tangent 12 by TangentProjects

tangent

issue 12 • autumn 2008 • £2.00

D I S T R O: London ICA Bookshop • Space Station 65 • Working Rooms Nottingham Moot Gallery Further Afield Eye Level Gallery, Halifax BC • Headquarters Galerie & Boutique, Montreal • Siddharta Gallery, Kathmandu • Sticky, Melbourne

FRONT COVER: Darius and Downey , “Sit your Arse Down” 2004, Duration: 3 hours, Location: London. Photo by Lee Lavanovsky

BACK COVER: Liindsey Sherline, Untitled, (2007)

tangent is a part of TangentProjects and is independently produced on an irregular basis. www.tangentprojects.org tangent is a member of Indy&Ink, an independent publishing society. www.myspace.com.indyandink. Submission and subscription information: www.tangent.org.uk or contact Karen D’Amico: info@tangent.org.uk zine contents © karen d’amico 2008 unless otherwise noted. contributing artists’ work in the form of text and /or images is used by permission and copyright by the artist. no stealing allowed; hey, make up your own ideas FFS - after all, we have.

waiting. . . INSIDE (in no particular order)

Brad Downey Daryl Waller Stephen Harwood Tim Etchells Vlatka Horvat Z AND . . . asked & answered: Cedric Christie dear you keenly observed by steve smith thoughts on a grey day listings / links

Everyone’s waiting for something He’s waiting for a bus. I’m waiting for the kettle to boil. She’s waiting to find out if she’s pregnant. He’s waiting to find out if he got the job. They’re waiting to see the results. We’re all waiting for the credit crunch to end. They’re waiting at the airport. I’m waiting for the people below my window to shut the fuck up. She’s waiting for her boyfriend. He’s waiting for a train. I’m waiting for the traffic light to change. She’s waiting for the tickets to arrive. He’s waiting to see the show. They’re waiting for their drinks. You’re waiting for your exam results. I’m waiting for that damn cheque to arrive. They’re waiting to see if it all works out. He’s waiting for his mum. She’s waiting for the toast to pop out of the toaster. They’re waiting for the party next door to be done so they can sleep. I’m really tired of waiting. You’re waiting for a letter. They’re waiting for the match to start. He’s waiting for the eggs to boil. You’re waiting to get online. We’re all waiting to die, so we may as well live while we wait. They’re waiting for the rain to stop. We’re waiting for our waiter. You’re waiting for the weather to finally be warm. You will be waiting a very long time. I’m trying to wait patiently. We’re waiting for you. What are you waiting for? 4

Z www.i-am-z.com ALL IMAGES: Z, Untitled (from an ongoing series) Exhibition Fibre Prints 11x17â&#x20AC;? (2005 - 2007)

i am z and z main inspirationz lie between thingz...momentz, expressionz, juxtapozitionz that are fleeting and missed that can be captured with the camera...whether absorbing myself in situationz and scenez, literally moving between thingz while shooting, or being in placez of tranzitionz....travelz, airportz, subwayz, streetz...people in between placez of their livez....waiting....in the uneaziness of theze areaz interesting thingz seem to present themselvez...something of human relatioshipz. z photoz have been shown at the CAID Ladybug Studios and Gallery in detroit and the Madron Gallery in chicago, both through Slideluck Potshow, and have been published in ninja and f-stop magazine. z workz in many mediumz and other workz lie in the realm of street artz with z tu-tu project in detroit. all of her workz seem to make theze connectionz of expozing and reveling what iz not seen, somewhere between realitiez and fictionz.

reviews by S T E V E S M I T H www.nooza.blogspot.com

Martin Creed, ‘Work No 850’ - Tate Britain

he familiar architecture draws your eye into the space and onto the spectacle, the runner walks slowly, turns the corner, a minor pause and with a small half step breaks into a run. Martin Creed is an artist who’s work divides opinion, his slight and subtle interventions into the world around him are read by some as empty gestures or others as indicators of significance through the highlighting of seemingly mundane acts in our social fabric. In the Tate his latest piece Work No.850 has a series of runners continuously running through the Tate Britain’s Duveen Galleries every 30 Seconds. Ambling, confused, they disrupt the runners path, disengaged by the surrounding architecture and unsure of their onward route. A parting of bodies, quiet, unknowing subconscious reaction. Ignored, deftly negotiated almost imperceptible, the runner negotiates the space. Photographer in his way, weaving between human obstructions unaware of their influence on the runners onward movement. The simple act of running has been described by Creed in a number of ways and in his own playful way we are left with only speculations as to his true intentions. But as you stroll through the turbine hall it is the actions and interactions of the passing public that perhaps give a true context and understanding of the spectacle that Creed has created. A large crowd, a massive collective obstruction, unfeeling, disinterested, passive aggressive, causing the runner to make a big deviation through the space. The architecture regarded subconsciously dictating the runners efficient choice of path. A clear run, the runner is off line but easily adapting to surrounding bodies. It is at points where the runners movements are not only affected by the architecture of the Tate’s classic hall but the movements and physicality of those who are adjacent to the action that a sense of real and uncontrived fascination can be invoked in the viewer. Selfish, unconcerned, non negotiating of the space, the group collectively mark their presence in the space unconcerned by their obstructive manner. They will not move, they feel their importance and impose their will on the runner. Two others step aside polite, tolerant engaged in the full social spectacle. Here in the Tate we see modern society and its conditions reflected in the reactions of all those who inhabit the space with the runner. It is in the variety of responses that we can see a society where simple adherence to social codes and norms has shifted to more selfish and individualistic motives. Three young women. Interested, amused that they are obstructing the runners path, pleased to be influencing the process, briefly revelling in the attention. Arrogant, deliberately obstructive, more interested in their own personal space and projecting their identity to any adjacent person. The runner approaches the group, she deviates her path, they see her as an irritation. We see a society at conflict, in which the need to assert ones own individuality and personality on many occasions predominates over a tolerant and respectful attitude to others. The runner is not only negotiating the architecture of the building but the social architecture of our times. A Young boy watches fascinated, observing the power and movement of the runner, two others alarmed, frightened by the sound of the runners quickly moving footsteps. The occasions at which a true and honest regard for the runner is taking place we see how an interest in the outside world can be a truly educating and rewarding experience. A large group of young men and women, a collective obstruction. One in competition chases the runner, seeking the attention and approval of the group. However in many ways society has become selfish and the interest of individuals in their right exert their individuality also affects the rights of others to exist unhindered. 6

The way in which some chose to hinder and question the action that is unfolding around them provides a great insight into questions of personal space and intellectual freedom and the assertion of our individuality and the potential adverse affects this may have on others. Startled and concerned by the runners approach turning to interest and speculation. Anticipation of the runners path, steps aside and allows a clear path. It reflects well on the Tate that they have enabled Creed’s current work to take place and in many ways the enormity of such a simple performance such as this comes beset with potential difficulties both logistically and conceptually. Selfishness, herd mentality, obstructive. Complete lack of awareness of surroundings, walks across the runners path, changes direction and does so again. A middle aged couple interestedly watch the runner and as he nears them exaggerate their efforts to remove themselves as an obstacle to his path. Creed has not only challenged the hallowed environment of the Tate Gallery but also pushed the question of what art truly is. Deliberately ignoring, feigning indifference to the runner and his task. Amused, speculating, remove themselves from the runners path. A mass of human traffic, the runner stalls his run, negotiates the space with aggressive adaptive movements to continue his onward run. Watching, peripheral to the runners movement, almost an obstruction but stands to one side. Testing personal space and asserting his right to his own as the runner passes close by. The simple act of running in the environment of the Tate addresses questions of social hierarchy, we are not just observers of art but a part of the work itself, from Creed’s initial vision of the simple act of running to the spatial negotiations that take place between the runner and the public present in the Tate. Creed has imposed a condition in the Tate with this artwork which provokes our assumptions of what constitutes an artwork, from Carl Andre’s Equivalent viii to Tracey Emin’s bed and beyond Creed’s Turner prize wining ‘lights going on and off’ we have another challenging and potentially seminal artwork of the 21st century. Indifferent, self absorbed. An obstacle, unaware, surprised and finally embarrassed by their lack of awareness of the runners presence. Interest, awareness, speculation of the movement and mechanics of the runner and his action. Avoiding but respectful, playful and engaged. Respect for the runner and his task. Once the action began to take place in this public environment a true dialogue ensued, it is unpredictable and uncontrollable. For as long as this piece continues Creed and his runners, the Tate and the public will be forced to interact in an unspoken conversation within the spatial boundaries of the Gallery. A group, unaware, self absorbed. Several groups stand static in the space, the runner negotiates all with minor adaptions of his onward progress. Creed has taken the’me’society we currently inhabit and by creating a simple act created a negotiation truly in the spirit of A B O U T S T E V E S M I T H: our self absorbed ‘reality TV’ times. Steve Smith is London born and bred, and a self taught artist. He works with existing objects and materials, modifying them into a variety of pieces from small individual works on paper and hand held sculptures to larger scale sculpture and installations. Steve is also a co-founder and director of TangentProjects. Steve also sees a lot of shows. To read more of his observations check out his blog: www.nooza. blogspot.com

Respect for endeavour, regarding the runner from a short distance. Society has changed massively in the past 50 years and the pace of change is disconcerting and worrying, and as time races past and we try to live our lives in the manner we wish with the minimum of negative impact on others and the world around us we can but hope that a more individualistic society can recapture a sense of community and social responsibility. We have hope that art and society can progress with a true spirit of individuality allied with a respect for the world around us. Turn of the head as the runner passes unimpeded. One shows surprise. The other gives an explanation of context. The first shows approval. Text © Steve Smith 2008

asked&answered: Cedric Christie THIS PAGE: Cedric in his studio, snapped with an Iphone, November 2008 OPPOSITE: One of Cedric’s cars, snapped with an iPhone whilst parked outside Carter Presents; 20 Sept 2008.

Mixed media artist Cedric Christie is perhaps best known for his fleet of Art Cars, which have made appearances across Britain and Europe over the past two years, most recently at the Liverpool Biennail. Cedric’s art practice encompasses far more than the Art Cars, however, and it seems to us that his ideas and interests are boundless. Ahh, yes: so many ideas, so little time... we like that.

Tell us a bit about Cedric Christie: When did you first know you wanted to be an artist?

I fell into art, actually; it was an accident. So I knew I really wanted to be an artist when I knew I could be one. I sold my first sculpture before I could even spell the word, ‘sculpture’!

Can you remember your first piece of work?

Yes, my first piece of work was a vase with a steel flower in it. Then my first comission was a massive piece - 5 big metal flowers in a meadow in Suffolk. It’s stil there.

Smartest thing you ever did in terms of your art practice?

Being honest in describing my work. For a long time people, other artists and stuff, were telling me, “your work is all about ‘tension’.” So I had a meeting with Nicholas Logsdail of Lisson Gallery, and he asked me what my work was about, and I said, ‘tension’. And he said, “No, it isn’t, actually.” And he was right. So I learned that my honesty and integrity about my own work was paramount. It may be something as simple as, ‘I just like it’, or it may be something more complex, but the important thing is that my feeling about or view of my work is mine, not someone else’s.

Worst mistake in terms of your art practice?

Probably taking advice from another artist not to show work in this restaurant. All the usual stuff, ‘it’s a restaurant... no one looks at the work... it isn’t taken seriously...” Then about 3 mohnths later, that artist happened to be showing thier work in the restaurant, and after that, loads of others did. It was very early on in my career, and it taught me to not rely on others’ advice and follow my instincts instead.

Are you waiting for anything particular at the moment?

That’s a very good question actually. Hmmm. Well, life itself is all about waiting, isn’t it? But yes, I’m waiting for many things. I’m waiting to remember that I’m alive and I’m waiting to forget that I’m gonna die. And I’m waiting for all the fun in between all that. And I’m waiting for someone to ask me a better question than that because that’s a very good question. And you were waiting for my reply - we’re all constantly waiting for a reply, aren’t we?

Tell us a bit about the crushed cars.

I see the crushed cars as paintings, but it’s more than that. Cars are the ultimate object - we spend more time thinking about what car we want to buy than we do the bed we will sleep in every night, so a car holds a mantle of sorts. For example, you probably consider carefully what colour you want your car to be - which relates to paint in an odd sort of way. And once you get your new car, you do everythiing you can to keep it looking new and sharp, and that in itself negates its purpose, as you have to drive it, which makes it not new anymore. So I wanted to turn some of the cars into paintings, as a sort of representation of the world I live in, now, in 2008. As objects, they reference technology, value systems, and so on... and the crushed car hanging on a wall in some sense turns into a paining for me. Also, it was the cycle - the journey - that interested me. By its nature, a car exists in order for us to be able to take journeys, but also, cars are ‘readymades’ in the first instance, by virture of what they are, so to use them, and then later subvert them, turn them into something else, is a sort of a culmination of the car’s own journey, which I really like.

And the Liverpool Bienniali?

The Liverpool Bienniali came about because of an artist named Daisy Delaney, who saw the cars at Documenta and loved them. She knew Louis Biggs, and told him about them so he ended up inviting me to bring the cars to this years’ Bienniali. So it wasn’t a gatecrash like Documenta and Manifesta were.

What shows have you seen recently?

Richard Serra at Gagosian - Fantastic!

Any words of wisdom for emerging artists? Understand history - but don’t get tied to it.

Thank you Cedric, for taking the time to chat with tangent and thanks for the coffee!

waiting for the kettle to boil. . . Waiting for the kettle to boil is a british institution. The anticipation of waiting for, and then hearing, that distinctive ‘click’ means that the water is now ready and we can pour ourselves a well earned cup of tea. Waiting for the kettle to boil seems to take ages, especially on a really cold day, but in reality it takes hardly any time at all. The old adage, ‘a watched pot never boils’ is perhaps supposed to remind us to be busy doing something else whilst the kettle is heating up, but the problem with this is that we get busy doing something else and forget about the kettle and then have to go through the process all over again.

So it’s good to remember that a watched pot never boils, but the water does.

text and image © KarenD’Amico 2008

Vlatka Horvat www.vlatkahorvat.com BOTTOM: Vlatka Horvat, ‘One On One: Goal’; C-Print, 11” x 14” (2006). Image courtesy of the artist.

Vlatka Horvat (b. 1974 in Čakovec, Croatia) is a New York-based artist working in a range of media - from video, photography and performance to works on paper and projects with text. Earlier this year, Vlatka’s work was shown at White Columns, Anna Kustera Gallery, and CCS Bard Hessel Museum of Art (all in New York); Contemporary Art Museum in St. Louis; Home Works festival in Beirut; Art Sheffield 08 and ArtFutures, both in the U.K. Other recent exhibitions include IBID Projects in London; Galerija Nova in Zagreb; Forum Stadtpark and Kunsthaus in Graz; Moderna Galerija in Ljubljana; and a project titled This Here and That There, commissioned by the Haus der Kulturen der Welt in Berlin. Upcoming exhibitions include a solo show at the Kitchen in New York, as well as new projects for Outpost for Contemporary Art in Los Angeles and In Transit Festival in Berlin. Vlatka’s practice increasingly involves collaborative projects with other artists – most recently with Tim Etchells and Matt Keegan.

Tim Etchells www.timetchells.com BOTTOM: Tim Etchells, Wait Here; Neon Sign (2008). Image courtesy of the artist.

Tim Etchells (b. 1962, UK) is an artist, director and writer best known for his work as leader of the renowned performance ensemble Forced Entertainment, based in Sheffield, UK and presenting projects around the world. Alongside his work with the group since 1984, Etchells has collaborated with a wide range of other artists, choreographers and writers and has created original works in diverse media from video to installation and works on paper. He has also developed a unique voice in writing for and about performance - his monograph Certain Fragments (Forced Entertainment and Contemporary Performance), (Routledge 1999) is widely acclaimed. Etchells has also published fiction; Endland Stories (Pulp Books 1998) and The Dream Dictionary (for the Modern Dreamer) (Duck Editions, 2000) are now followed by his first novel - The Broken World - which takes the form of a guide to an imaginary computer game and was published by Heinemann in July 2008. In recent years he has exhibited work at Butchers (London), Art Sheffield 2008, ArtFutures (Bloomberg SPACE, London), The Centre for Book Arts, Canada and Exit Art (all New York), Kunsthaus Graz and Manifesta 7 in Italy. The simple phrase spelt out in the sign suggests both an intimate relationship with its author and a situation of danger, neither of which can be fully inferred or understood from the information supplied. The viewer/reader is drawn into an incomplete scenario and then, without further ado, abandoned. In this work, and in the other neons I made this year, a further tension exists between the supposed urgency and narrative drive of the text on the one hand and the overly elaborate means of the messageâ&#x20AC;&#x2122;s display. In a key sense, a text most appropriate for a private communication is here turned into a public one, bringing in a host of confusions and amplifications of its status and its significance

Brad Downey www.braddowney.com IMAGE:: Brad Downey, Rubbish Waiting, (2008) Location: Prague. Duration: 1 month still standing. Photo by Fahrlaessig. TEXT: courtesy of the artist

There are multitudes of signals and systems that govern our cities and imperceptibly determine our everyday movement. Artist Brad Downey stakes a claim for the right of the individual to interpret and understand these systems, and thus regain power in the public arena. As a public, we are acclimatized to these signs and beacons, and their subtle manipulation and proliferation can go undetected. Brad Downey, via his art, shines a light on this institutional regulation of public behavior. By wider awareness of these controls, his viewing public, he hopes, will gain greater understanding of his own urban and social situation. Subtle, comic and very often provocative, Downey aims to surprise the viewer by illuminating how public and private property, and urban space and personal experience, overlap in an era of increasing privatization. He finds forgotten remnants of urban architecture to re-invent and rejuvenate. These are then re-inserted into the everyday landscape. The works are a temporary disruption, usually remaining in place for as short a time as a few minutes, but also sometimes becoming a permanent fixture in the landscape of the metropolis. Check out Chief Magazineâ&#x20AC;&#x2122;s interview with Downey online: http://www.chiefmag.com/issues/15/features/Brad-Downey/

dear you a day in someone’s life YOU is a letter addressed to you from various writers, usually handwritten, often sealed in a paper bag, and distributed anonymously within melbourne as well as lots of other parts of the planet. often, when you come across a YOU, you don’t want to open it because there are odd bits on the bag and the staples are always evenly spaced. maybe it’s an OCD thing, i don’t know, but there is something magical about the way each one is put together. also you may find yourself wondering, is it really addressed to you or are you being a voyeur and reading other people’s letters? YOU has been faithfully written and distributed on a weekly basis since november 2001.

IMAGE:: Stephen Harwood, New Kids on the Block, (2005); Oil on canvas,

Stephen Harwood www.stephenharwood.co.uk/ Whitechapel based artist Stephen Harwood has been interested in and inspired by the history of the East End of London for over ten years. The subject developed over time and Stephenâ&#x20AC;&#x2122;s later East End work focused on the districtâ&#x20AC;&#x2122;s teenage inhabitants. This in turn led him to begin questioning his own life and origins. Currently, although focused on his own childhood, Harwood's current work is part of a broader concern with history and memory, adolescence and growing up.

Daryl Waller www.winterdrawings.com

ÂŠ Daryl Waller 2008

TangentProjects Art of Occupation, 11 Sept 2008 www.tangentprojects.org

TOP LEFT: Cedric Christie, ‘Barrier’ after Eyal Wiezman, Flourescent Light Fittings (2008) BOTTOM LEFT: Karen D’Amico, Shift (detail), mixed media (2008) RIGHT: Steve Smith, Equivalant 8 I, II and III, London Stock Brick (2008)

11th September saw TangentProjects launch its first show, Art of Occupation, curated by Helene Kazan at Working Rooms in Hackney. Inspired by Eyal Weizman’s book, Hollow Land: The Architecture of Occupation, and specifically, the story of the installation of a fake mobile phone antenna near Jerusalem (see ‘Contextualising the Work on the next page), the show’s premise was to investigate and reflect relevant issues of origin, occupancy, space and cultural growth facing an artist working in London today. The work exhibited came from lengthy negotiations between six artists, looking at how their work integrated, as well as how they marked their own and each others’ territorial space within the gallery. These conversations became part of a process that engendered and became part of the work itself. The story of the installation of the fake mobile phone antenna in Weizman’s book marks the beginning of what eventually becomes total foreign occupation of a small territory, and ‘Art of Occupation’ focused on this abstract snapshot of cultural growth by challenging each of the artists exhibiting to do the same: to occupy their space. In addition to the video and installation work presented, sound Engineer, DJ & Musician Simon Fraser presented a site specific sound composition, ‘The Elevator Project’, specially produced for the opening night, and situated within the cavernous goods lift, adjacent to the project space.

TOP: Art of Occupation, gallery shot MIDDLE: Helene Kazan, Mark 1, concrete, timber and galvanised steel clout nails (2008) BOTTOM: Emily Candela, Fire, video projecton (2008)

Contextualising the Work: An excerpt from Hollow Land: The Architecture of Occupation by Eyal Weizman In 1999 several settlers complained to the military of bad reception on their cellphones as they drove round a bend on the highway, Road 60, leading from Jerusalem to the settlements in the northern West bank. In response, the cellphone provider, Orange, agreed to erect an antenna in the area. The settlers pointed to an elevated hilltop overlooking the bend as a potential site for the mast. The same hilltop had been the site of previous – unsuccessful – settlement attempts: three years earlier settlers claimed that the summit was an archaeological mound under which the biblical town of Migron was buried. Sample excavations unearthed nothing older than a small Byzantine village, but the hilltop was named ‘Migron’ regardless. Two young settlers occupied the hill, living in converted shipping containers, but, with no prospects of being able to develop the site, left after a short time. The hilltop, its slopes cultivated with figs and olives, was owned by Palestinian farmers from the villages of Ein Yabrud and Burka who were shepherds there. According to the emergency powers invested in the Israeli military, however, the construction of a cellphone antenna could be considered a military issue, and could therefore be undertaken on private lands without obtaining the owners’ consent. Following a request by Orange, the Israel Electric Corporation connected the hilltop to the water system, purportedly to enable the construction work. Because of delays in the masts construction, in May 2001 settlers erected a fake antenna and received military permission to hire a 24-hour on-site private security guard to watch over it. The guard moved into a trailer at the foot of the mast, and fenced off the surrounding hilltop; soon afterwards, his wife and children moved in and connected their home to water and electricity supplies already there. On 3rd March 2002, five additional families joined them, and the outpost of Migron formally came into being. The outpost grew steadily. Since families were already living onsite, the Israeli Ministry for Construction and Housing built a Nursery, while some donations from abroad paid for the construction of a synagogue. Migron is currently the biggest of the 103 outposts scattered throughout the West Bank. By mid 2006 it comprised of around 150 people perched on the hilltop around a cellular antenna.’ Sharon Rothbard mentioned, ‘the most explosive ingredients of our time, all modern utopias and all ancient beliefs (are contained) simultaneously and instantaneously, bubbling side by side with no precautions’. ”..occupied territories should be seen as kind of ‘political plastic’, or as a map of the relations between all the forces that shaped it.” 21

D’Amico thoughts on a grey day Karen www.karendamico.com Waiting for the Credit Crunch to End? As anyone who’s recently been petrified to look at their skyrocketing overdraft can attest, the credit crunch is affecting us all, and with no end in sight. Thanks to the mismanagement of government, the banks, over the top hedge fund Fat Cats, and whoever else you might want to blame, we’re all in for a long, hard slog. Poverty Stew, Beans on Toast, the wearing of multiple jumpers, and finding yet more ways to cut spending and economise is the order of the day for the foreseeable future, for pretty much everyone. It’s now become somewhat of a competition for people from all walks of life (even the Birkin crowd, I understand) to prove who can economise not only the most, but the most creatively. So whilst everyone else is suddenly discovering ways to stretch a quid, make their own soap, invent a thousand and one recipes for leftovers, keep warm without central heating and keep the credit wolves at bay, the good news is, as artists, most of us are experts at doing this already. Ask anyone who rents an unheated studio that leaks, has a crappy part time job that barely pays the rent and still somehow manages to produce and show work. For starters, artists are known for ferreting out and colonising the cheapest places to live/work, eat, drink and get merry. It’s in the job description, after all. Unfortunately, those places inevitably morph, over time, into trendy hotspots that most artists can no longer afford, but the point is, we, as a profession, are there first. Artists are industrious. It’s in our nature. We know how to do this credit crunch thing, and for us, it comes quite naturally. We can make something amazing out of virtually nothing, and often do. Being natural pack rats, we are specialists in accumulating the weirdest stuff (after all, we might need it for a piece of work one day) and we certainly know how to recycle, reuse and recreate. Artists lazy? Pie in the Sky? Gazing into space wondering what to make next? Pah! Artists are hard workers. They can, and do, regularly transform the most derelict of spaces into something quite amazing and at times, magical, through a bit of elbow grease, a lot of lateral thinking, and with very little money. They can find the most unusual objects in the most unlikely of places, and then transform them into something beautiful, thought provoking or visually engaging. And artists have an innate ability to make supplies and materials stretch until the cows come home, as well as suss out the best and most costeffective places to get our materials. We also seem to know the cheapest way to get from Point A to Point B, and are probably fitter than most because of it, as we walk a lot (or cycle). Artists, as a profession, are certainly not wimps when it comes to this credit crunch thing. No, my compatriots, we are qualified specialists. So, as the nights draw in and the temperature drops, and in the face of what many proclaim to be the biggest economic collapse in living history, take heart in the fact that, we, the artists, are indomitable!

an magazine - www.a-n.co.uk Artwords Bookshop - www.artwords.co.uk/aboutus/ Arty Magazine - www.artymagazine.com Bad Idea Magazine - www.badidea.co.uk Bookarts Bookshop - www.bookartbookshop.com/index.htm BRAG - www.bragart.co.uk Cafe Royal - www.caferoyal.org/index.html Donlon Books - www.donlonbooks.co.uk/ Eighty-eight shades of grey - www.beastmangoat.com Found Magazine - www.foundmagazine.com Grrrl Zine Network - grrrlzines.net/index.htm Interlude Magazine - www.interludemagazine.co.uk Leisure Centre - www.leisurecentre.org.uk Milk Two Sugars - www.milktwosugars.org/site.html riffRAG - www.riffrag.org/ Runway Magazine - www.runway.org.au/about.htm. Savage Messiah - www.savagemessiahzine.com Smoke: a london peculiar - www.home.btconnect.com/smoke/index.htm The Critical Friend - www.transitiongallery.co.uk/htmlpages/editions/critical_friend.html Things magazine - www.thingsmagazine.net Artangel - www.artangel.org.uk Artinliverpool - www.artinliverpool.com/blog Artquest - www.artquest.org.uk Axis Artists - www.axisartists.org.uk Eyebeam - www.eyebeam.org FadBlog - www.fadwebsite.com/ Fallon & Rosoff - www.fallonandrosof.blogspot.com/ Golgonooza - www.nooza.blogspot.com Newsgrist - www.newsgrist.typepad.com/ Re-Title - www.re-title.com Russell Herron’s blog - www.russellherron.blogspot.com StephenArt-East - www. stephenart-east.blogspot.com 2B1 - www.2b1studio.co.uk Bearspace - www.thebear.tv/bearspace/ Cafe’ Gallery Projects - www.cafegalleryprojects.com Castlefield Gallery (Mancs) - www.castlefieldgallery.co.uk Cell Project Space - www.cell.org.uk DeviateProjects - www.deviateprojects.com Fieldgate Gallery - www.fieldgategallery.com (sadly missed...) Form/Content - www.formcontent.org Gasworks - www.gasworks.org.uk Grey Area (Brighton) inIVA - www.iniva.org ICA - www.ica.org.uk Moot Gallery (Notts) - www.mootgallery.org MOT - www.motinternational.org SevenSeven - www.sevenseven.org.uk/ Seventeen - www.seventeengallery.com/ South London Gallery - www.southlondongallery.org Space Station 65 - www.spacestationsixtyfive.com Spectacle (Birmingham) - www.spectacle-gallery.co.uk/ Stand Assembly (Notts) - www.standassembly.org Standpoint - www.pauperspublications.com/gallery.html Studio Voltaire - www.studiovoltaire.org Surface Gallery (Notts) - www.surfacegallery.org/index.html Tatty Devine - www.tattydevine.com/boutique/index.php The Residence - www.residence-gallery.com The Wyer Gallery - www.www.thewyergallery.co.uk Transition Gallery - www.transitiongallery.co.uk Transmission (Glasgow) - www.transmissiongallery.org/ Vitamin (Beijing) - www.vitamincreativespace.com/ Blue Lotus Gallery (Hong Kong) - www.bluelotus-gallery.com 1a Space (Hong Kong) - www.oneaspace.org.hk/ Fotan (Hong Kong) - www.fotanian.com/ Para/Site (Hong Kong) - www.para-site.org.hk/whatis.htm Platform Artists Group (Melbourne) - www.platform.org.au Sticky Institute (Melbourne) - www.stickyinstitute.com Headquarters Galerie & Boutique (Montreal) - www.HQgalerieboutique.com Location 1 (New York) - www.location1.org White Columns (New York) - www.whitecolumns.org Eye Level Gallery (Nova Scotia) - www..eyelevelgallery.ca Torpedo Artbooks (Oslo) - www.torpedobok.no/ Iaspis (Stockholm) - www.iaspis.com/ The Invisible Inc. (Sydney) - www.theinvisibleinc.org.au CAC (Tbilisi) - www.actualart.ge/index.html Senko Studio (Viborg) - www.senko.dk/

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