

An overview of the South West's publishing industry

Co-director / Editor Pamela Peter-Agbia

Co-director/Art Director

Casting the Somerset town of Frome as a broadcaster of social and political ideas

Emma Weatherhead talks to Tania Hershman about Flash Fiction

William Rupert Hibberd

Editorial Assistant Emma Weatherhead

Contributors

Bysshe Coffey, Chris Green, Danny Aldred, Dom Moore, Helena Coard, Holly McNish, Jamie House, John Court, Lars Breuer, Leighann Morris, Mark James, Natalie Butler, Nick Davies, Patricia Susana Schnurr, Phil Owen, Rob Hodgson, Simon Morriesey, Tabitha Clayson, Tania Hershman, Zack Helwa

Special thanks to: Colin Searls, Jane Cullen, Jo Clarke, Lytton Smith, Oliver Udy, Rowan Green, Sarah Chapman, Zoe Li

Individual artists retain the copyright to their work. Permission must be sought before reproducing any part of this magazine via the appropriate copyright holder. ÂŠNom de Strip

ISSN 2047-7074

Patricia Susana Schnurr discusses Breuer's typographic work

Brooklyn-based photographer, Zack Helwa, takes journalistic photographs of political upheaval around the world

Big in the spoken word game, Hollie McNish explains her words

Natalie Butler writes about last years Occupy movement

With Rob Hodgson and Jamie House

Don't miss these events between now and December

On the Cover: Danny Aldred, Back of Books 6

One of the pleasures of second-hand bookshops is handling much worn and weathered books: reading their wear and tear as a text, evidence of a hidden narrative. The aged quality of a book we love becomes an integral part of its meaning. Itâ&#x20AC;&#x2122;s not just words on a page, itâ&#x20AC;&#x2122;s the book as an object that embodies the evidence of its own life in its blemishes, scuffs, tears and marks. It is both a source of intellectual knowledge and sensual experience. Danny Aldred is an artist with a background in Graphic Arts, experienced in digital technologies and familiar with the fluid reality of on-line communication. For many years he has collected and collated images of text from everyday life: torn posters, graffiti, discarded paper and the remnants of everyday communication, unloved and left in bins or on curb side.

For, Back of Books, Danny Aldred has created an homage to the quality of books as things with aesthetic value, encompassing photographs, publications and installed projected works. www.dannyaldred.com

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34 36 An interview with Hennessy Youngman aka the Pharaoh Hennessy aka Jayson Musson.

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John Court, Impossibility of the Word Part 1, 2009.

John Court The work between the lines. 29 September–24 November 2012. Spacex, 45 Preston Street, Exeter, EX1 1DF. mail@spacex.org.uk. spacex.org.uk. Danielle Arnaud

Editor’s Letter I had planned to tell you about how much I love words, but, ironically the words are failing to come. This happens sometimes. A wave of censorship floods over me, and every word I write isn’t the right one, so I keep crossing out and deleting and repeating only to delete again. This has been going on for near almost an hour. Words can’t express how annoying this is. But, seriously though, I do love words. Apparently there are 1,013,913 words in the English language. Will I ever use them all? How many have I used already? The mind boggles, and as a self-confessed word lover, I should be happy about that. Let me tell you, I am not. At this moment in time, my increased awareness of choice only cripples me more. I really had planned to tell you about my love of words, but at the moment I don’t love them, or at least they don’t love me. This is the impossibility of the word. As always, thanks to everyone who has helped us put this issue together. It has been a real pleasure.

N om de Strip - O ct N ov D ec 2012

John Court We speak to the Finlandâ&#x20AC;&#x201C;based artist about his first solo exhibition in the U.K. Images courtesy of the John Court

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

‘It’s all about coping with the situation you’re in. I don’t have a language here, so I’ve made my own language, a coping language’

N om de Strip - O ct N ov D ec 2012

ohn Court is original East London material. His Bromley twang is pleasant and, at first, surprising to hear, considering he’s been living in Finland for over 15 years.

We’re about to talk about John’s imminent solo exhibition at Spacex Gallery in Exeter, called Reading Between the Lines - his first in the UK. I have a whole list of questions about his work and the exhibition scribbled furiously onto a scrap piece of paper about 5 minutes before our phone call, of which the most pressing question is, ‘how did you end up in Lapland?!’ ‘I didn’t expect it’ he responds. ‘I worked on building sites around London from 19 to 24, but I was making art in the evening, mostly doodles in front of the TV. On some days I would draw all day because it just felt right. The drawings would get bigger and bigger - some would take 3 months to complete. ‘From there I went to Camberwell Art School, then I went to Norwich Art School (to study Sculpture) and then I met my wife on a dance workshop in France.’ John’s wife is from Lapland. Lapland is home to about 3.6% of Finland's population, it’s by far the least densely populated area in the country - it couldn’t be any more different to London. How do you adapt to that? How do you go from the clutches of one of London’s leading art schools, to making and exhibiting work from what is essentially, the middle of nowhere? ‘I moved to Finland straight after art school so I didn’t experience the art scene of London’, but still, John feels lucky to be making work at all. ‘There’s so much more pressure in London to make a living as an artist. Everyone and everything is there. Here, well, there’s nothing here.’ As an artist, I get the feeling John almost welcomes his near solitary existence, the perks of which are ‘having no influences around me; no familiar styles or familiar ways. ‘It can be hard sometimes’ he admits. ‘Because I’m so severely dyslexic, I can’t speak Finnish. I mean, it’s difficult for me to read and write English! Although some people speak English here, most don’t, so it can be quite lonely.’ Despite the circumstances, John still describes his life in Finland as ‘perfect’. ‘It’s all about coping with the situation you’re in. I don’t have a language here, so I’ve made my own language, a coping language’ John’s work draws directly from his own experiences, his own way of life and his own style of ‘coping’ with various circumstances. He left school at 16, unable to read or write. His English classes consisted of him being shoved into an attic room at the top of his school building. ‘It wasn’t just me, there were loads of people there. The teachers just didn’t want to acknowledge us.’ Out of sight and out of mind, his frustrations at school made him disruptive and he would often get into trouble. ‘My Mum used to call me a “little pickle”, but I actually learnt more doing lines in detention than I did in the classroom. ‘The schools are really good here, but they don’t necessarily understand dyslexia. Even at my kids school, there’s always one child distracting the class. Most of the time they just send them out, but it’s so clear to me that child has issues. It’s unfair to expect the child to be able to explain it.’ Although he later learned to read and write, by taking evening classes at Camberwell, John’s early education and his dyslexia, have undoubtedly moulded him; those experiences characterise who he is and how he works. Infact, it’s hard to imagine what kind of work he would be making had he not had the experiences he’s had. The subject matter is deeply personal and the work, innately composed. John’s work looks at various forms of learning and accomplishment. ‘I usually go to a difficult subject like reading and writing and work on them through making work. For me, I want to learn and improve and that’s why I make art.’ There are very interesting scientific reasons for why dyslexia takes place, but simply put, researchers have found that, while no two brains are alike, the brains of people with dyslexia are distinctly different compared to those without it. Furthermore, while thinking, people with dyslexia use parts of their brains that are different from the parts that are used with non-dyslexic thinkers. This doesn't explain the causal factors though, because researchers still don't really understand why some people get dyslexia and others don't. There is certainly a perceived effect linked to creativity, however, because many artists, musicians and other creative people are dyslexic. In 1997, following concerns about high levels of dyslexia among students, Central St Martins commissioned Dr Beverly Steffart, a dyslexic assessment specialist, to carry out one of the first studies in this country into the link between dyslexia and creative ability. Steffart found that the typical student at St Martins was intellectually gifted, with superior visual-spatial skills but problems with reading, writing and spelling. According to Steffart, it’sthe enhanced visual-spatial skills that allow artists to excel as artists.

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

Unfotunately, one of the main ills of our education system is an overemphasis on reading and writing comprehension and rote learning skills. If those are not your strengths, you are at a disadvantage. Letters appear to John as interesting visual forms rather than comprehensible symbols ‘I only see the shapes.’ The mastering of them through repetition, playing with their meanings, and creating new meanings, are a central premise to his work. From a distance, John’s drawings give the appearance of being manufactured by a mechanical reproductive process; they suggest a state of neutrality, or motionlessness, but they are actually hand drawn. People are often surprised by their ‘actuality’ – of very basic art materials such as pencil (graphite) and aluminium leaf on paper. ‘In one sense there is something in that moment when a viewer feels the frustration of not understanding.

I ask John whether he will show more work in the UK after Spacex? ‘Yeah, I think my work belongs in an English speaking country because I’m using English words mostly’. I also ask what he’s most looking forward to in this exhibition? ‘The education programme and the performance are what I’m most excited about’, John tells me he needs to come up with a name for the workshops he’ll be running for teachers as part of the education programme soon - he can’t think of any. ‘How about, ‘How to not shove dyslexic children in attics?’, I’m waiting to see if he took me up on my suggestion.

‘It took many years to work out that this whole drawing process began at school, when I picked up my pencil to copy down the written words on the blackboard, most of which I could not understand. It was easier to doodle than to write a word, and in a working sense, my drawings have institutionalized the doodle as a diagrammatic art form. ‘That negative encounter with learning set off a need to make sense of the world through the active manipulation of the pencil line as drawings. It is more meaningful to me to make a drawing, and understand its contents, than to copy down a word, and be totally perplexed by its structure and meaning.’ The theme of control also interests Court, where the act of writing becomes an encounter with (dis)empowerment. Impossibility of the Word is a series of three looped, multi layered, black and white, video performances ‘about the physicality of writing and how difficult it is for me’. The film works show the physical and mental contradictions of authorship. The composition of words reduced to automated incomprehensible hand-written words, produced using a squeaky felt tipped pen - all whilst being subjected to the critical gaze of onlookers. The words are blurred, illogical and contrary to reason, drawing attention to the contradictory nature of his writing. As the exercise of writing is repeated the markings on the board only get more blurred and less decipherable. The act of writing becomes disempowering.

NB John Court www.johncourt.info Spacex www.spacex.org.uk

For this new show, Spacex have commissioned a new performance by Court that will mark the closing of the exhibition. True to previous performances, this will be an endurance piece, lasting 8 hours. In this work, the eight hours focuses on the 8-hour working day, referencing both the work ethic and more mundane everyday chores. ‘They’re not easy but I don’t think art is easy for me’, saying that he says the lead-up to his first solo UK exhibition has, so far, been ‘a very nice experience. ‘Spacex has a real rawness and honesty to it. It’s just a very nice gallery, there’s alot of energy there and they’ve given a lot of input to the show. ‘I met Nicola (the curator) at a performance and drawing festival at the BALTIC years ago and we just kept in touch. ‘When she offered me the show, she came up to Lapland for 3 days just to help out. I haven’t had this level of input before so it’s going to be a very different show for me. It feels very much like a collaborative process. Making work is one thing, putting a show together is another.’

N om de Strip - O ct N ov D ec 2012

A eccentric confession by Bysshe Coffey Illustration by Rob Hodgson

I didn't care for school, but I did care for books. I learnt the strength of fiction and the metamorphoses of deception. At 11 - small for my age - I would hand over my tuck money to the no. 43 bus driver. For the price of a damp biscuit and a Panda Pop I would jaggedly lurch as only the 43 could to the municipal library and read from 9 to 3. That hapless 11 year old didnâ&#x20AC;&#x2122;t have the tuck money for a return ticket. I'd near run the 5 miles home. This is the blueprint of a life's beginnings. I say blue because it is bereft of the heat of a poetic recollection; those are the blue bones of it. Those years are my life's beauty. I got reading.

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

Luckily I didn't cut much of a figure at school in those early years. My absence in a school like Tamarside was understood in terms of a children at risk register. The school had an appalling history but was rebranding: a new Ahab was at the wheel and this one was steering the malnourished whale of inquiry with cashmere socks. My mother hadn't thought me particularly bright and I was hurled into the ranks. Personally until we do more to acknowledge the failure of our teachers to enrich our young and set about changing our approach to their education let us call teachers by a new noun: 'a botch'. My mother hadn't counted on my being smart enough to recognise this 'botch' for what it was. In tutorials my empty chair was taken as the result of a 'bad night at home', or a long 'caring shift'. Fiction to the rescue again. I have so little memory of what drove me book-ward. I can't remember the reasons for the pull, but I receive the jolt even now. I knew my great grandfather had been to school with Churchill; and had contributed his memories of being blown up by the largest land mine laid in the Western Front during the First World War to a book for which Siegfried Sassoon had also written; my great grandfather used to have ginny parties, my grandfather at his feet in woollen shorts, arguing with the critic Sir Arthur Quiller-Couch and the sexy writer Daphne DuMaurier. These were faint and weedily uncertain stories then. How was I to know that Sir Arthur helped push the study of English forward? I kept reading. My clan had known writers. However, this is a confession. I want you to know my reading secret. I am a pervert. This is a guide toward the pleasures that come with my bent; for I was subject to another pull, an odd approach to literature. I would sit through serious seminars and tutorials, lectures and exempla, words would spill from great literary scholars to my young face and I would ask myself a question: would I read this book in the bath? Why was I so preoccupied? I love Samson Agonistes, my untutored voice would break, but this isn't for the bower, it's perfect for a walk to the corner shop. I was alone with this knowledge. An un-bookish family couldn't understand the first pull let alone these questions.Place mattered. A treehouse was perfect for Defoe, the mauled flowerbed of a roundabout for Amis. I read Donne in a public lavatory! I didn't share this inclination with anyone, but one clement day I found out that the great Cambridge critic F. R. Leavis let slip similar preoccupations. Thomas Love Peacock is best read in a hot bath? Leavis chose not to explain his reasons, but one day I will discover them. This had an immediate effect. Leavis was my God. That's a beautiful image: the terrifyingly stern Leavis in a bubbling bath with Peacock in hand. QD, his wife, hearing those watery declamations whilst she sat on the toilet. An old tutor of mine had been hurt by Leavis' tongue during a lecture. Leavis had championed his own cannon in The Great Tradition: 'The great English novelists are Jane Austen, George Eliot, Henry James, and Joseph Conrad […]'. He was right. Leavis saw the culmination of the novel in the creative and intellectual imagination of D. H. Lawrence. He was definitely right. My tutor asked so who does Dr. Leavis suggest we read (if there is anyone except Lawrence, of course)? Leavis glowered and slowly drawled in his Cambridgeshire accent that anyone capable of asking such a question is incapable of understanding the answer. I was onto something if this great man, great arguer, champion indeed, celebrated a good bath reading! Somewhat ridiculed today, Leavis was superfine and unsurpassable in analysis, and is stupidly neglected. He thought literature at its best could save civilisation from degradations. I use the plural because those enemies of thought and feeling are numerous. They are still here, but no more of that, mon semblable. That

will be for another time. The Great Tradition is a good and solid book. Remember, most criticism is wet and 'piss-a-bed' (Byron used the last to describe Keats' moist poetry). We need people to read and remember that literature at its best protects the possibilities of thought. A resurgence in attention paid to Leavis might allow English departments to live a little while longer. Anyway, this great man had told me in his own oblique way that I was onto something. Let me take this opportunity to let you share in some knowledge strangely bought. Let me grant you admission to this perversion; it is a perversion only hinted at by Leavis. Please take William Hazlitt on The Complete Angler:

I have so little memory of what drove me book-ward. I can't remember the reasons for the pull, but I receive the jolt even now.

Some persons can see neither the wit nor wisdom of this genuine volume, as if a book as well as a man might not have a personal character belonging to it, amiable, venerable from the spirit of joy and thorough goodness it manifests […] I feel the same sort of pleasure in reading his book as I should have done in the company of this happy, childlike old man, watching [Walton's] ruddy cheek, his laughing eye, the kindness of his heart, and the dexterity of his hand in seizing his finny prey! ('Merry England') A book might be in possession of a personal character? Yes! and as a friend of ours he might be at his best at supper, she with booze, she at sport, he's at his best in violent and dry-punch throwing argument. There is, it seems, an unwritten law of coupling. The personal character of a Hazlitt essay, the sensation of being sat aside the great man comfortably warming at his fireside with ample claret, rings clearly when jet-lagged. Remember that for when you mordantly search for wisdom on the red-eye return flight home. That is when the prose tastes its best. That is when it quavers with the right and true tones.

interesting insight. The sexy sentence is not in the indicative mood. Any page of Henry James will do, perhaps avoid 'Turn of the Screw'. This is what I used to think, but Molly's monologue at the close of Ulysses is the stuff. Ulysses is one of the finest novels, and Molly's reverie is often the only part people have read. I don't hold a grudge regarding this. I tell all to read it. I was in love with this novel from 14 to 18. I wanted to lose my virginity to her as O so many men would have done. Molly would have destroyed the category of cougar. No defining category can hold her 'Yes'. It would have been only right for a Coffey. However, I couldn't find her and it was too late. At 18 I matured and discovered D. H. Lawrence. Whilst both James Joyce and he were great, Leavis held that a mind couldn't like both without choosing. Much like the old game Dostoyevsky or Tolstoy? Choosing told you who you were in certain ways. However slightly nonsensical and slightly profound that seems the game had its way. I chose in the end. Yet, the life of sex is Molly. Overly quoted, greatly misunderstood, Ulysses ends in the affirmative. It is the greatest conclusion of the 20th century! I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes. (Ulysses) Molly is breathless and buoyant. I leave it to you to read the novel and earn that ending. That sample says it all. I have a disproportionate love of literature. It looms over the rest of my life. However, what life is ever Vitruvian? It comes first. Explaining such a love would take more time and space, but it is largely explained by the degrees and types of pleasure to be found in reading. I began my life as a reader rather early. Devoted and bloody-minded I forsook school for my life with books. I found that sometimes it helps for books to be read in extreme and strange places. To think they are there now: voices and thoughts, feelings caught and stilled, but ready to start up and leap at the touch of your eye. In short, what am I saying? Some readers struggle to find the time for the necessary attention to understand, to hear, to feel, to think. Some people just haven't got the gift of attention. For those in need of a kickstart, a shortcut, a sneak to the secrets of literary pleasures try this: Head out in the rain on an evening and read under a beloved bus stop, Auden's The Shield of Achilles. No music, no wisdom, no awe? If it don't work, you can't read.

Yet, there are authors badly coupled. Never read Virginia Woolf on the lavatory for threat of blockage. Her intestinally internal narratives will dominate your own. Her Clarissa defeats motion. You won't be as empty as Jacob's Room. BE AFRAID OF VIRGINIA WOOLF! But Chaucer, conversely and somewhat predictably, wealthy and shitty with life are his backdrops, extols the joys of smell and stink, motion and muscles. Although 'The Miller's Tale' can put fear into an anus. Leave out the hot poker part in case of psycho-sexual regression. For a literary pervert these couplings are everything and require constant experimentation. What do you read before, after, and for those of you whose literary passions are insatiable, during sex? It might seem obvious. Henry James is the start. Eternally shy about the genitals, he wouldn't write about sex, the realisation of love might manifest as an uncharacteristically short sentence (8 lines). It is all about the smoulder, those undisclosed cinders hiding in the padding of each heavily upholstered chair. It also provides a particularly

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D PlsUR of d Txt Nick Davies translates Roland Barthes The Pleasure of the Text into textese

D PlsUR of d Txt is the product of a project I started after graduating from my art degree back in 2008. It is a translation of the work The

Pleasure of the Text by Roland Barthes, into textese (a name for the language some use when sending text messages).

The idea for this project sprouted from the everyday occurrence of seeing Roland’s book placed next to my phone whilst sitting at a desk in the university library. At the time, I was engrossed in research for my dissertation. At first it was just a nice pun; The Pleasure of the Txt, but the more I thought about it and the more I paid attention to people’s attitudes towards these two conflicting linguistic mediums, the more the project seemed to be needed (even if only for myself). It seemed to me that whilst text messages are used by many as a simple, everyday messaging medium, many of us view the use of textese as a degradation of English, or even a sign of our own intelligence level.Contrastingly, many of us struggle to understand texts such as those by Roland Barthes, but often consider that to say this out loud, or even to feel it, is again a sign of our own ignorance or stupidity. These prevailing attitudes are what this book has attempted to explore by mixing together these two languages, as well as the environments they inhabit. My hope is that the book will examine what these mediums are actually about and helps facilitate these two seemingly opposing worlds to understand each other. Whereas text messaging is often seen as a degrader of grammar and language use in general, I believe it is an innovative and playful use of a socially useful technology. In turn, whereas academic discourse is often seen as excessively pedantic and useless in its specificity, I see it’s linguistic form as a highly functioning medium through which many can source information and gain clarity on subjects close to their interests. Both mediums are highly effective linguistic formats that operate within their own environments to help us all deepen our understanding and engage in social (ex)change. I believe that the function and quality of usage in a linguistic medium is what matters most, as well as its efficacy in communicating the ideas intended by its users. For instance, smoke signals may not be the most eloquent or socially acceptable way of signalling help in a dire emergency, but it certainly does the job. So what is going on within our attitudes to the linguistic forms contained within this text? It seems to me that the prevailing attitudes towards these two linguistic forms begin to dampen our enjoyment of them both, something which I view to be fundamental to both of their functions. Creativity and the enjoyment that creativity can provoke are a core part of our lives. It performs an important role not only for the imagination and our intellect, but also for building and maintaining social bonds. In this sense I hope D PlsUR of d Txt works as a sort of pidgin language*, operating as a trade dialect between two social circles that seldom conjoin. What is contained within these pages is not only a new translation of an old book, but also a document of the work that has been undertaken as a part of a whole conceptual project. There were many stages to the actualisation of the novel, beginning with the digitising of the whole of the original text (Farrar, Straus and Giroux Hardback Edition, 1976, Printed by Lowe and Brydone) by hand. The next step was to put the digitised text through Transl8it’s text message converting system**. Leftover text, those words rarely, if ever, used by texters such as ‘ideology’ and ‘genealogy’, were translated manually, using the logics uncovered from the already translated text. My translations were then entered back into Transl8it.com via its ‘Add Lingo’ feature, to be shared with the rest of the website’s online community. At this point, the issue of copyright emerged. Could I legally publish or even exhibit this work once completed?

To be sure I contacted the relevant parties; OwnIt.com*** for legal advice, and Farrar, Straus and Giroux, the owners of Roland Barthes’ work, for subsidiary rights. The fully translated text, now called D PlsUR of d Txt, was then created as a book available as both a printed edition and as an eBook. As you can see the translation method used wasn’t exactly the traditional style of a qualified translator. As textese isn’t a formally standardised language and my own use of textese is limited, I relied heavily on transl8it.com during the initial stages of the translation process. Putting the text through their system was an arduous process, as it’s only designed to translate up to 300 characters at a time. But this ‘collaboration’ helped me to gain a deeper understanding of how many use textese, as well as a lot of enjoyment in seeing how the socially orientated translations from transl8it’s existing database mixed in with this text. Before I leave you to what I hope will be a novel literary experience, I’d just like to mention where the book stands in terms of it’s legality. Since sending the initial subsidiary rights request to the publishers I have yet to hear back from them. This means that this book has been both published and sold without permission and so could technically be regarded as illegal. But this status is unclear, as the letter received from OwnIt (see Appendix) articulates. I would contest that this book is clearly a creative work in its own right, and could be regarded as a completely original work, thus not needing any permissions, nor owing anyone for its creation other than the inspiration of Barthes himself. But as I said, this is unclear, especially as I have translated the whole book, cover to cover. Personally I find this to be an interesting conceptual strand of the project as it continues with what much of Roland Barthes’ literary work was concerned with; the relationship between reader and creator, and the issue of originality. So now I leave you to explore this translated work in peace. If you would like to read more into the subjects that this project has aimed to tackle, there are some additional texts in the Appendix of this book. Otherwise, have fun, explore and maybe even come up with your own versions of textese for the words involved in this text. If you have any trouble in understanding either the translated words or the actual definitions of the original words, I recommend using the same resources as myself: both a dictionary and transl8it.com. Njoi, Nik DAvEz

* The term pidgin language originated as a way of describing dialects (such as Tok Pisin, a hybrid language from Papua New Guinea composed of a mixture of Melanesian and English) that help to facilitate communication between people who have no language in common. ** Transl8it.com is a Canadian based website designed to accommodate a peer-to-peer community that shares a love for textism. Through the site users can upload and share their own textism words and can use the database created by this sharing to translate their own messages either from English into Txt, or from Txt into English. *** OwnIt are a non-profit organization specializing in giving legal advice to the London Creative Community regarding Intellectual Property.

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Sketchbooks A space for visual exploration and explorative play Text and images by Danny Aldred

‘ Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn't really do it, they just saw something. It seemed obvious to them after a while. That's because they were able to connect experiences they've had and synthesize new things’’ Steve Jobs

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My fondest memories as a child are of gluing and sticking found things into a sketchbook. I would pick up flowers, leaves, rubbish anything that took my eye, elevating it’s meaning by resetting into a book format. The once discarded or lost items now belong to my archive of the found. I would create narratives around the things I had collected, and imagine the journeys that these items had been on before I found them. Was there a deeper reasoning for their selection or is this just a chance encounter? Either way I enjoyed the process of collecting.

For most artists, sketchbooks have been spaces in which to rehearse and experiment without the pressure of the outside world.

As adults we tend to categorize everything that’s new to us, as children we are open to new possibilities and new meanings. It’s this openness that is the beginning of explorative play and it’s this play that is important to creativity. Play also comes about when we feel safe and secure within our environment. As adults we fear the judgment of our peers, these fears make us conservative with our thinking and hold us back from taking creative risks. It’s important to take creative risks as artists or designers, to push the boundaries and become innovators within our field. Brian Eno talks of his memories of fossil hunting on the beach as a child and describes this as ‘beyond thinking’. I can relate to this statement and for me it’s when I am creating sketchbooks, switching to this inner zone that transcends words, creatively exploring the visual with clarity, guided by the subconscious and informed by the place of creation. Playfulness breathes enthusiasm and commitment. Over the past ten years I created sketchbooks to escape the pragmatic ways I worked as a commercial graphic designer. I use them to connect things and create new visual experiences. I enjoy this process of making with the destination unknown. The important factor for me is the process becomes more important than a final outcome. Some of the books I have produced represent a kind of pamplicest as I sometimes reuse existing books and overlay text and imagery creating something new. Filling 1-2 sketchbook every few months I find having restrictions on time and materials pushes the limits of creativity. Another important factor when creating work through the use of a sketchbook is the editing process. Editing is not censoring, it is selecting and offering the possibility of presenting the otherwise unseen. Editing happens instinctively when I select items and again on a secondary level when work is cut or pasted down. A final third editing stage happens when / if the piece is selected ‘out’ of the sketchbook to be used for another project. This transformation and endless reuse of the work is exciting. I once made a moving image piece called Polydistortion from a sketchbook I created on a trip to Iceland. I also made a flipbook based on collaged photographs. This connection and triggering other ideas is all part of the creative process. Hockney once said that it all starts with the sketchbook, I think this is true with how I work and most others. However I also believe that things can be concluded within the sketchbook and view them as completed pieces in their own right. I curated an exhibition called Hidden Spaces in London last year that celebrated this very fact. The show included sketchbooks from artists, designers, illustrators and I even managed to persuade Grayson Perry to lend me one of his beloved old sketchbooks.

For most artists, sketchbooks have been spaces in which to rehearse and experiment without the pressure of the outside world. This removal of audience creates a nonjudgmental, safe environment, which stimulates explorative play, which in turn feeds the creative process. In an age of web based sketchbooks, blogging and tweeting, our playground for collecting is pixel based and instantly ‘publishable’ to the outside world. With this we become aware of how our peers may receive this and how we might be judged, as a result we could be less likely to take creative risks. We can obviously collect through these digital portals and create work that feeds into different projects in interesting ways and it’s important to use all the tools we have at our disposal to create lively and playful work. But what’s most important is that we enjoy the process of making, to quote Bruce Mau ‘Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day’.

NB Danny Aldred is a visual artist and tutor at Winchester School of Art. www.dannyaldred.com

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Back & Forth features discussions between artists, curators and all other creative folk. The aim is to open up conversation through a series of exchanges about any topic of choice.

Tertulia at Spike Island

Our first edition of Back & Forth is from Mark James and Christopher Green, the directors of The Librar y of Independent Exchange, in conversation with Phil Owen, Research Assistant at Arnolfini, and co-director of Tertulia in Bristol.

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The Library of Independent Exchange, Hobart Street, Millbay, Plymouth. Photo L.I.E. Archive

<< Back & Forth >> L.I.E to Tertulia

L.I.E (Library

Independent Exchange) There has been a steady stream of organisations promoting the independent published matter: Ecart in 1968 (Geneva), Other Books and So in 1973 (Amsterdam), Art Metropole in 1974 (Toronto) and Printed Matter in New York (1976). We knew little about Tertulia in Bristol before we were introduced to Phil through a friend of ours. We met him just over a year ago, and invited him to run a Tertulia event from our space at the time, in Millbay, Plymouth. From there we developed a conversation, and further discussions with him led to a commission for L.I.E at the Arnolfini’s Reading Room. The Reading Room is a contemporary arts library open to all for browsing, personal study, or for relaxing after a tour around the building. It is also host to a programme of discussion-based events and occasional exhibitions. Since L.I.E came to be one year ago, the project has appeared in various guises; as pop-up library, exhibition, and libraryin-residence. Our goal has always been to develop a unique collection of artist books for Plymouth and the wider South West and over the past year, we have steadily developed a wealth of printed matter from artist books, to journals, to monographs, to experiments in publishing, all here in Plymouth. These have come from all over the world - from New Zealand and Japan, to Israel, Croatia and Cornwall!

Christopher Green & Mark James. Photo Dom Moore

L.I.E is a labour of love, but its future lies in making it sustainable. We’re currently looking at various ways to fund and facilitate the growth of the project. Right now our plan is to find a permanent space to house the collection, where we can also run a programme of events and exhibitions incorporating all of the facets that make up L.I.E. Why were you interested in talking to Phil?? We were interested in developing a conversation with Phil, as over the past year we have developed a working relationship and great friendship with him whilst collaborating on projects. We are interested in Phil’s practice as a musician and writer, as part of Tertulia, and as the head of the Reading Room at Arnolfini. In particular, we are interested in how these three roles intersect. Essentially, what L.I.E is, and what the Reading Room is, are similar, but at opposite ends of the spectrum,so we wanted to have a discussion about those similarities and differences. The Library of Independent Exchange, Hobart Street, Millbay, Plymouth. Photo L.I.E. Archive

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interesting, or making significant developments in terms of the history of publishing. The problem perhaps is that with ‘Artist-led’ initiatives, there is a distinct lack of financial stability and incentive to develop long term projects. Books don’t generate much money (at least not in the primary market)! At the moment, we are public, but not publicly funded. Phil Owen: During your residency at Arnolfini, I really liked the way you talked about reading as a performative activity, or as an intervention, especially with regard to the wonderful lectern you built for the Reading Room. L.I.E: This was a direct reaction to the traditional purpose of a reading room in a large cultural institution. The lectern came with its own prescribed rules and conditions. Users were encouraged to visit on different days to view different books. So on one day, Hot Gun journal would be available, then ‘Sara and Gerald’ by P & Co - which is a totally different prospect from Hot Gun - on another. The act of reading as a joint performative activity was really bringing in the idea of exchange and discussion. The lectern served as a sculptural object and tool to enact this.

Tertulia at The Library of Independent Exchange, Hobart Street, Millbay, Plymouth. Photo Josh Greet

Fri, Aug 10, 2012 at 4:59 PM Re: Nom De Strip Phil Owen: I wonder if it’s worth talking a bit about the Tertulia I did for you in Plymouth - how we started working together in the first place. How did you think it went? L.I.E: Well we were looking to form a well-rounded programme of events for our original space in Millbay Plymouth. Our friend Beth Emily Richards had put us in touch with you, and we thought that Tertulia could provide something unique in addition to the other events we already had in mind. We think the event went really well; there was a good turnout and everyone was very willing to participate. It’s certainly a challenge though; to get people to sit around a table and write off-the-cuff and then read out their creation in front of a room full of strangers! Phil Owen: I’m interested in the differences between a reading room as an artist-led initiative, and one that sits within a large, publicly-funded institution. I can't help but feel slightly jealous, that you have more freedom somehow, without the need to appeal to as wide-as-possible an audience - always difficult, and generally problematic.

L.I.E at Arnolfini's Reading Room. Photo L.I.E. Archive

Sun, Aug 19, 2012 at 11:32 AM Re: Nom De Strip L.I.E: When and why did you choose to run the Reading Room? Phil Owen: It was largely a question of being in the right place at the right time. I’m partly responsible for the Arnolfini archive, and I had a fair bit of relevant experience (my MA research involved cataloguing a load of Victorian sheet music at a National Trust property). But I would say that I have a strong interest in promoting informal learning around the arts – I like the role libraries can play in this sense, as places where people can browse through a range of material guided by their own interests and curiosity, rather than having a set curriculum laid out for them to follow. Most of the events that I programme for the Reading Room follow the same premise – small, informal, discussion-based events. In terms of ‘running’ the Reading Room however, that wasn’t the original premise of my job description – I’ve just sort of taken over. L.I.E: You’re a musician and writer. How does running the Reading Room sit with your personal practice, and as one half of Tertulia?

The Library of Independent Exchange, Hobart Street, Millbay, Plymouth. Photo L.I.E. Archive

L.I.E: Freedom allows us to be intuitive, respond to things more quickly and set our own ideas for L.I.E. It allows us to acquire the widest range of publications. L.I.E thrives on the development of its relationships with the publishers whose output forms the collection. If we see work by a new publisher or discover the work of an artist then there’s nothing stopping us from getting in contact with them; whether this is simply to say hello, or to propose some sort of exchange. Our process is really in opposition to making a curated selection, although we do our best to research the currents of contemporary publishing activity, and approach those who are doing something

Phil Owen: I think a lot of young artists who end up working in galleries or whatever can find it difficult to find a balance between the two aspects of their lives. It is undeniably beneficial to have the sort of passion and emotional involvement with art that will (hopefully!) be present from somebody who makes their own work, but I think having to come up with a lot of creative ideas and decisions around other people’s art work all the time can really dry you up. I am probably quite fortunate in being happy to work quite quietly and slowly wherever, however, if I wanted to be a full time artist, I’d possibly be quite frustrated. Also, I’d say I feel increasingly guarded regarding my own practice, with regard to being professionally associated with a particular institution or local ‘scene’. The same goes for Tertulia – while we are very grateful for the support we get from big institutions like Arnolfini and Spike Island, I very much regard it as an independent, artist-led initiative.

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L.I.E: How has the function of the ‘Reading Room’ evolved at Arnolfini (and reading rooms in general, if you’d like to comment on this)? Phil Owen: I find it interesting that more galleries and arts centres seem to have them, at a time when the role of print media is increasingly under question. Something I encounter a lot is people coming in to the Arnolfini Reading Room, saying how nice it is and how interesting the books look, but then never coming back to actually read them – the same goes for the huge art community here in Bristol, they hardly ever come in! But then, with such an unimaginably vast array of information available via the internet, this is hardly surprising. Saying that, I do think there is a lot to be said for having a specialist collection, contained in one place, and I also have a great fondness for the materiality of books and reading not from a screen. In terms of the material in your collection – maybe the future of reading rooms in art galleries is in artists’ books?

In terms of selection: Speaking on behalf of Arnolfini's library, it is not as 'curated', or organised, as you might think! The majority of books will have been bought in at one time or another as exhibition resources - so while the collection is very much reflective of Arnolfini's programme history, there are all sorts of key artists who are absent (i.e., I don't think we have anything at all on Robert Smithson, for example, or Tracy Emin). Then there are all the things that we might get sent for free, or as exchanges for catalogues of our own, which have built up over the decades. So it’s really mixed - though I don't see this as a problem, personally. In any case, even if we did want to smooth the collection out to reflect current 'party line' thinking on what constitutes a contemporary arts library, we haven't got the budget.

Fri, Aug 24, 2012 at 1:15 PM Re: Nom De Strip L.I.E: There is that often raised point; what is the purpose of the book? Is it a tool, a way of dissemination or an object to be desired? The death of published matter is perhaps a little further away than we think, perhaps in the same way that Vinyl is still in demand. Books and published matter cannot be replaced by a pdf e-reader. Sure the content is there, if that is the sole purpose of reading; to acquire knowledge. For the pure joy of touch, smell, and interaction with a book, the physical cannot be replaced. There is a great historical lineage of artist books, its not a new thing; William Blake and his wife Catherine were perhaps the original exponents of self publishing and self distribution, then one could consider the ‘artist book’ timeline through the Futurist movement, the Dadaists, Fluxists, and on to the serial and book art of the sixties and seventies, with characters such as Ed Ruscha, Lawrence Weiner, Sol Lewitt, and Ian Hamilton Finlay.

Viewing Room - L.I.E exhibition at Plymouth College of Art. Photo L.I.E. Archive

Artist books offer an alternative means of production, sometimes it’s a more cost effective mode of working and importantly, it’s a more potent vehicle to promote work.

Viewing Room - L.I.E exhibition at Plymouth College of Art. Photo L.I.E. Archive

Going back to the idea of curating, how does a resource like the Reading Room select books? Is it purely from the position of a prescribed programme, selecting books that document and reinforce its curated programme, or should it be trying to create a collection of books and published matter to promote the wealth and depth out there?

NB L.I.E www.l-i-e.co.uk

Fri, Aug 24, 2012 at 1:15 PM Re: Nom De Strip Phil Owen: I'd agree with you. A book is a facilitator of an experience - reading or looking at one has a lot in common with a digital encounter, in terms of being presented with material, but there are big differences, both in atmospherics, and the fact that there aren't the opportunities for distracting yourself so easily - you just have the book. You're forced into taking in information more slowly, I think, it’s easier to concentrate.

Tertulia www.tertuliablog.wordpress.com Arnolfini Reading Room www.arnolfini.org.uk/pages/reading-room

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An over view of the South West's publishing industry by Nick Davis Letterpress by Helena Coard

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‘Print is Dead’ Is it? This phrase gets bandied around too much, it's feeling pretty old and tired, retro, even. The great Egon Spengler announced the death of print in the 1984 classic, Ghostbusters: The Movie. He wasn't the first to say it; and I doubt he’ll be the last. A state of anxiety towards the imminent/not-soimminent loss of the book has existed within the publishing circles for a long time. People are worried that the eBook will threaten our relationship to the printed page, or that blockbuster films will gazump the limits of our individual imaginations. We can’t get away from ‘the fear’. During the early years of television, there were similar fears concerning how television would affect the way we learn and live. A similarly progressive mind to that of Dr Spengler, Marshall McLuhan, said: When any new form comes into the foreground of things, we naturally look at it through the old stereos. We can't help that. This is normal, we are still trying to see how our previous forms of political and educational patterns persist under television. But we're trying to fit the old things into the new form, instead of asking what the new form is going to do to all the assumptions we had before it. To be fair, the threat of the eBook is a tangible one, as the Publisher's Association reported back in May. At the end of the 2011 financial year, eBook sales had increased on the previous financial year by 366%. Printed sales declined by 7% over the same period. These figures alone would seemingly cement our superstitions about the future of printing, but note that global eBook sales make up only 6% of the overall value of printed sales. A new environment is emerging for how we consume words and images. But the new environment created by the emergence of new technologies, like eBook readers and iPads, has brought to light a series of dichotomies within publishing. Print's strengths lie in its materiality and tactility. In direct contrast, the pixel, is often viewed as the antithesis of print - abstract, digital, ephemeral, infinite in duplication, and quickly dispersed. At a time when more and more publishers are heading towards digital platforms, there has been a growing movement towards risography. Here, it seems the digitisation of content is causing those who value print to react and utilise old technologies towards their own ends. This low cost of production and wide colour range is creating an exciting and fresh wave of independent publishers in form and content. This spirit of experimentation isn't exclusive to the independent circuit, Visual Editions of London are proving that pixel and print, as well as experimentation and commercial success is possible. Their books push the visual and formal possibilities through all sorts of manoeuvres that engage not only with the reader, but are also wrapped within the narratives produced by the authors. As these examples show, whilst digital media is becoming ubiquitous and the commercial publishing industry is still sailing strong, there are smaller initiatives creating innovative and fresh work that challenges our old assumptions of digital and print publishing. And they can manage to do this whether they keep a strong DIY ethic or engage in the more commercial markets. I found this to also be true in the South West, where many are now trying to merge, adapt, or balance out the notion of 'print is dead'.

A comprehensive report called The Future of Publishing was published not too long ago by Cyprus Well,. This informative report focuses on how different business models are being employed by small to medium sized publishers in a climate that is demanding innovation. This report puts the spotlight on key players in new emerging markets, but what is happening more locally concerning the future of books and print? REACT Books and Print Sandbox REACTLabs is an initiative from the Pervasive Media Studio in Bristol. It's a commissioning organisation that aims to develop innovative uses and designs for emerging technologies within the arts and humanities in the South West. Their latest brief for potential collaborators was 'Books and Print', the aim being to engage with these emerging technologies to create new, immersive forms that can signal the future of commercial publishing: Books, after all, have always been interactive (just think of turning the page); they are a technology in themselves that has gone through many changes throughout history. A book can become a souvenir from an experience, too, almost like a postcard, I just think we're yet to figure out what the digital version of this souvenir might be.’ Tertulia at the Arnolfini Founded by Phil Owen and Megan Wakefield, Tertulia aims to function as a platform for new work, ideas and experimentation, with capacity to provide engaged, supportive critical feedback. The events have an interdisciplinary approach to language, both vocaland textual - from poetry and fiction to music, film, performance and visual art. This sortmof initiative is fantastic for developing relevant, engaging dialogue in an environment of exploration, away from the pressures of markets, audience numbers, and fixed briefs: something essential to the development of innovative work. The events occur monthly and, having just completed a Nowhere Island special at the start of September, the next will be on 10th November at Bristol Records Office. Plymouth Artist's Book Fair & Spike Island Book & Zine Fair This fall sees two exciting art book fairs taking place in the South West. Firstly, Plymouth Artist's Book Fair (part of Plymouth International Book Festival) will happen in September, also Spike Island Book & Zine Fair in October. These fairs aim to promote the independent art book scene in the South West, presenting the work of a range of artists and makers from the region and further afield. All this work will be challenging, experimental, and will be pushing the book in new directions all in the spirit of the DIY approach. I always find these events to be of great value, often prizing the book for all the characteristics that are taken as granted in the commercial sector, such as a book's craft, purpose, or content. These events also act as a great networking opportunity for all involved, connecting like minds and forging new collaborations. One of the stalls at these fairs is The Library of Independent Exchange, an independent reference library filled with independent art publishing. In the absence of any real public resource for art publishing in the South West, L.I.E was formed. It's a great resource for those that value the experimental and self-initiated, something that is a growing trend as seen on the risography community already mentioned. Loophole Supplements This small artists’ editioning imprint is a new project of my own that will to be a platform for artists from Wales and the South West. It's a free, quarterly published, A6 risograph zine that will be distributed across the South West in galleries, tourist information centres, and

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museums. All the work commissioned has a grounding in a place within the South West and it aims to become a mixture of tourist guide, art object, and handout. This project aims to ground both art and publishing within a more relevant, locally engaged context, allowing artists to extend their practice in a new direction and reach alternative audiences. The use of the risograph mirrors the machine's traditional use by politicians for their handouts, but instead of lobbying for support, the affordable printing method has been utilised for innovation and exploration. The first two artists involved are Ryan Curtis of Plymouth and Alex Murdin of Ashburton; the editions will be released mid-September. Going back to Egon's cynical remark towards print: Janine (the receptionist at Ghostbuster HQ) scythes 'what's your hobby?' to which Egon dryly replies 'I collect spores, mould, and fungus'. Maybe I'm letting Egon's passionate statements imprint on me a little too heavily, but I like to see the examples I've collected together here as the South West's very own spores, moulds and fungi that could create our own new and evolving printed and bibliographic experiences. Personally, no matter how great 3D cinema and haptic interaction can become, I feel bound to the materiality of things. As the title of this article suggests, I like the smell of eBook readers, but unless each new pdf file comes with a smell of its own and I'm able to manipulate its pages how I see fit, I can't see myself being won over by them. Much like the music lovers who adhere to their passion for vinyl, the abstract nature of digital media is certainly affirming for me how much I value the immediacy and loyalty offered by print. Regardless of my own stance, the growth of the technological approach to publishing may be encouraging the tactile love towards print, but it is also creating many fusions that could pave the way for new industries and methods of creative production. It's also safe to say that just off the South West's high streets that are emitting 50 Shades of Grey, there is a pantone library full of buzzing, local activity all working to create new relationships between books and between people, as well as gestating fresh ideas, developing cultural relevance, and sparking passions towards both the printed and pixellated word.

NB Nick Davies is an artist. He runs PrtScrPress, a Risograph Studio based at the Exeter Phoenix and is also the curator of Loophole Supplements. Nick Davies www.the-tuber.co.uk PrtScrPress www.prtscrpress.co.uk

Notes from Nowhere Casting the Somerset town of Frome as a broadcaster of social and political ideas by Pamela Peter-Agbia and Simon Morrissey

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Foreground commissions contemporary visual art projects that explore the relationship between art, its diverse settings and the public. Many of Foreground’s projects take place in Frome, Somerset, where Tabitha Clayson and Simon Morrissey, who established Foreground in 2008, moved to from London in 2002.

Before moving to Frome both Clayson and Morrissey worked for leading galleries and commissioners in London, Clayson working as production manager at Artangel and Morrissey working for Matt’s Gallery. A few years after, both decided to leave their permanent jobs to pursue freelance careers in 1999 they decided to move out of London and ended up in Frome. ‘A chain of coincidences led us to Frome. Moving from London to a small rural town makes you starkly aware of the complete contrast in cultural provision between our metropolitan cities and the rest of the country. If you live in a small town in the UK, you don’t really get critically engaged programming organisations on your high street. It exposes how funding, provision and expertise are concentrated in our cities - a huge amount of the population have very little access to contemporary programming. This is accompanied by a preconception that people in places like Frome simply aren’t interested in contemporary art.’ Simon describes Frome as ‘weirdly metropolitan for a small town’. In the past 15 years, the town has seen significant migration from Bath, Bristol and particularly London. ‘Lots of the people who move to live here maintain really strong links with the cities they have moved from. So there is a strong creative and entrepreneurial culture in the town.' In 2007 Clayson and Morrissey developed a model for Foreground in direct response to the lack of contemporary art in Frome and the surrounding area. They decided that Foreground would initially curate thematic group projects using non-gallery spaces and social structures, using Frome as their container rather than a specific

space. They also decided that Foreground’s projects should continually shift curatorial form.

instruction for the public to follow or spread mass messages about.

This premise is evident in, Notes from Nowhere, Foreground’s 5th commission, which saw a series of interventions take place in Frome between May and June 2012. Notes from Nowhere cast the Somerset town as a broadcaster of social and political ideas to the rest of the country. Taking inspiration from Victorian designer, William Morris’, socialist utopian novel News from Nowhere. ‘Underpinning everything was the book, it inspired the title of the project and its conceptual parameters in many ways.’ Various people have referred to Morris’ News from Nowhere as early science fiction Morris was envisaging a future Britiain, constructed on socialist, egalitarian principles. One of the motifs within the book is Morris’s vision of a Britain where cities are less important and small towns are the dominant living model. ‘It gave me this idea of Frome being exactly the kind of town Morris was talking about’, Simon tells me.

‘I’d included text work in exhibitions before, but I’d never curated a completely text based project. The idea of the project being a series of objects that could easily and economically be distributed seemed both exciting curatorially and fitting to the dialogue of austerity so prevalent this year.

‘Morris was heavily political - his designs were informed by strong socialist principles - not many people know that. With Notes from Nowhere, we thought it would be interesting to group artists together who were interested in activating people, or using art as a way of establishing social and political dialogue.’

‘It’s about creating a balance of ideas, and an idea of tecture within the project. The artists all had a different engagement with making work for Notes from Nowhere and for the town’

Foreground commissioned 8 artists, who made works encouraging the general public to personal and political action. Rather than having any fixed physical location in the town, Notes from Nowhere engaged directly with the social fabric of Frome. Artworks were distributed freely to the public in the town centre each week, and each artwork came with its own specific text-based

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‘The artists were absolutely fundamental. For any show, I’m looking at, and thinking about, people’s work., forming the basic germs of an idea which gets worked up. Artists will stay circulating around those ideas. That’s when I start to think about the curatorial shape of the town. For example with NfN: the decisions were 1) everything would be text-based 2) everything will be distributed to people 3) there will be no ‘venue’ so that the work would be presented to them within the structures of the audiences everyday lives.’

‘There were works that were more directly political, or confrontational, such as Claire Fontaine’s Capitalism Kills (LOVE) or Gardar Eide Einnarson’s, Untitled (Those in Power). Other projects were more celebratory, such as Ruth Proctor’s. This is for Love and Protection And again there was the idea of variety within delivery, so Mike Rickett’s flyposted posters being a very public declaration compared with Douglas Gordon’s letters that were sent privately to only 33 people...’

Our highlights: Mike Ricketts,

Claire Fontaine,

Huis Clos / Planning Line

Capitalism Kills (Love)

Mike Ricketts lives in Frome, Somerset and works in Somerset and London.

Claire Fontaine is not one artist, but two. She is a Paris-based collective, founded in 2004. After lifting her name from a popular brand of school supplies whose logo is often stamped on the tools of their trade. The two anonymous artists describe themselves as 'assistants' to Claire Fontaine. who describes herself as a ‘ready-made artist’.

Huis Clos / Planning Line is a poster that combines the Jean-Paul Sartre quote, and very public declaration, ‘ hell is other people’ with the telephone number of the local council’s planning department. ‘It’s an ambivalent work that was originally born of frustration.’ says Ricketts. I proposed it a few years ago for a group exhibition at a house in a smart residential area of West London. The curator who’d just bought the place was full of stories of her unfriendly neighbours, one of whom was the local Mayor and former Head of the Planning Dept.

Working in neon, video, sculpture, painting and text, Fontaine’s practice has been described as ‘an ongoing interrogation of the political impotence and crisis of singularity that seem to define contemporary art today.’ Capitalism Kills (Love) was originally conceived as a neon sign for the outdoors, composed of fluorescent neon tubes. This type of lighting is commonly employed in disciplinary spaces such as schools, hospital, prisons and factories. It is a work whose aim is to provoke a reaction within the public space. The fact that “capitalism kills” is broadly accepted as a minor damage, although the slogan echoes governmental campaigns against drugs. But the fact that capitalism kills the only pretended exterior space to commercial transactions – that is supposed to be love – suggest the possibility of a general prostitution inside a world dominated by market codes.

Mike Ricketts In Frome the posters were distributed to passers-by in the town centre one Saturday afternoon. People were invited to put them up in public spaces or street-facing windows around the town. Lots took them away, and they quickly began to appear in various locations. The following morning, Foreground received an email from Mendip District Council complaining about disruptive calls to their planning department. A lot of posters appeared around the town in the couple of days following their distribution, and in the context of this market town they were much more noticeable than in London. I live in Frome with my family and like the town very much. Some people locally seem keen to promote the town as a bit of an artists’ colony and a hub of creative loveliness. My studio is above an organic café on a street bedecked with bunting and rammed with vintage shops. With its reference to antagonism my project was unlikely to appeal on these terms. And in fact the town is a very mixed bag, with significant social and cultural issues and some quite serious redevelopment and planning disputes.

The work for Notes from Nowhere became a slogan on a cotton shopping bag of the kind now produced in their millions as an acceptable alternative to plastic carrier bags. The bags were distributed free to shoppers at the monthly St Catherine’s Artisan market and the Frome Flea market. ‘It’s a very simple and beautiful reminder on something that is carried around in the public space’. It spreads a message. ‘As one can read in a feminist Italian anonymous book entitled Don’ t believe you have any rights: “the most disturbing things aren’t the ones that we discover but the ones that we knew and had forgotten”’.

However, I think the project was pretty well received. Explanations of the concept triggered quite a lot of laughter, some nervous, some defiant, and more than a couple of French philosophy fans seemed to enjoy the quote from Jean-Paul Sartre.

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Ruth Proctor, This is for Luck and Protection

Through slides, text, sculpture or interventions into architectural space, Ruth Proctor, based in London, draws attention to humanity’s shared fear of the unknown. In taking up the role of the artist-shaman, Proctor questions the roots of superstition, and its relevance to our increasingly technophile, digitised world. For Notes from Nowhere, Ruth produced 50 limited edition metal badges, bearing the legend This is for Luck and Protection. Functioning like a talisman, the physical object aims to bring luck and protection to those that receive it. Ruth Procter This is for Luck and Protection started whilst I was living in Colombia for a three month residency at Lugar a Dudas in Cali. I was interested in a certain aspect of Colombian culture that gave value to ordinary objects perceived to have inherent superstitious properties, relating this to my own preconceptions of superstition in british culture, I wanted to work with a phrase that could give such a value to any object or perhaps person. I came upon This is for Luck and Protection after sifting through the different possible properties that objects in Cali were supposed to contain. I also looked at objects that were universal in their appeal across cultural boundaries. This quickly became part of a performative action where I distributed posters claiming the phrase, as if it were an advert for services or a product, but with no locatable place or object for this claim. I had simultaneously created an alter ego character called Super Ruda, (Ruda is a herb said to be lucky, and also the name for a tough girl in Spanish). This character became the focus of the luck and protection mantra, becoming an object possessing the qualities advertised as well as a super hero character. Super Ruda became a part of the history of the city of Cali leaving her mark on the walls with the posters and by interacting with the local people. The underlying idea to the work is that anything can lay claim to these words and that the words 'luck’ and ‘protection' are so loaded with expectation that, in connection to an object, the objects becomes something other than just an object. I wanted to unravel another layer of meaning within the phrase and to rework the idea that any object can possess this superstitious value but also to rework the ideas into the very british context of Frome.The badge formation was a quieter and more thoughtful variation on the same words. I wanted to create an object that could be treasured and kept by the bearer as something almost precious, that could perhaps even be passed down through generations as a talisman of luck, so a badge seemed appropriate in size and form. The idea of awarding the badges to those who had been nominated was also a way of disseminating this new object to as far and wide a field as possible from within the context of Frome without having too much control, a nomination process seemed the most democratic and surprising way to present the badges and was by far the most enjoyable part of the whole process, it was great to see peoples faces when they were awarded their badge, I think to some it meant a great deal. To see people from all backgrounds and for many different reasons nominating their loved ones, friends and family to receive the badge. The nominees were awarded their badges for so many touching reasons, it all gave a real meaning to the project.

Key to the success of Notes from Nowhere was the projects ability to to galvanise action and engage the public in a non-trivial way. I think this had a lot to do with the project being text-based. The words, slogans and intentions were ‘simple’, thus removing the barriers to entry and understanding of the project had it been conceived in a different way. Simon agrees. ‘Yes, there was a real directness to it, I think it’s success was due to a combination of things: it was text-based, and the texts were predominantly social or politically engaging ideas - like a campaign or type of activism that people generally understand. ‘People didn’t have to think about it as art. Whilst the public liked and understood that the work was made by artists, they were engaging with Notes from Nowhere as more of a social project, which happened to be instigated by artists. ‘Also, the fact that our team were out on the streets, talking to people in markets and shops meant that the information was coming to people, rather than them having to go into a gallery space. It was a combination of those things that gave the project a social fluidity’. True to form Foreground are following Notes from Nowhere with a completely different structure and focus for their next project, and one that brings a different strand of their commissions to Frome for the first time. September 22nd will see the opening of The Kidd, a new site specific commission from Brian Griffiths, whose work we last saw in Plymouth for British Art Show 7. ‘Brian’s project is very different in form and emphasis from Notes from Nowhere and that is something that is at the heart of what Foreground does. But in some ways there are also real links in that Brian’s work is very much about narrative, ideas and activating spaces. They are probably the themes that run through everything we do...’

NB Foreground www.foregroundprojects.org.uk

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Emma Weatherhead employs the help of Tania Hershman, who recently published her second collection of flash fiction, to introduce this unexplored genre of literature. Illustration by Ben Aslett

Tania Hershman has won a ton of awards and prizes for her short but very sweet stories. Her credentials in the genre of flash fiction are unquestionable. Generally speaking, flash fiction is a form of literary minimalism; the shorter and punchier the story, the better. Despite many affiliations, including ‘nano fiction’, ‘micro fiction’ and ‘short shorts’, Tania finds it tricky to pinpoint an exact definition, ‘I’m wary of labels, boxes and definitions’ she explains, suspecting that the genre may hold ‘its own form entirely’. However, when pressed she offers ‘a piece of prose, no longer than 1000 words, with no minimum word count.’

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By intentionally choosing to write 200 words instead of a 200,000, you present yourself with a colossal challenge. Every single word, comma and full stop is critical, and must leave a lasting impression.

So, how does flash fiction differ from a typical short story? ‘A typical short story doesn’t exist’, Tania quips, ‘there are as many types of short story as there are writers writing them’. The crux of a successful piece of flash fiction, and indeed any short story, is a good ending. Tania explains that, for her, subtlety conceives a good ending, instead of the dramatic or revelatory flourish frequently used at the end of a short story. Flash fiction in particular has the ability to be incredibly memorable, leaving you with ‘that feeling that you’ve been punched in the gut’, a sensation that she relishes. These uber-short stories have been around for a long time. Aaesop’s Fables, originally dating back to 600 BC, could theoretically be classed as a collection of flash fiction. Additional authors through the ages include Franz Kafka’s work (1883 -1924), and the Austrian poet/writer, Jorge Luis Borges (18991986). ‘Both were influential contributors to the history of the short story, and were known for their surreal creations, improbable scenarios and uncanny characters’. Similarly, Tania observes that short pieces of fiction provide a far greater opportunity for experimentation than longer ones, which may explain the attraction for many writers. One of her favourite works is a collection of stories by Richard Bratigaun, entitled Revenge of the Lawn, and published in 1972. She politely declines to dish the dirt on her least favourite pieces, but offers Wants by Grace, The Egg Pyramid by Nuala Ni Chonchuir and Haruki Murakami’s collection, The Elephant Vanishes as a good starting point for my literary exploration. Considering that flash fiction is no recent development, I wonder, then, why the genre seems to be enjoying a sudden renaissance. Recently, the Costa Short Story Prize was launched; it joins a dedicated cluster of other awards, from The Sunday Times and the BBC. Those specific to flash fiction include the Creating

Reality Flash 300 prize; the Binnacle ultra-short story competition and the Diamond Synchrotron Light Reading flash fiction prize - Tania has won all of these, and more ! Tania suggests that flash fiction’s increase in popularity may be due to the increasingly technologydominated conditions of modern life; ‘flash fiction is much easier to read on a screen, whatever size the screen is...while it requires intense concentration, since there is nothing superfluous, it only requires that focus for a short amount of time.’ This is undoubtedly very true, only, to me, it seems a little sad that the work of talented authors are only beginning to be recognised because of the increasing prevalence of computers and tablets. How long does it take to write a short story? ‘Sometimes twenty minutes, sometimes a few days’. I can’t help but feel bad for the authors who endure 5 years of blood, sweat and tears over a hot keypad to produce one 700 page novel. Is it fair to bestow equal praise to flash fiction authors for what seems like less work? Tania is familiar with these misconceptions, and also acknowledges another, which is that stories are difficult to read. In a society where we are spoonfed information through documentaries, films and the internet, I find this notion unsurprising, even if slightly depressing. ‘Neither of these are true, just like all generalisations’, Tania states before telling me about the 800 word story she recently published, that took three years to complete. Touche ! Tania has tackled various obstacles when it comes to publishing her work. ‘I have been writing for 15 years, and it was 8 years before I had any success with a story’. Her story, The White Road, was first broadcast on Radio 4’s Afternoon Reading; it was the perfect opportunity for her to expose her work. Inspiringly, though, she has learnt to look on rejection letters from publishers, which she assures me she still receives, in a positive light; ‘it just makes the acceptances even sweeter’.

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I wrongly assumed that short story publishers would be thin on the ground, but Tania tells me there are ‘hundreds and hundreds’ of literary magazines publishing flash fiction, many of which are dedicated entirely to it. Small independent presses such as Tania’s publisher, Tangent Books, and Salt Publishing are ‘the life blood’ of short story collections, which will hopefully increase as this ‘neglected genre’ blossoms, to quote the Guardian. Mark Twain once joked ‘if I had more time, I would have written a shorter story’, this sums up the ethos of flash fiction. By intentionally choosing to write 200 words instead of 200,000, you present yourself with a challenge. Every single word, comma and full stop is critical, and must leave a lasting impression. W hilst writing a 2000 word essay, I have often fumbled for the perfect words to accurately illustrate my argument, but flash fiction is even more unforgiving. I love what Tania describes as the element of ‘freedom’; there is no baggage, no preceding bumph, no setting the scene, the action begins, ends, and the reader is left stunned.

NB Tania will be appearing at the Plymouth International Book Festival on September 17th, where she will read short stories from her most recent collection My Mother Was An Upright Piano: Fictions, and give a talk on the beauty of the very short story. Tania Hershman www.taniahershman.com Plymouth International Book Festival www.plymouthinternationalbookfestival.blogspot.co.uk

Lars Breuer Patricia Susana Schnurr discusses Breuer's typographic work

As wall paintings as well as on canvas the word paintings/ text based paintings by Lars Breuer present themselves as an ornamental and geometrical pattern which is formed by a sharp color contrast occupying/ taking up/ filling

Photo: Sebastian Freytag, D端sseldorf.

Exhibition view: The Suburban, Oak Park, Illinois.

Lars Breuer: Untitled, 2009. Acrylic on wall. 330 x 700 cm.

the entire surface of the picture.

With the grid-like construction of the writing created by the artist, the single words integrate to form a rhythmic and dynamic composition. The catchword-like concepts that Breuer uses are often quotes derived from historical and intellectual currents of Occident culture. Words, depending on their context vary their meaning and form new relationships with each other, as soon as more than one word is used in an image. Used in contrast, the terms Revolution / Restoration (Kant Galleri, Copenhagen, 2012) describe processes of change and stagnation in a society. Whether these concepts should be understood as a concluded or forthcoming action, or, perhaps, as in the text, simultaneously and paradoxically occurring remains an open question. In his use of words, Breuer initially fades the narrative aspect out. Their arrangement is left free. The unit of meaning is not immediately clear in the compilation of Opportunism, Conformism, Neoclassicism and Eclecticism (The Suburban, Oak Park, Illinois, 2009). With the use of these terms, Breuer discusses the citation itself. They refer to movements that refer to themselves, as well as preceding eras and attitudes in art. Painted on the exterior facades of the entrance area of the exhibition space, they glow, clearly visible, from the road, like a neon sign. The words are placed centrally, so that they appear like emblems or logos. Lars Breuer: Gazourmah, 2008. Varnish, floor paint on canvas, 78 x 158 cm

According to the given space situation the architecture is picture-constituting as a composition component. In The Suburban, Breuer pulls the words over the entire outer walls, so that words and architecture form a unit. In Charactère an additional geometrical composition from the four corners of the space are formed, by connecting two corners, each with one point of the opposite side via a line. As such, the composition takes on the dimensions of the wall and connects the word with the architecture. Even if the typography looks impersonal, it has been specially designed by Breuer, to bring in again the 'artistic style', or a personal perspective. While the typography helps itself with a contemporary use of forms, the contents are often retrospective and borrowed from history. In Le Style Figuré (chromium plated brass, 139 x 95 cm, 2009) Breuer refers to Emile Zola, who demanded artists to realistically reflect life around them, both positive and negative. However, with Breuer it is exactly Zola's demand that makes, from a framed shining surface, a caricature of the reality and throws the look of the viewer into the distorted space. References to utopian ideas from the works of Thomas Pynchon, Filippo Tommaso Marinetti, and Ernst Jünger are shown in the works Punkutron, Gazourmah and Luminar. They are the names of man-machines or instruments that show the gap between mind and matter, as it prevails in the modern world. In their ingenious creation they imply by their lack of feasibility, the tragic moment of failure.

Lars Breuer: Revolution / Restauration, 2012. Dispersion on wall. 283 x 1091 cm Courtesy: KANT, Copenhagen Photo: Carsten Nordholt, Copenhagen

The hard-edged typography is usually placed in a clear black-and-white contrast. The cursive set characters ordinarily serve in the running text to emphasize words or passages. In Breuers work it also serves as a dynamising design element, that consciously adds rhythm to the space. Coloured accents or embellishments that could interpret the contents of the word or citation are omitted. Instead, he sets the mural paintings through a monumental visual language and also in the canvases with their visual elements constituting monuments for grand ideas. Breuer escapes the risk of the words and citations becoming a mere memory formula, packed in the garment of an aesthetic formalism by making the full use of typography, embedded in a pictorial language of the Avantgarde, and of the early 20th Century, with elements of Futurism and Constructivism, together with a minimalist, calculated and geometrical system. Together they reinforce the emblematic claim of the cited. The word becomes an image, a puzzle picture, aloof and impassioned. And at the same time the word has a contemplative effect despite its striking appearance.

NB Patricia Susana Schnurr www.patricia-schnurr.com Lars Breuer www.larsbreuer.de

Lars Breuer: Charactère, 2009. Lacquer on wall. 500 x 520 cm. Exhibition view: RMIT Gallery, Melbourne Photo: Sebastian Freytag, Düsseldorf

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Zack Helwa Brooklyn-based photographer, Zack Helwa, takes journalistic photographs of political upheaval around the world by Leighann Morris

Zack Helwa is a Brooklyn-based photographer, who has taken journalistic photographs of political upheaval around the world. He is also an artist, who makes sculpture and experiments with video, drawing, and scanning.

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

Helwa’s journalistic photographs present word and image as two polarized realms. For Helwa, the camera is a more truthful and honest medium for communicating ideas about activism. Words, in anthesis, have the ability to distort and misconstrue what is really happening at the scenes of protest that Helwa sets out to record. Leighann Morris spoke to Helwa about his photographs taken in Egypt this year, during the anti-SCAF protests, his documentation of Gypsy culture taken in Romania, and his documentation of the Occupy Movement.

Nom de Strip You take photographs for notNOTjournalism, a blog that is home to your photographs taken in protests and activist movements around the world- could you tell us a little bit about the work that you do for this blog? Zack Helwa Yes, notNOTjournalism is a blog I started with a couple of friends. It was meant to be an outlet to tell stories we felt were important, that described social justice struggles using experiential reportage. Instead of describing too much back-story, I wanted to describe what I experienced with my senses. Instead of using written words, I wanted to present my experiences and stories with images instead. NdS Lets talk about your photographs taken in Cairo, Egypt. You were at the anti-SCAF protests in February this year, in front of the Ministry of Defence, demanding the removal of the military regime. Could you explain how this journey came about? ZH Since I grew up in Egypt, I felt I needed to be there. I’m actually pretty anti-nationalistic and don't consider myself to be from any particular country or culture, but I saw all the streets I grew up on and played football on filled with people. I'm always inspired when I see very different people putting differences aside to get together and inspire change, or even discuss the differences to bridge that gap.

I met with other activists in Cairo. They were starting a live stream group to show the events in an uncut unedited raw format. They asked me if I was interested and very quickly I accepted. I ended up being shown around and educated about much of what has been happening. I was one of the main members of the team then and we were there night and day. For a few weeks I can't actually remember sleeping much because I was trying to be a photographer, editor and live stream journalist at the same time. I wanted to know for myself what was happening, and not through the media, who filter the events. Many stories circulate about the clashes in Cairo, but what I’ve seen was very different. And thats what my photographs show. NdS As an “American” (even though you grew up in Egypt), did you feel like an outsider during the riots in Cairo? ZH Not really. I try not to identify too much with one group of people or countries. I felt like an “insider” when I agreed with the chants and an outsider when I didn't. I’m a very non-violent person and prefer people uniting to find peaceful non-violent civil disobedience methods.

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NdS This photograph, taken in Cairo, is beautiful and haunting. Its my favourite of the collection, but is the most troubling. Did you feel in a difficult position as a “photographer”? Do you find yourself in a moral dilemma with the camera? ZH I dealt with most situations by trying to be present in the moment as much as possible and by trying to remain human. When I felt I needed to take a picture, I did. If I felt I needed to carry someone, I did. That photograph was a moment where I had to do both. NdS

Can you explain what the atmosphere in Cairo was like at this time?

ZH Many people were scared, so they stay at home. On the TV, you saw people screaming angry slogans and throwing rocks; people being beaten to death. But we have to remember that most stations are trying to compete for viewers, using the most sensationalist stories. I’ve seen some moments that were quite beautiful, like people helping each other. Sometimes people would make funny jokes and slogans to de-stress and remain non-violent. I found myself making a few jokes with a group as we were running and being shot at. NdS Is the fact that you are putting yourself in a position of danger something that occurs to you when you are taking photographs in places such as Egypt? People were being killed around you, and teargas was being thrown? ZH I believe that most fears come from thinking. Being present and finding the absurd and humor in things is a way to cope I guess. But I was afraid, especially in all the moments of waiting and waiting and just like with my stage fright it all went away when I had to actually deal with the situation.

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

NdS You also went to Romania and took these photos in 2009. Could you explain your journey? What brought you there? ZH Iâ&#x20AC;&#x2122;m half Romanian and I was visiting family. I was always told not to play with gypsies as a child, so I think I had an interest in demystifying their culture. NdS On your website, under this photograph, you say that you got into trouble for taking it. Could you explain what happened? ZH I was drawn to younger children because they were easier to deal with than the elders, and they loved me and my camera. However, the parents felt threatened by my presence. I tried to take pictures one day and a whole group of people from the family circled me. One of them had a knife hidden inside his pocket and held it to my neck. They insisted that I was part of the russian mafia or american travelers who kidnap kids and sell their organs on the black market. It took about three hours to figure out a way to calm them down. I said I understood their worry and thought they were acting completely rationally. I also made sure that I wasn't afraid the whole time because then they would think that I had something to hide.

NdS You have also taken photos of the Occupy movement; in fact, you have captured images of the Occupiers in New York, California, and LA. These photographs relay a different kind of atmosphere than your photographs of the riots in Egypt. Can you explain the difference in atmosphere, and the difference in how you felt as a photographer? ZH I mean of course, it was a lot less dangerous. There was no live ammunition being fired at us with Occupy. And although there was a lot of police brutality going on, the difference was also very clear. Ultimately both times I was risking a lot because Iâ&#x20AC;&#x2122;m only here on a green card and I was worried of deportation. As a photographer though, it felt like i was set out to do the same thing. I just wanted to capture Occupy with my camera, which I feel is a more honest medium than reading an interpretation of those events in a paper.

They eventually realized that I was assertive yet polite, and that I was no threat. They eventually invited me over for dinner!

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NB Leighann Morris www.artweekly.tumblr.com Zack Helwa lightslightslights.wordpress.com

Hollie McNish Big in the spoken word game, Hollie McNish explains her words. Inter view by Pamela Peter-Agbia

Hollie McNish started writing poetry at five. Her work is mostly straight forward rhyming in spoken form, inspired by UK hiphop and grime, and sixties protest lyrics. It spans a number of languages including French, German, Spanish and French Creole, learnt during a yearâ&#x20AC;&#x2122;s teaching in Guadeloupe, French West Indies. Having graduated in French and German and more recently specialising with an MSc in Agricultural and Political Economics, Hollieâ&#x20AC;&#x2122;s poetry career is a surprising but very welcome addition to her life, especially after spending so much lecture and work time secretly writing rhymes.

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

We saw Hollie McNish at FORKED, Plymouth’s monthly poetry night hosted by Apples and Snakes years ago. Her performance was unforgettable. I loved what she had to say, her desire to speak out against the banality of certain trends; to open up a clearer picture of what matters beyond the rush and madness and surface was clear. It’sa real pleasure to catch up with her and see what she has been up to lately. Nom de Strip

How did you get into performance poetry?

Holly McNish I’m not sure I’d say I’m a performance poet really, as this generally implies that you write poetry with an audience in mind, which I don’t. But I got into sharing and reading my poetry after being cajouled by my partner – he’d had enough, after 3 years, of being one of only two members in my poetry audience – him and my mum. He encouraged me to share it with others, so I snuck off to the Poetry Café in Covent Garden, London and signed up to their open mic night. Still, I did chicken out of reading the first 6 or 7 times I went there. Then the first time I read, someone asked me to read at another gig, then the same happened again and it kind of just escalated really. NdS What is the appeal of performing poetry over reading words on a page? HM I think there is definitely space for both and neither is a better experience than the other, but they are very different. The thing I love about spoken word poetry is the sense of community. You are sharing your ideas, thoughts, passions, anger etc with people whose faces and reactions you can see and who you can meet and talk with afterwards. That is something I find really magic – both as a poet and as an audience member. The other aspect which really appeals to me is the fact that it is more inclusive in social terms. I mean, after having worked with a lot of people, and young people, doing spoken word, a lot of them are put off writing poetry simply because they feel they are not ‘good enough’ at writing - the spelling, grammar etc. But when we move it into a spoken arena, all that is gone, there is a level playing field, which makes it a great medium for people to really engage with eachother on a personal level. I also think, like storytelling, there is something very magical and historic about hearing the words spoken by the person who wrote them, and just being able to hear the poetry as it was intended by the author. NdS You graduated from King’s College, Cambridge University with a BA in Modern Languages and completed an MSc in Development Economics at the School of Oriental and African Studies in 2006. Is there a link between your academic interests and your poetry? HM In terms of themes, there is a link with my MSc. I write a lot of poetry about immigration and forced migration, which is one of the main topics I studied. I also read a lot about the use of arts and culture in violent conflict resolution and in those terms the play between poetry and public places really interests me. I have to say though, that my first degree, apart from having written a little in French, had no impact at all. I’ve got a book of poetry, which I started putting together from the age of 10 and it’s all filed in years – geeky I know! I have about 60 poems a year, except the years I was at Cambridge, when I have about 3 – and they’re all about wanting to leave! Not very positive I know! But yes, the second, and I’m sure some of what I learnt in the first degree has a link too, but only really as themes on which I then wrote.

NdS You recently supported Kate Tempest at The Old Vic. What was that like? What do you think of her work and are there any other UK female spoken word artists that you really rate? HM It was amazing and really really inspired me to take spoken word as a possible career more seriously – it gave me a huge boost of confidence just to be there and to be asked. It was the first time in the UK an established theatre like that has put on purely spoken word – and it sold out. And why not? Comedy sells out arenas, music does, and theatre too and I think spoken word is slowly getting noticed more. I love Kate’s work and love her as a person too – she’s a very genuine woman. I also really love the fact she blends traditional poets and Classical writers into her work – I think it’s so inspiring for people to hear. There a loads of female spoken word artists – they seem less funded but equally there! Sabrina Mahfouz is an amazing artists who works a lot fusing spoken word and theatre. Kat Francois, Aoiffe Mannix, Deanna Rodger, Bridget Minamore, Chimene Suleyman all spring to mind. They all have really different styles. NdS There is also a strong feminist strand running through your work. Have you experienced any challenges being a female performance artist? HM Not really, no. The only thing is that people often ignore other topics that I write about as much as I write about equality issues – I write a lot on immigration, prejudice, racism, nature, and politics in general. But that seems often to get forgotten in the feminist focus. Saying that, I am a feminist and talking about these issues is a huge part of why I write. I have been introduced one too many times this year as ‘a poet with really nice hair’, which does slightly get me. NdS their draw write

Tell us about your work with Shape East, and Par ticipation and Learning programme ? Do you inspiration from your surroundings when you and perform ?

HM Shape East is a built environment centre in Cambridge that works to inspire and educate young people about their surroundings and how they can, and should, have a say in it – whether this is about safe roads, a new housing development being built, public art, whatever. It’s a really great job to have but honestly at the moment, having a part time job, a poetry career and a lovely toddler is taking it’s toll slightly – so I’m hoping soon I’ll be able to cut down on something – not the toddler obviously!!

you hear everywhere – makes you feel so privileged. I think the most inspiring place was Medellin, Colombia. I went there alone a few years ago and attended the International Poetry Festival there, which is the world’s largest of its sort. I had a very lucky break with the small clothes shop where I worked at the time paying for my ticket before I left the job. It was unreal, I met a group of Colombian students and went to maybe 5 gigs each day. It was set up as an entirely free peace initiative in Colombia, with the aim of creating equal public spaces for free speech and just to show another side to the violence which was so rife at the time. I think it was awarded the alternative Nobel Peace Prize. NdS Your work is ‘ inspired by UK hiphop, grime and sixties protest lyrics? Could you mention a few specific influences? HM I wrote that really quickly for one biography and it has been used so often – I kind of regret it now! I had just started and didn’t really know what to say! It is true though, especially the sixties – things like the Beatles White album, White Rabbit, Melanie, Barry Maguire, Eve of Destruction – I used to listen to that track on loop for days when I was about 15! And grime – it’s more the speed and delivery that amazes me, with artists like Ghetto. Other emcees and singers I love are Ms Dynamite, Tanya Stephensand Lauryn Hill. I used to listen to them a lot. NdS What are you currently working on? HM I’m trying to work out how to get more sleep! Apart from that, I’m putting together a tour for next year – 30 gigs for my 30th. I want to have booked all 30 dates for the year by February 2012, when I turn 30. I do a lot of gigs but people tend to ask me at the last minute/ the week before; it’s starting to feel like it needs to get more organised – not just so I have time to work out who would look after my child but also so I can promote the gigs more. The other project I’m working on is an hour long set of poetry exploring parenthood, putting together all of the pieces I wrote from pregnancy to toddlerdom! I’ve done a couple of trials and they’ve gone really well and I’m working with Battersea Arts Centre to develop them more. I’m also doing some kids poetry with an illustrator / animator, which is really nice and different to do alongside the more gritty, moany stuff I normally find myself writing!

NdS You’re well travelled. What is the most inspiring place you have been to? HM I have just got back from 5 days in Latvia, doing lectures, workshops, Slams and spoken word performances with the British Council. That was really great to be a part of, especially as I have no knowledge of the post-soviet history of many of the Baltic areas. Hearing stories come out in poetry – like

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Are we the 99%? 36

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

The language of protest Natalie Butler writes about last years Occupy movement

The power of the media in its coverage of politics, and in particular worldwide protests, has been instrumental in the growth and widespread use of a whole new language in our everyday lives. Around this time last year, I was in the Wimbledon branch of IKEA when an instore announcement ordered us to abandon our purchases and evacuate the building. I don’t know if you’ve ever walked through an IKEA warehouse, but the series of pop up rooms only have pretend windows: I couldn’t see what was happening beyond my temporary flat-pack world. I was nervous to walk out of the store and decided that, whilst waiting for my lift, I would stand by the biggest security guard in sight, desperately hoping he would be feeling heroic if the time for action came. We were in the midst of the London riots. Fortunately, no swarm of ‘angry yoof’ arrived to loot well-designed, yet reasonablypriced desk lamps and bookcases. However, the fear that remained as a result of the experience left me feeling very angry towards those who had caused it. I didn’t know who they were, and I wasn’t aware of their motives but I wanted someone and something to blame. Between the 6 th and 10 th of August 2011, more episodes like this would occur across London boroughs and districts, cities, and towns across England. A national divide had quickly forged between us,- ‘the local community’ - and them - the ‘rioters’. This divide was facilitated by anonymity. The physical identity of the rioters were often hidden. Hoodies and balaclavas masked their faces, whilst discreet social media campaigns, removed from the public eye, masked their intentions. Messages were written on phones, not placards, and this contributed to the longevity of the riots. Protected by a veil of anonymity, offenders were able to slip away without being reprimanded. The recent Occupy protests, on the other hand, were a completely different story. The messages coming from the movement, were loud, clear and rousing. This time, there was no ‘us’ and ‘them’; there was the 99% which brought connotations of ‘togetherness, community, and strength in numbers’.

This imploring language was chosen to inspire and unite, with the promise that by working together and not individually – we could reclaim what was collectively ours. The concept of the movement’s term, seen on banners, placards and signs worldwide – was that we, the general public, are the 99% and subsequently the vast majority who were not bailed out financially by our governments. Even the figure ‘99%’ transcended language barriers, featuring across different countries’ posters, recognisable to all. 99% was, in turn, then, a protest and direction of anger at the remaining 1% - a catchall term for those with unprecedented wealth, especially bankers. Unfortunately, their unshakeable emphasis on the social gulf between the ruling 1% and the rest of the public sometimes meant that more complex issues were lost. Similarly, in the case of the London riots, the lack of direct and salient communication blinkered the public from the circumstances surrounding their outbursts. Martin Luther King once stated that ‘a riot is the language of the unheard’, profoundly observing that we can’t ignore the larger social setting that provokes a protest, even if the language of the protest may seem unclear. Omitting language altogether is another method of liberating the truth behind any issue. The absence of language can expose the false construction that it has been used to define. As simply as handing out blank leaflets in Russia, or raising black gloved hands in silence at the 1968 Olympics, the absence creates a new platform for thought. It exposes and confronts the problem while speaking outside of the socially manipulated environment of its associated topic. Whilst, the role of words in protest has been an influential and definitive one. However, it is worth recognising that language is socially constructed, and can so easily guide how we perceive an idea. It would be so easy to tar all London rioters with the same brush because of their lack of eloquence and articulation. But whilst language has the ability to define ideas precisely, it can also break away from the boundaries of proper definition. Perhaps, instead of judging the way in which the underlying message of a protest is brought to our attention, we should focus on the significance of the issues themselves.

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Fresh Meat

Rob Hodgson

Rob Hodgson is an award winning image maker, who we assumed was living happily in a cabin in a forest somewhere, playing banjo and drawing doodles all day. He actually lives in Bristol. Still, it’s a nice thought and that’s definitely the vibe we get from his ethereal illustrations. Nom de Strip Hi Rob, how would you describe your style of illustration?

NdS Did your parents try and put you off by encouraging you to “get a real job?”

Rob Hodgson I am interested in pictures on a really basic level, what they are for and how you make them. I think style is really about approach, and the way I approach image making is by building up a picture with the basic elements - shape, line, colour, texture, and composition. It all has to balance out.

RH My folks have always been very supportive. I think after uni they were a bit freaked out, but not long after, I won an award from the Association Of Illustrators and took them to the awards show in London. I think that was the start of them getting it a bit more. My folks are cool.

NdS How did you get into illustration?

NdS On your website, you list “feral children” as a source of inspiration? Is this true? What else inspires you to make work?

RH I liked art at school and took a foundation degree in Exeter. I loved that year of making a mess everyday, drawing, and looking at drawings. I went on to study Illustration at university because conceptualism was reigning king in the fine art classes and I wanted to make things with my hands! I liked what illustration could communicate to lots of people too. I’m a populist in that sense, I’d much rather 100 people understand what I’m saying than just one.

RH I’m really into the creative process - ways of seeing how and why we make things. Feral children fit into it like that. It’s that idea of Kasper Hauser - if you live in a cave your whole childhood, what is mean your experience of the world? My inspirations are more based on knowledge than information. I’m a big believer in intuition and instincts.

NdS Do you have any other sweet talents? What are your other interests? And why don’ t you live in a wooden cabin as we imagine? RH I used to be huge into skating, like all day everyday. It was my life until I started art school. I still have a board, but I just roll around now. I have a guitar and a banjo! For a while, I was into recording music, but it’s pretty bad. I like my bike a lot living in a city. And I don’t live in a wooden cabin yet. NdS You studied Illustration at Plymouth University, what do you think of the city? RH I love Plymouth. It has turned out some amazing talent in the past few years. It’s still an unknown place for a lot of people though. It has everything going for it, including a real DIY vibe that a lot of younger people take to heart in a big way. I love that it’s grey everyday there. The Barbican is amazing. So is the little ferry to Mount Batten - it’s so bleak but so lovely.

N om de Strip - Is sue 3 / The Impos sibilit y of the Word

NdS You were part of what we’re going to coin the “super year” at Plymouth University, featuring Ben Aslett, Jessie Douglas, Jack Teagle and many more super talented people who have done really well. What was it that made this year so good? RH The arts department and facilities in Plymouth are amazing. There’s a lot of freedom to do your own thing, and then a lot of critiquing to question it all. Yeah, the year groups are really close and everyone lived together in a few houses. It’s a weird family vibe there. I miss it! NdS What kind of projects have you found yourself working on post-university? Is working life everything you hoped for and more? RH I had about 6 months of freaking out. Then I moved to Bristol and just made as much work as I could. I got some fun commissions and met loads of amazing talented people. I was lucky enough to land a few days a week at a design studio, so I split my time between that and my own thing. It’s cool to have the pressure of pushing my own thing and trying to get illustration gigs whilst learning everything I can at work. NdS What brought you to Bristol? Do you see yourself living there for a while?

NdS Are you going to sell them? We want some. RH I thought about selling them, yeah. There are some amazing wooden toys from artists throughout history. Alexander Girard’s are beautiful!

NdS Do you prefer client commissions or making your own work? RH Well, right now I’m working in house at a design studio and it’s thrown up a lot of questions about what I’m doing all my own work for. I’m learning more that it’s about what the work can do for you - like meeting amazing people, seeing other inspiring work, learning new techniques, going to interesting places. I think as long as you follow your nose when you’re making your own stuff, it will lead to good things. Client commissions usually have some perks, like huge distribution or getting your work in a new medium or format. Client work is the hardest but it offers the biggest opportunities to learn and question your practice. Saying that, self initiated stuff is what keeps you going down your own little road. NdS Anything else you would like to add? RH

Keep going down your own little road!

RH I wanted to go to a bigger city and London seemed too expensive. A lot of people here have that story. I love Bristol though, it has welcomed me in like a weird child who turned up at its front door. NdS We love your handwriting, and all of the type in your work. Do you spend lots of time on it or do you employ the Johnny Hannah style of doing things once and embracing the imperfections? RH Thanks! Only recently am I getting into type. I have always been turned off by typography because of type-nerds who know all about serifs and that side of things. Once I realised letters are just shapes and lines then I was cool with it. It’s all about getting the shapes to feel right. It’s that balance thing again. NdS We noticed your recent wooden figures. How did these come about? RH I’m really into applied arts and I’ve been thinking about new mediums I could work in. Wood is something I can do myself, but I’m going to have a go with other mediums too. Maybe, I’ll try metalwork next. I think it’s a good way to open up conversations and collaborations with people, because I can’t do everything myself. I’m enrolling on a ceramics course soon too.

NB Rob Hodgeson www.robhodgson.com

Jamie House

Jamie’s work explores how we look at the world through representation by critically analysing the medium and apparatus of photography. Image production and dissemination are at the core of his practice, Jamie makes use of alternative processes and digital imaging techniques in his work. He is currently collaborating with neurologist, Baroness Susan Greenfield on a project to explore how social media affects the way we physically and mentally interact with others in the real world. Jamie is working on this project from KARST, Plymouth’s newest contemporary art space, where he is a studio artist. The project with Baroness Greenfield stems from a conversation between Susan and Jamie, about Susan’s research into the effects of social media on individuals and society. Jamie has been visualising her answers using photography and video installations. Both Susan and Jamie are intrigued by the creation of environments via screen technologies, and how these environments alter how we process information, the degree to which we take risks, socialise and empathise with others, and how we view our own personal identities. Susan’s research investigates the relationship between technology and the brain, in particular she is looking at the positive and negative impact of the Internet and social media on the human brain. Susan believes that the human brain, and subsequently, our minds, could be undergoing unprecedented changes, due to the rapid and everadvancing range of technologies that are transforming our environment. In order to visualise these concepts, they have appropriated images of other people’s memories, mined from the Internet, Facebook and various other social media sites. The subjects in question are people that have befriended Jamie online, even though they have not met in person. Maybe a little bit mischievous, but we like that. Each complete image is produced by taking a long exposure photograph focused on a computer screen, while browsing a stranger’s profile picture. The finished product appears as layers upon layers of images, each representing a moment in time in someone’s life.

The individual size of peoples’ images within their browsers; the arrows that advance images on Facebook and even the mouse cursor become part of the work. These act as indicators of how the user navigates images, creating a new visual language.

‘I hope that highlighting them will make people question how we process and interpret pictures differently ‘

Jamie, who admits to being nosey inquisitive says the project has allows him vicariously live other people’s lives through their own images. ‘The gradual realisation that Facebook, gives me access to such a vast archive of images fall over the world has opened my eyes to the giant melting pot of cultures and backgrounds available online. It’s all too easy to fall prey to a bit of aimless Facebook browsing, and Jamie admits that this project is an obsessive one. He reflects daily on Susan’s research, whilst viewing hundreds of images on various social media platforms. ‘I’m amazed by the similarities and patterns in the ways that people photograph each other’, agreeing with Susan that developments in media technology effect the brain. ‘I’m particularly interested in why platforms like Facebook are so popular and addictive, having explored how so many of us use it as a vessel for storing our memories.’

Some images are more painterly and abstract; others are more figurative, depicting people with clearly defined profiles. The final aesthetic of each piece is controlled by how many images the person in particular has in their Facebook album. For example, if they have one hundred images the final work is abstracted, whereas if they have only ten images, the characterising features of the person, their friends and personal possessions are recorded in more defined detail.

Fresh Meat

NB Bysshe Coffey ???????????????????? Rob Hodgeson ????????????????????

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Soon

A kid in the Griffiths studio during preparations for The Kidd.

The Kidd Who? Brian Griffiths What? Brian Griffiths’ new site-specific commission for Foreground has been created especially for the recently vacated Frome Amateur Boxing Club. Tucked away in a small alley within the centre of Frome, the boxing club is a modest piece of vernacular architecture – a single storey wooden building of simple construction. The building is both physically hidden from the general public by its location but has also been an almost private space for decades, known and used only by club members. Griffiths’ new installation will reveal this space to a public audience for the first time. In Griffiths’ hands the history of the Frome Amateur Boxing Club becomes just one narrative amongst many potential narratives at play within the building, all of which may be equally believable or equally doubtful. The building will become a space of potential – a space to exercise possibilities without fixed goals, where the art object is dragged into the same focus as its container and the world, producing a tension between building and contents, fact and fiction, now and then – a tension that seems to hold the faded and failing building together as much as the building seems to contain the objects and stories that are packed within it. The Kidd is a name written on an old military kit bag from World War II, which finds itself part of a cast of utilitarian objects used to create a fiction within the space. It’s a nickname written rather quickly and charmingly in pen. It’s the name for heroes and anti-heroes from different times and places – Captain Kidd, the infamous Scottish pirate; Billy the Kid, the legendary American gunslinger; Eddie Kidd, the British motorcycle stunt rider. The Kidd is the embodiment of youth, ambition, and showmanship. The Kidd is an absent protagonist that becomes a dynamo for wide-eyed dreaming, for innocent ideas of community, for an account of an inexperienced individual in an unfathomably large and complicated world. Take this opportunity to revert back to the carefree mentality of childhood, where a cardboard box held the potential to be a racing car, or a tin can could be turned into a telescope. Much simpler times, and much more exciting. Rediscover the freedom and creativity of innocence. When? 22 September – 28 October 2012 Where? Frome Amateur Boxing Club, just off Butts Hill, Frome behind the Old Church School.

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Twenty Second Hold Who? Sarah Dobai What? The set of Sarah Dobai’s newest film, ‘Twenty Second Hold’, is a realistic recreation of a run down, decaying shopping arcade on the outskirts of Paris. Here, in this heavily used social environment, a young couple act out a series of twenty second stills, ranging from scenes of intimacy to disengagement. On the surface, the film may appear to portray a series of everyday social scenarios in a mundane, unremarkable setting. So what is there to get excited about? The point is that this is ‘us’. This is an insight into how people view our actions, gestures and interactions with others on a daily basis, and how we regard other members of the public in a similarly judgemental light. By artificially constructing these still poses, Dobai highlights the elements of performance detectable in human behaviour as, more often than not, we are aware that other people are watching us. Interspersed between the stills are segments of unrehearsed footage of the actors on set, introducing a new layer of artificiality into the piece. Dobai openly invites us to make judgements on the unexplained relationship between her two characters, and explore the intricacies of human behaviour. Really interesting stuff.

Still taken from Twenty Second Hold by Sarah Dobai

When? 6 October – 10 November 2012 Where? WORKS|PROJECTS, Sydney Row, Bristol, BS1 6UU

Eames:

The Architect And The Painter Who? Directed by Jason Cohn, Bill Jersey

What? Drawing from a treasure trove of archive material this film explores the life of Charles and Ray Eames, America’s most influential and important industrial designers. Alongside their non-negotiable attitude towards play – ‘Take your pleasure seriously’ - their mass-production mantra, ‘to make the best for the most for the least’, fed into their democratic, business-minded approach to both work and life. Their studio in Venice, California was like a Bauhaus school of design – part cinema, part film studio – and filled to the rafters with curios picked up on life’s journey. And while ‘Eames’ may have been the signature undersigning much of the group’s work, the constant stream of eager students didn’t prevent Charles and Ray from working hard at the conceptual end of design, under their cautionary maxim, ‘Do not delegate understanding’. Watch the trailer, then watch the film. When? Thu 29 Nov, 6.30pm Where? Arnolfini, Bristol

Exeter Contemporary Open Who? Chloe Brooks, Anita Delaney, Nisha Duggal, Aly Helyer, Brendan Lancaster, Oliviere Lariviere, Ruth Piper, Siobhan Raw and David Theobald What? Exeter Contemporary Open is an annual open submission exhibition, established in 2006 and hosted by Phoenix Gallery. The exhibition aims to provide an important national platform for contemporary visual art with an emphasis on supporting new and emerging talent alongside more established artists.

When? Thu 13 Sep - Thu 01 Nov

Bonnie by Siobhan Raw

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Gent's Head by Anita Delaney

Where? Exeter Phoenix

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This year, Exeter Contemporary Open will showcase works from emerging artists, spanning sculpture, photography, video, print, painting and performance. With such a wealth of new material, the exhibition guarantees to offer something for everyone. Whilst the competing artists will inevitably be motivated by the £1000 prize money for the overall winner, the exhibition is fundamentally geared towards providing a space to present their material and to celebrate new ideas.

Art Angel at Sea Who? Artangel and Plymouth Arts Centre What? Plymouth Marine City Festival 2012 has been orchestrated to celebrate all of Plymouth’s sea-related attributes and achievements, of which there are many. The festival will run from 8th - 16th of September, with events incorporating everything from seafood to science, to business ventures and musical performances. Also celebrating, Plymouth Arts Centre will be hosting Artangel At Sea, a series of talks and films from commissioning agency, Artangel’s, film archive. Artangel has previously launched some prestigious and breath-taking commissions, including precariously balancing a boat on top of the Southbank Centre. Plymouth Arts Centre and Artangel have joined forces to produce a series of three works. The first will be Yael Bartana’s stirring trilogy of films ‘And Europe Will Be Stunned’, documenting the Jewish Renaissance Movement in Poland. Secondly, ‘The Arbor’ from Clio Barnard tells the moving tale of the playwright Andrea Dunbar and her daughter Lorraine, using lip-synching actors. The final film, Jeremy Deller’s ‘The Battle of Orgreave’, covers the brutal clash between police and miners during the 1984. Viewings will be preceded by a talk from instrumental contributors towards each film. When? 8 – 11 November Image: Production still fromThe Arbor, Clio Barnard, 2011. Commissioned by Artangel. Image by Nick Wall.

Where? Plymouth Arts Centre

Moby-Dick Big Read Who? Peninsula Arts, Plymouth University What? This is a huge project that we’re getting very excited about. As part of Plymouth International Book Festival, Peninsula Arts has compiled a 21st century audio and visual rendition of the novel, Moby Dick. Many a celebrated household name will read chapters of the book, including Stephen Fry, Tilda Swinton and Sir David Attenborough, alongside locally recognised individuals and members of the public. This is a whopper of a book, consisting of 135 chapters of varying lengths, which testifies just how much work has been invested into the execution of this venture. Big up to our good friends at Deep Blue Sounds commercial studio, who have put long hours into making sure the recordings sound amazing. Props to the Peninsula Arts team who’ve also worked tirelessly to orchestrate the project. Chapters are set to be released online daily from Monday 17th September, alongside images by distinguished contemporary artists like Gavin Turk, Anish Kapoor and Susan Hiller. To kick-start the launch, guest of honour, actor and director Simon Callow, will perform a live reading in Plymouth University’s graduation marquee on the Hoe - the ideal location to pay homage to a novel so inextricably linked with the sea. Accompanying the reading will be an introduction from established author Philip Hoare, a musical performance, Call Me Ishmael by Sam Richards, and the premiere of a short film featuring international, bestselling novelist China Mieville, directed by BBC director, Adam Low. Don’t miss this. When? Sunday 16 September, 3.15-4.15pm Where? Graduation Marquee on the Hoe, Plymouth. N.B. Tickets: £6 with concessions Peninsula Arts Box Office 01752 58 50 50 or online at www.plymouthinternationalbookfestival.com

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Games People Play - Part 2 Who? Participating photographers: Newsha Tavakolian, Martin Parr, Hans van der Meer, Stefan Banz, Bleda Y Rosa, Nicolai Howalt

What? The Centre for Contemporary Art and the Natural World are an education focused charity whose main aim is to promote awareness of environmental issues and their potential solutions. This event will feature photography and film from 16 artists, spanning 12 different countries. The uniting theme of the artwork will be the way that sport can be used as vehicle through which to comment on our lives and civilization today. This will include the forward-thinking new generation of video games which aim to tackle social and environmental challenges - certainly a positive step, as we come to recognise that games reflect our attitudes, cultures and human nature as a whole. Alongside the exhibition, there will be wooden board games available to play and outdoor games to purchase. The emphasis is on playing nicely; the better our understanding of cooperation and team work, the closer we will come to solving environmental issues. This topic couldn’t be more relevant in the wake of the Olympic and Paralympic games. When? Centre for Contemporary Art and the Natural World, Haldon Forest Park, Exeter Where? 6 October – 10 February Teenage girl holding a silver gun dressed up as

‘Cosplayers’ Video by Cao Fei courtesy of Vitamin

Creative Space.

Martin Parr/Magnum Photos

The Leviathan – Twenty Four hour comic book event Who? BA (Hons) Illustration course; Tom Barwick What? Plymouth International Book Festival and students from the BA (Hons) Illustration will host a 24 hour comic book event inspired by Herman Melville’s, Moby Dick. Twelve artists and comic book illustrators, including Jonny Hannah, Viviane Schwarz and Jack Teagle, will attempt to create a 24 page comic in 24 hours. The artists will all present an independent piece, using Moby Dick or the word ‘Leviathan’, which loosely eaning biblical sea monster, as their uniting inspiration. We’re looking forward to seeing some contemporary interpretations on this literary classic. The artists will begin drawing at 12 noon, stopping for a communal meal at 10pm, and labouring through the night to complete their exhibits by 12 noon the next day. The final creations will then be revealed, followed by a workshop with the participating artists, who will be sharing tips and techniques used in the comic-making process. We’re sure the fusion of two such unlikely genres will produce some interesting outcomes. When? Wednesday 19 September, starting at 12 noon Where? Peninsula Arts Gallery and then to be displayed in Crosspoint, Roland Levinsky Building, Plymouth University Image by Joe Lyward

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In Pursuit of Art: Charles Eastlake's Journey from Plymouth to the National Gallery

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When? 22 September – 15 December Where? Plymouth City Museum & Art Gallery

What? Charles Eastlake (1793 – 1865) was an influential painter, scholar and arts administrator in the early 19th century. He was born in Plympton and taught to paint by Plymouth-born painters Samuel Prout and Benjamin Robert Haydon. ‘Napoleon on Board the Bellerophon in Plymouth Sound’ (1815), a painting which is now exhibited in the National Maritime Museum in London, was his first notable accomplishment. Eastlake advanced to become a prominent figure of the Victorian art world, and went on to revolutionise the National Gallery into a prolific institution. Partnered with the National Gallery, this exhibition explores his journey to success, and marks the numerous artistic achievements throughout his life; a testament to Plymouth’s artistic heritage.

Gerolamo dai Libri, The Virgin and Child with Saint Anne,

Who? Charles Eastlake

Would you like to participate in an artistic experience? Who? KARST and participants from George House What? For the duration of KARST’s Multiple Choices exhibition, Ricardo Basbaum’s ‘object’ will be adopted by George House, Plymouth’s shelter for the homeless and the vulnerable, next door to KARST. During this time it is up to the residents to make decisions on what to do with it: what kind of experience will be enacted, where it will be taken, and how it will be useful. They will send feedback in the form of documentation to feed into the exhibition, also to be displayed on the website developed for the project. Since 1994 the steel object, shaped like a giant pie dish with a hole in it, has stimulated more than 100 encounters, interventions, and experiences with participants from all walks of life. During Documenta 12, they were reproduced and distributed around the world forming an epic work of social sculpture. The project continues… When? 31 August – 23 September Where? KARST, George House, The Hoe, and where ever participants take it, concluding its journey in Plymouth with the Union Street Party The project is supported by Plymouth Art Centre Photos by Dom Moore

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Making Great Illustration Who? Illustrators: Quentin Blake, Kitty Crowther, Ralph Steadman, Rob Ryan, Laura Carlin and Ronald Searle. Curators: Jo Davies and Derek Brazell What? This exhibition features a wide range of vibrant artwork from celebrated illustrators, from typographic pieces to children’s books. Curators of the exhibition, Jo Davies and Derek Brazell, will be demonstrating the working process of illustration from the developing stages of creation to publication of the completed artwork. Accompanying the illustrations will be photographic portraits of the individual artists and snippets of biographical information surrounding their lives and working environments. When? Monday 10 September - Saturday 20 October. Opening Times; Monday – Friday 10.00 – 17.00 Saturdays 11:00 – 16:00 Where? Peninsula Arts Gallery, Plymouth University

Illustration by Matthew Richardson for 'The Outsider' by Albert Camus, published by Folio, 2011

Spike Island Book and Zine festival Who? Spike Island What? This is the fourth book and zine fair that Spike Island has hosted, featuring a great bunch of independent publishers, designers and collectives, all of which have constructed their work around experimental design and literature. Spike Island will host a reputable bunch, including An Endless Supply, B.Books, Bedford Press, Bookworks, Bronze Age Editions, Colin Sackett Books, Copy, Eastside Projects, Hato Press, Hyphen Press, L.I.E., Museums Press, Spike Associates, and last, but not least, our fine selves! A programme of short lectures, performances and readings from artists and writers will run alongside the event, featuring big names such as Patrick Coyle, Samuel Hasler, Holly Corfield, B. Books and Marie Toseland. As if that wasn’t enough, an exhibition of works by Modernist printer Desmond Jeffrey will accompany the fair. There will also be an on-site studio where Spike Island’s designer, Jono Lewarne, will work with UWE students to produce a printed publication. The designated closing time is 5pm, but we are informed that ‘special events’ will continue until late… Exciting. When? Saturday 20 October, 12-5pm Hyphen Press

The

Where? Spike Island, Bristol

Bruce Lacey Experience

Where? Newlyn Exchange, Penzance

Courtesy Agnes & Frits Becht Collection, Naarden, The Netherlands.

When? 29 September 2012 - 5 January 2013

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What? In the 1950s and 60s Bruce Lacey was at the forefront of London’s pioneering and experimental arts scene. Distinguished by his eccentricity, his work ranged from mechanical sculptures to cabaret acts and performances, and included making props and working with a host of legendary artists and actors, such as Spike Milligan and The Beatles. During the 1970s, Lacey was a visiting professor in numerous universities and art colleges, also taking children’s theatre shows on tour across Britain with his family. Lacey is still at large, creating art installations, directing events, and dabbling in electronic music production. This exhibition draws together aspects of Lacey’s work traversing all periods of his life, celebrating a career of brilliance, colour and creativity.

The Bed Springs TWANG in OUR House, 1963

Who? Bruce Lacey, curated by David Alan Mellor and Jeremy Deller

The Students of Mr. D. Brook by Laura Reeves

INCUBE8 2012 Who? Julian Claxton, Johana Hartwig, Samuel Hasler and Laura Reeves

Black Camp by Julian Claxton

What? Incube8 2012 presents four unique exhibitions and performances at Motorcade/Flashparade throughout November. The first of the four pieces is called The Students of Mr. D. Brooks. The piece sees Laura Reeves question the repeated cliché’s that occur during art school, and also the methods by which art was taught in the past. Her inspiration behind this exhibition was the unexpected discovery of an aged collection of 35mm slides previously belonging to a retired lecturer, documenting the build-up to students’ final exhibitions during the 1980s. A telling little snippet of art history. Next is Spoil Your Paper by Samuel Hasler, which features a new series of artworks targeting the abstract and political approaches applied to drawing. Hasler uses text and multiple printed images to demonstrate the composition and critical process of the artworks, often incorporating performance discussion with the audience to create an air of unpredictability. Black Camp, the third exhibition by Julian Claxton, exposes a cryptic journey into the depths of the woods, through an unexplained excess of scummy debris and battered remnants of human occupancy, to the heart of an abandoned, desolate hideout. Spooky. The final exhibition, Wet Beads On The Line by Johana Hartwig, reveals an array of mini visual sketches, representing ‘the humanity of the inanimate, the beauty of the incidental and a little fleshy wonder’. The latter particularly intrigues us, we want to know more. The sketches will be captured on film and flutter playfully between multiple screens, intermingling with curious objects and experiments, and placing a spotlight on the transitional moments in life that are often overlooked. When? Thursday 1st November – Sunday 25th November Where? Motorcade/FlashParade, BV Studios, 37 Philip Street, Bristol

We Can Have It All Who? Laura White What? What an alluring title? What does this exhibition promise us? Laura White has undertaken a huge amount of research before embarking upon this project. The gist of this exhibition, displayed at Spacex gallery, is to explore the relationship between everyday objects and constructed matter – what Laura simply refers to as the general ‘stuff’ of the world. By placing socially constructed categories of objects next to each other, such as church relics, modernist sculptures, and even equestrian monuments, Laura challenges our predisposed attitudes towards the objects. When placed in close proximity to a heap of other objects, does a church relic lose its value, and do these sculptures retain their status’ as works of art, or do they indeed become just ‘stuff’? This isn’t a simple question – there are lots of objects up for discussion. Historical importance, personal taste and monetary value are all contributing factors. Laura is interested in the way that these preconceived opinions of objects, can change depending on the location, history, or sentimentality surrounding them. By taking the pieces out of their natural environments and positioning them together, will we judge them in the same way as we would had they appeared where we would expect them to? Laura brings some intriguing ideas to the table, as well as lots and lots of pretty things to look at. There are not many circumstances in life where you will be offered the chance to ‘have it all’. It would be a shame to pass up such an enticing invitation. When? 8 December 2012 – 23 February 2013 Where? Spacex, Exeter Laura White

Benjamin Francis Leftwich Who? Benjamin Francis Leftwich What? Currently promoting his debut album, Last Smoke Before the Snow Storm, Benjamin Francis Leftwich is the definitive choice for relaxation and reflection. His music is soulful, calming and dreamy. The album, loosely based on ‘moments in time’ is definitely worth checking out. Also check out the video for ‘Atlas Hands’., which is just beautiful. Recently acclaimed as ‘Great New Artist’ by US iTunes and selected to support Lana Del Ray this September, Benjamin Francis Leftwich is getting bigger and bigger in the game, so go and see his show while you still can. When? Wed 3 Oct – Doors 7:30pm Where? Exeter Phoenix

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