wide open school - Yara El

Transcription

11 JUNE – 11 JULY 2012
HAYward gallery
wide open school
course guide
100 INTERNATIONAL ARTISTS
REINVENT SCHOOL
HAYward gallery
wide open school
The Hayward Gallery’s Wide Open School is an unusual experiment in
public learning. Its programme of courses is devised and delivered by
over 100 artists from approximately 40 different countries. It is not an
art school, however. Instead, it is a wide-ranging forum where artists
lead and facilitate workshops, collaborative projects, collective
discussions, lectures and performances about any and all subjects
in which they are passionately interested.
That is a territory as expansive as the imaginations of artists. If you
peruse the Wide Open School course guide, you will encounter a
remarkable diversity of topics and approaches to learning. It includes
material that is under the radar of mainstream culture – things
that are overlooked or neglected for one reason or another. It also
features courses that involve looking at familiar subjects in a new
light. Contemporary artists regularly find fresh ways of approaching
research and thinking from other disciplines, from history to physics,
from anthropology to economics. Building on these tendencies, Wide
Open School exists as a meeting ground for overlapping fields of
knowledge. It establishes a temporary haven for lateral thinking.
Yet while they span an eclectic spectrum, the courses in Wide Open
School also share a common goal: they offer participants a direct
experience of how artists think about and question things. Artists are
often great self-educators. Their work demands that they continue
to learn, and to invent new ways of learning. They are always looking,
and they know that while you may not always find what you are
looking for, you can always find a novel way of using what you do find
and what you already have. Artists are also experts at embracing
contradictions, and knowing how to move forward in understanding
a problem without first having to neatly resolve it. It is impossible to
‘teach’ someone how to work like this, except by example and through
practice – which is why many of the classes in Wide Open School
incorporate some form of ‘active’ learning.
Most schools are in the business of transferring knowledge from
teachers to students. Wide Open School, on the other hand, is more
like a labyrinth of learning in which various possibilities are explored
and developed. As one of the participating artists suggests, it is
a school for people who love learning but do not necessarily like
schools. It serves up a scenario where people explore subjects for
which they share a common curiosity, rather than where ‘students’
are ‘taught’ in any conventional sense. It also provides us with an
opportunity for playing with the rules of how we educate ourselves,
but it is not a new model for an academy. Playful and serious at the
same time, it aims above all to create an energetic atmosphere for
formulating and exchanging ideas.
Wide Open School is open to everyone. There are no applications
required, no entrance exams to take. Enrolment in courses is on a ‘first
come, first served’ basis, except in those instances where an artist has
specified their desire to work with particular age groups or individuals
with special learning needs. While the majority have been invented by
artists, a handful of courses are based on proposals from the public.
Accommodating different modes of learning, classes range in size
from one-on-one conversations to small groups to large gatherings.
Several are conducted in languages other than English, depending
on languages spoken by the artist leading the class. The broadly
international character of the Wide Open School faculty is a significant
part of this project, reflecting the historical urgency for us to actively
learn from different cultures and different parts of the world.
Wide Open School takes place in classrooms built in the Hayward’s
gallery spaces. But it is not an exhibition in any sense, and it demands
a very different type of engagement. It asks its participants to make
an unusual commitment of time as well as energy. It obliges us to
be attentive and open. It invites us to use our intelligence in unusual
ways, and to confront our desire to understand and to be understood.
It requires a willingness to discuss issues and to make things with
strangers. And its success depends on our ability to realise that the
contribution of each and every member of the school is significant.
It is our greatest hope that Wide Open School can provide learning
experiences that lead to the kind of intuitive insights and sharpened
perceptions that our encounters with art produce. It might not be an
exhibition by any stretch of the imagination, but in this sense Wide
Open School may end up being more like a collective work of art. You
will have to be the judge of that.
Ralph Rugoff
Director, Hayward Gallery
Georges Adéagbo with stephan Köhler
The discovered
discovers
the discoverers
FRI 15 June, 11am
Georges Adéagbo examines what
globalisation and the one-way
transfer of African cultures to the
West means to his practice and
how he reverses the roles of both
explorer and explored. In this class,
Adéagbo and Stephan Köhler
introduce aspects of ‘European
Ethnology’. The class will see how
Adéagbo introduces elements of
vernacular and high culture into his
work, juxtaposing them with
objects from Benin.
Oral and written
Knowledge-transfer
in Adéagbo’s practice
FRI 15 June, 3pm
In this class, Georges Adéagbo
discusses his methods of
storytelling, assessing the role
of printed matter (newspapers,
books, texts on textiles) in his
installations, and looking at how
this communicates with objects
not only from Africa, but also from
local flea markets.
Hayward Gallery Room 3
£10
Approximate duration: 2 hours
£10
Georges Adéagbo (b. 1942, Cotonou, Benin)
Describing his working process, which he begins in West Africa and continues
wherever he exhibits in the world, Georges Adéagbo says: ‘I walk, I think, I see, I
pass, I come back, I pick up the objects that attract me, I go home, I read things,
I make notes, I learn.’ His complex installations, which are usually temporary
and always made exclusively for particular locations, are meditations on
historical events, art and the meeting of different cultures, and on his own
life experiences. Often taking a newspaper report or article as his startingpoint, Adéagbo spends months researching his ‘archive’ of lost or discarded
objects – items such as wooden figures, books, photographs, textiles, empty
cigarette packets, decorations and stones – for the particular ingredients for
individual works, each of which becomes a ‘comprehensive documentation of
anything and everything’. Referring to himself as a ‘messenger’ rather than an
artist, Adéagbo says: ‘I didn’t learn things in an art school. I am only a witness
of history.’
‘Going Fishing with
Adéagbo’ and ‘Making
Objects Talk’
SAT 16 June, 9.30am
A morning visit to Deptford Market
in the company of Georges Adéagbo.
Participants meet at the Hayward
Gallery at 9.30am and travel to
Deptford by public transport. This
excursion gives insights into how
Adéagbo selects objects for his
installations, with opportunities for
participants to pick objects for the
afternoon’s class.
In the afternoon, Adéagbo will
discuss what he found at the market
and how these purchases relate to
what he brought with him from Benin.
Participants will create objects
from their own treasure trove of finds
from the market.
Morning: Off-site. Meet at Hayward
Gallery Ostrich Lounge, 9.30am
Afternoon: Hayward Gallery Room 4
£10 (not including travel or other
expenses)
Approximate duration:
6.5 hours with breaks
‘Religious Metaphors
in Adéagbo’s texts
and installations’
and ‘Re-interpreting
religious metaphors’
SUN 17 June, 9.30am
In the morning session, participants
explore two to three local churches
with Georges Adéagbo. The artist will
discuss the symbolic and allegorical
content of paintings and statues
encountered during the visit.
In the afternoon, photos taken on
the morning excursion will be printed
out in the gallery. Adéagbo will add
them to the installation created
during the previous two days,
explaining his way of reading the
Bible and how it relates to his idea
of life being a tight-rope between
self-determination and destiny.
Morning: Off-site. Meet at Hayward
Gallery Ostrich Lounge, 9.30am
Afternoon: Hayward Gallery Room 4
£10 (not including travel or other
expenses)
7.5 hours with breaks
Stephan Köhler is a German media researcher, photographer and
creative agent. He has worked in Venice, at the Peggy Guggenheim Collection,
and in Japan, where he founded the Washi Survival School, which teaches the
traditional skills of Japanese paper making. In 1999 he began working with
Georges Adéagbo, coordinating the realisation of his installations, and in
2002 moved to Benin to start a residential community for artists, writers
and researchers.
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Please check the website southbankcentre.co.uk/wos Information correct at time of printing but subject to change
Mark Allen
Yto Barrada with Mounira Bouzid El Alami
Mind reading for the
left and right brain
Mother Tongue
WED 4 July, 10AM
FRI 6 – SUN 8 July, 2pm
Mark Allen will lead an afternoon
hands-on workshop in which
participants will make their own
lie-detectors. The workshop will
explore how internal subjectivity is
externalised through the technology
of Galvanic Skin Response sensors
and how particular words, phrases
and questions can cause heightened
and involuntary physiological
responses.
£10 per class
Materials will be provided by
Wide Open School.
Mark Allen (b. 1971, Vermont, USA)
Mark Allen is the founder and director of the Los Angeles-based Machine
Project, a not-for-profit organisation and community event space. Bringing
together artists, architects, designers, makers, scientists, programmers,
plant enthusiasts, poets, and gaming nerds, Machine is dedicated to making
specialised knowledge and technology available to artists and the general
public, and the ethos is to learn by doing. Allen says that one of his main
motivations for creating the project was to try to recreate the flow of ideas
and creative work that he himself experienced as a student at The California
Institute of the Arts (CalArts): ‘I’m interested in how people acquire the skills
and confidence to make things, whether that means electronics, cheese
making or an introduction to using a sewing machine.’ He adds: ‘what I try
to do is not to convey expert knowledge so much as a spirit of comfort with
everything from computers to poetry to anthropology.’
Yto Barrada gives a cookery lesson,
based on her grandmother’s orallytranscribed Recipe book. Barrada’s
mother, Mounira Bouzid El Alami, will
be the chef.
Tongue, brain, liver, heart and testicles
will be on the menu. Please join Yto and
her mother for a workshop in the art
of food and oral transmission, a meal,
and a conversation.
Please be advised that, due to food
hygiene regulations, a disclaimer
may need to be signed prior to
consumption of the prepared dish.
£10
Yto Barrada (b. 1971, Paris, France)
Yto Barrada’s life and work are focused on Tangier, a place which, she maintains,
‘in a way doesn’t exist; it changes all the time.’ Much of her art is concerned
with creating a visual ‘grammar’ of this city situated on the Strait of Gibraltar in
northern Morocco. Through photography, film, printed matter and sculpture,
Barrada represents a place and a population that is not only at the crossing
point of continents and cultures, but is also caught in what she describes as a
‘kind of fast-forward transformation of the city.’ Explaining that her interest is
in what lies just below the surface of public behaviour, she portrays aspects of
everyday resistance tactics and survival strategies in the face of irreversible
change. She says of her work and herself: ‘I convey information, but I am not
a journalist. I convey poetic things, but I am not a poet. My work exists on the
periphery of these things.’ Barrada combines art-making with directing the
Cinémathèque de Tanger, the independent cinema and cultural centre which
she co-founded.
Mounira Bouzid El Alami, Yto Barrada’s mother, is a child psychotherapist,
and the president of Darna (darnamaroc.org) which she founded in 1995.
Darna (Arabic for ‘Our House’) is an NGO with six structures in Tangier,
Morocco, and provides shelter, education and job skills training programmes
for youth, girls and women at risk.
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Neo Naturists
© The Neo Naturist Archive 1984
Yael Bartana
GUY BEN-NER
NATIONAL IDENTITY
WORKSHOP
SOUND IN FILM AND VIDEO
WED 13 and THU 14 JUNE, 2PM
Dates and times TBC
Yael Bartana leads a workshop
on national identity.
Please check website for
further details
£10 per class
Christine Binnie, Jennifer Binnie
and Wilma Johnson
Tania Bruguera
Neo Naturist
Life Class
Creating a Profession:
Behaviour Art
FRI 22 June, 10am
Guy Ben-Ner leads two sessions
exploring the different uses of
sound in film and video. In each
class, the group will analyse
selected sequences from a variety
of examples, from early silent
cinema to contemporary works.
Together, the two classes form a
continuous narrative, but each
may be booked separately.
Hayward Gallery Room 1 (13 June)
Hayward Gallery Room 2 (14 June)
£10 per day
3 hours each day
Wed 4 July – Fri 6 July, 10am
Sat 7 and Sun 8 July, 11am
For this class, Christine and Jennifer
Binnie and Wilma Johnson will
run a life drawing class where the
role of tutor, model and canvas are
interchangeable. The result will be a
performative soup of participation,
paint, art and ritual. Formerly known
on the club and art scenes of the
1980s as the Neo Naturists, the
Binnies and Wilma Johnson re-unite
for the first time since 1987.
All participants are required to be
either completely nude or to attend
barefoot. Please bring a towel.
£10
7 hours with breaks
Strictly over 18s only
Yael Bartana (b. 1970, Kfar Yehezkel, Israel)
In her photographs, films and installations Yael Bartana explores the imagery
of cultural identity. Using her homeland, Israel, as ‘a sort of social laboratory,
always looking at it from the outside’, she examines social rituals and
structures and scrutinises ideas of nationalism, statehood and Zionism. In
her work the questions she returns to again and again are: ‘What if politicians
could work with their imagination and use artistic tools? How can artists
use political strategies in their works?’Her film trilogy, ... And Europe Will be
Stunned, revolves around the story of the quasi-fictitious Jewish Renaissance
Movement in Poland (JRMiP), which calls for the return of 3 million Jews to
their former, pre-Holocaust homeland. Commenting that ‘JRMiP is a social
experiment which allows people to connect through culture,’ Bartana explains
that the trilogy ‘also plays with nationalism, in that it uses the same tools of
propaganda but tries to undermine the nationalism and reflect on it.’
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GUY BEN-NER (b.1969, Ramat Gan, Israel)
Part of the appeal of Guy Ben-Ner’s deceptively simple videos is that they are
made with great economy of means, presenting a do-it-yourself aesthetic. In
his early works, Ben-Ner used his young children and his wife as performers in
narratives staged in his own home. The family kitchen became the setting for
adaptations of Moby-Dick and Robinson Crusoe, and for other videos which
incorporate sophisticated references to classic films and literature and the
history of performance art. In these works, which are characterised by their
ingenious use of everyday materials, Ben-Ner addresses, in his words, ‘the
biggest themes with the aid of the tiniest means.’ In the last five or six years,
despite having received several major commissions to make films, he has
remained true to his belief that it is important to be able to make art cheaply. He
also maintains that, ‘in terms of artistic practice, nothing good can come from
complete freedom. You need rules to play with and break.’
Christine Binnie, Jennifer Binnie and Wilma Johnson
Neo Naturism is a performance based live art practice started by Christine
Binnie, Jennifer Binnie, and Wilma Johnson in London in 1980. The group
was founded in the cultural context of post-Punk, the New Romantics,
Rolf Harris, transvestites, the advent of Thatcherism and the London club
scene. An anarchic exploration of everyday and ritual actions, ‘common
sense’ and nudity, and a celebration of their bodies as paintings, the Neo
Naturists performed naked wearing body paint in clubs, galleries, festivals
and site-specific performances. They resolved to become ‘Neo Naturist
Octogenarians’, keeping their practice going until they reached their 80s but
their activities as a group now happen at a much slower pace. Since 2006 they
have been compiling the Neo Naturist Archive which has been exhibited at
galleries including the ICA, London and the Munich Kunstverein. [RH]
Tania Bruguera leads an intensive
five-day workshop in which
participants are involved in the
creation and design of a brand new
and unique profession, which they
will research from the initial concept
through to implementation and
promotion. This new profession will
be a direct response to an everyday
situation or scenario that the
participant finds objectionable.
On day one, participants will suggest
a behaviour that they find socially
unacceptable, discuss it in depth,
and put forward a number of actions
to eradicate these problems. On day
two, the new proposed profession
will be presented and debated
to ensure its usefulness and
uniqueness. In the following session,
participants will then actively design
and give the new profession its
identity and remit. On the fourth day,
all involved will collate the results
of these discussions and design
processes with a view to publishing
a booklet containing the essential
defining criteria of this profession.
On the final day, the profession will
be presented to a general audience.
£ 30 (5 days)
7 hours each day including breaks
Tania Bruguera (b. 1968, Havana, Cuba)
Tania Bruguera identifies her background as an artist as ‘the Cuban Revolution
and all that brings with it.’ Her performances and installations examine the
relationship between ideology, political power and social behaviour. Explaining
that her intention is ‘to address the subtlety and seductiveness of power,
and our own participation in its process,’ her confrontational works demand
that viewers become performers. Her writing and thinking, though less well
known, are equally powerful and compelling. In 2002 she founded (and ran
until 2009) the Cátedra Arte de Conducta, or School of Behaviour Art, at the
Instituto Superior de Arte in Havana. Bruguera describes the Art of Behaviour,
which she continues to pursue in international projects, as ‘teaching about
ethics, sociology, and the ways in which an idea could be part of society.’ She
has participated in Documenta 11, Performa 07, and in numerous international
biennales. Her five-year project Immigrant Movement International, focusing on
the situation of homeless and displaced people, began in New York in 2011 and
will move on to different locations around the world.
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Bonnie Camplin, Kieron
Livingstone and friends
Surveillance and Hiding
Today and Tomorrow
The workshop will, amongst other
things, include:
• A technical demonstration
exploring the possibility of
intercepting a spy-drone or UAV
(un-manned aerial vehicle)
• Observation exercises
• Auto-identifying on IntentionSpectrums
• A ‘Remote Viewing’ workshop
where participants will ‘Remote
View’ MI6 Vauxhall, GCHQ
Cheltenham, RAF Menwith Hill and
other sites of interest
• How to make a ‘Subject Access
Request’ in order to discover
(under the Freedom of Information
Act) any information that may be
held on you by central agencies
• How to look glamorous while
‘hiding in plain-sight’
£10 per daily session
Bonnie Camplin (b.1970, London, UK)
Bonnie Camplin’s myriad interests include Stone Age magic, geometry,
feminism, cybernetics, waves and particles, economy and ecology. Believing
that ‘art is an absolutely necessary response to any situation,’ her drawings,
watercolours, film and performances reveal her preoccupation with social
traditions, history and popular culture. Her recent exhibition SAS was inspired
by an old survival handbook, a ‘reference bible’ of techniques to survive
outdoors, on land, or at sea, in any weather, in any part of the world. Reapplying these strategies of Cold War survival in the context of today’s fears
of catastrophic climate change and ensuing resource wars, she takes this
survivalist culture and its rituals to absurd extremes.
Kieron Livingstone is a London-based researcher and creative
practitioner, who has worked in a variety of different media, including
video, fashion, sculpture, illustration and music. He has been involved with
London Scrubbers affinity group, The Nervemeter publication, art and design
collective Project Zoltar and the band Long Meg.
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Adam Chodzko
Martin Creed
The Orchid Pavilion
THE DISAPPEARING
ART STUDENTS
Words and Music
SAT 16 June, 6pm
SUN 17 June, 2pm
SAT 30 June, 2pm
SUN 1 July, 2pm
Taking the subject of surveillance
as her starting point, Bonnie
Camplin will lead a philosophical
workshop where – through a series
of propositions, exercises and
experiments culminating in a roundtable discussion – participants will
be drawn into a deep meditation on
the nature of Mind, Observation and
Intention.
Cao Fei and pak sheung chuen
Cao Fei hosts a discussion at The
Orchid Pavilion, a winding stream
installation. The project is based
on a cultural gathering /drinking
contest which took place during the
Six Dynasties era in China: cups of
wine were set afloat down a winding
creek and poets would have to drink
and compose a poem each time a cup
stopped near them.
For the class, Cao Fei will focus
on the Taoist concept of Wu wei, or
‘effortless action’ which cultivates
a state of being in which our actions
are aligned with the elemental cycles
of the natural world to allow us to
respond to situations with ease.
THU 21 June, 7pm
TUE 10 AND WED 11 JULY
Participants will be asked to discuss
a subject chosen by the artist each
time they drink a cup of wine. Cao Fei
will lead the discussion with fellow
artist Pak Sheung Chuen.
Hayward Gallery, Gallery 5
Sculpture Court
£10 per class
This class involves alcohol
consumption.
Strictly over 18s only.
Cao Fei (b. 1978, Guangzhou, Guangdong Province, China)
As someone who grew up in one of the main hubs of China’s economic
growth, Cao Fei comments that her culture is that of ‘an almost theatrically
materialistic era drunk on and dazed by its possessions, divorced from the
political ideology of the previous generation.’ Much of her work looks at the
social consequences of globalisation and reflects on the rapid changes that
are occurring in Chinese society today. In addition to making multimedia
installations and videos, she has also created a project that only exists on
‘Second Life’, a virtual platform on the internet. Her RMB City, created under
the alias of China Tracy, Cao’s online avatar, functions as an online laboratory
for experiments in art, design, architecture, literature, cinema, politics,
economy and society.
Pak Sheung Chuen (b. 1977, Anxi, Fujian Province, China)
Pak Sheung Chuen’s intriguing and often humorous conceptual art frequently
takes the form of oblique interventions into public life. Rather than producing
physical artworks, he concentrates on orchestrating situations, documenting
the results on video and in photographs and by presenting significant found
objects. Believing in yuanfen, the Chinese idea of fateful coincidence or
convergence, his work aims to make everyday life more meaningful by drawing
attention to the unexpected potential of the ordinary, with its ‘small miracles
and hidden messages’. In 2009 Pak represented Hong Kong at the Venice
Biennale. His third book, Odd One In II: Invisible Travel (2009), documents his
alternative approach to exploration and of ‘seeing with his inner eye’ during
journeys in Italy, New York, Korea, Malaysia and China.
A year or so ago a group of art
students came to London to work on
a project from a new art college in
Croatia. In order to create some art
from their experience they explored
the interior public spaces of the
Festival Hall. Either during this
process or immediately afterwards
all of these students completely
disappeared.
In this two-day class, you need to
look for traces of these artists’ work
and also for a trace of these missing
people. Where would you begin? I
think by looking for anomalies in
what is already there.
What work were they making? Why
did they disappear? And are the
answers to these two questions
connected or completely separate?
Your project is this exploration and
the art objects this investigation
will generate. It can exist in any form
- from a three-second performed reenactment of the ‘other you’ that you
are pursuing ....to an attempt to alter
the opening hours of the Festival
Hall’s Poetry Library.
You might be artists but you also
might come to art as ethnographers,
sociologists, archaeologists,
journalists, detectives etc… Or you
might approach this project within
any of these disciplines whose
practice has just about slipped into
being art.
So, you begin by going to a place to
create a person who made some work
and disappeared. Check website for further details.
Adam Chodzko (b.1965, London, UK)
Like an anthropological agent provocateur, Adam Chodzko explores the
interactions and possibilities of human behaviour. Working directly with the
networks of people and places that surround him, Chodzko is particularly
interested in working as a catalyst for other people’s imaginations and
fantasies, and in examining experiences, places and objects that are perhaps
overlooked, marginal, or displaced. He characterises his approach as ‘a
provocative looking in the “wrong” place; a search for knowledge through
instability.’ By wondering how, through visual means, we might best engage with
the existence of others, he reveals the realities that emerge from the search
for this knowledge. Involving a range of media, from video installation to subtle
interventions, Chodzko’s work proposes ‘new relationships between our value
and belief systems, their effect on our communal and private spaces, and the
documents and fictions that control, describe and guide them.
Martin Creed hosts an evening in
which he will be ‘doing some talking,
playing songs, bringing some new
dance numbers to the floor, and
entertaining questions from the
audience.’
The Purcell Room at Queen
Elizabeth Hall
£10
Martin Creed (b.1968, Wakefield, UK)
Martin Creed says that his art is concerned with ‘nothing in particular’. Using
real objects – doorbells, metronomes, ceramic tiles and items of furniture
– and materials such as masking tape, elastoplast, Blu-tack and balloons,
he transforms apparently meaningless details into significant matter. By
focusing on the insignificant, his interventions seem to shift our attention to
the invisible structures which shape our experiences. Everything he makes,
from interventional objects to writing, songs and interviews, is assigned
a work number – for example, his 2001 Turner prize-winning intervention
is Work # 227: The lights going on and off. Music plays an important part in
Creed’s life and art. He formed his own band in 1994, and in 2009 he wrote and
choreographed Work # 1020, a live performance of his own music, with ballet,
words and film. He has recently created an orchestral piece for the London
Sinfonietta, and has devised Work # 1197: All the bells in a country rung as
quickly and as loudly as possible for three minutes for the launch of the 2012
Olympic Games.
7
Dorothy Cross
© the artist and Sue Flood
Dorothy Cross with philip hoare
Cullinan Richards
Jellyfish into whales:
Art, narrative, and
the deep
Painting class:
Action and Gesture
– Class 1: ATTACK
SUN 8 July, 2pm
Dorothy Cross will address the
challenge of portraying the ‘human’
in relation to nature and the animal
world through her practice, which
has ranged from working with
jellyfish to whales, shark-callers
and snakes, subtly transforming her
materials with strange and poetic
results. Philip Hoare, author of
Leviathan or, The Whale, will discuss
his own extensive relationship with
whales in the wild, and look at the
whale in art and fiction, from Captain
Ahab’s obsession with the mythical
Moby-Dick, to the way the modern
world sees whales and the oceans
within which they swim.
TUE 19 June, 10am
TUE 10 July, 10am
£10
Approximate duration: 1.5 hours
Dorothy Cross (b.1956, Cork, Ireland)
Dorothy Cross’s sculpture and installations often make associations between
found and constructed objects, resulting in playful, challenging, and at times
subversive works which are both witty and poetic. In her early work she used
and transformed a range of natural materials, such as cows’ udders and hides,
snake skins and taxidermy birds, to explore issues related to desire, as well
as cultural and political conventions. In a collaboration with her scientist
brother Tom Cross in 2003 she produced Medusae, a film about jellyfish. More
recently, her work has focused on time, memory and humanity’s place in
relation to the natural world, as in Stalactite, a video of a boy soprano singing
below a massive stalactite in the west of Ireland. In Finger Tip Pearl she placed
the fingertip bones of a human hand into five black-lipped oysters in a lagoon
in Tahiti; around one of them a pearl was formed. [EM]
Philip Hoare has had a lifelong obsession with whales. His prize-winning
book, Leviathan or, The Whale (first published in 2008), takes us deep into the
whale’s domain, showing these mysterious and little-understood creatures as
they have never been seen before.
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Participants will apply styles of
boxing to make paintings. The artists
say: ‘In the same way that boxing
has always provoked passionate
responses, so too has painting and
we see boxing and the visual arts as
having a unique relationship that
crosses and confuses social and
artistic hierarchies.’ Over separate
days the classes will assess two
core strategies: 1) Attack and 2)
Defence. Class 1 will specifically
focus on attacking moves and will
include the following exercises: jab,
cross, hook, uppercut, cross-counter
and bolo, whilst assessing artists
including: Georg Baselitz, Gustave
Courbet, Maria Lassnig, Lee Lozano
and Titian.
Jochen Dehn with francesco PEDRAGLIO
Painting class:
Action and Gesture
– Class 2: DEFENCE
WED 20 June, 10am
WED 11 July, 10am
This class will specifically focus on
defensive styles including: swarmer/
infighter, brawler/slugger, as well
as the ‘peek-a-boo’, and the Philly
Shell/hitman or crab. Artists that
will also be assessed during the
class include: George Condo, Milena
Dragicevic, Alexis Marguerite Teplin,
Gerhard Richter and Walter Sickert.
Hayward Gallery Lecture Theatre
£10 per class
Cullinan Richards
Listing Russ Meyer movies, Don DeLillo, Alain Robbe-Grillet, Emily Dickinson
and ‘jerry-building aesthetics’ among their enthusiasms, Charlotte Cullinan
and Jeanine Richards pursue a concept of a ‘minor art’ that is ‘beautifulscruffy’ and defiantly eccentric. What they themselves look for in the field of
the visual is, always, oddness, and they particularly admire the way in which
people find ‘the most improbable solutions to what concerns creativeness
and the visual.’ In their own work, they claim to be both ‘slipshod and knowing’.
A recent mixed-media installation shown at the Hayward (as part of British
Art Show 7: In the Days of the Comet) featured tools and materials of the
technician’s trade – such as gaffer tape, touch-up paint and plastic sheeting
– along with old newspapers splattered with accidental drips of paint and
chandeliers made from fluorescent tubes. For Wide Open School, Cullinan
Richards are collaborating with Helena Cullinan, an actress who has worked
in film, theatre and TV for the past 20 years and who is also a qualified fitness
instructor and Pilates teacher.
Animal technologies,
soap films and
miracles: theoretical
foundations and
demonstrations for
becoming invisible
WED 27 June, 5.30pm
Using methodologies and
demonstrations from the field of
the natural sciences to examine
phenomena pertaining to the
invisible, this class will consider
theoretical and philosophical issues
such as the nature of a moment, an
instant, and the environment.
£10
Inventions and
Illusions (What
Makes A Failure
A Good Failure)
THU 28 June, 2pm
In this class, Jochen Dehn explores
basic techniques used to execute
magic tricks and illusions. By using
simple gestures of both attention
and distraction, Dehn will show
how to reshape, close and refill
an empty drink can; make three
different playing cards become one;
show how solid objects can become
penetrable; and demonstrate how to
make someone disappear in a box.
The class will look at simple objects
in an attempt to create new uses for
them and to evaluate their potential
for magic.
£10
Abstract objects and
the ship of Theseus
FRI 29 June, 5.30pm
Delivered by Jochen Dehn in
collaboration with artist and cofounder of art space FormContent
Francesco Pedraglio, this lecture
/demonstration centres on the
apparition and disappearance
of objects.
£10
Just because you
saw something
move doesn’t
mean something
has changed
SAT 30 June, 11am
In this workshop, Jochen Dehn
sets the class a series of singular
tasks and exercises which involve
crossing and negotiating the
cityscape without being seen.
These tasks range from activities
such as walking in a straight line,
to camouflage exercises, to crossing
a bridge undetected. Participants
will look at and explore behavioural
conventions in the city with an
eye to developing strategies for
reducing their visual profile to
the point of invisibility.
Off-site. Meet at Hayward Gallery
Ostrich Lounge, 11am, £10
Jochen Dehn (b. 1968, Paris, France)
The performance artist Jochen Dehn welcomes setbacks, collapses and
obstacles as ingredients in his work, and takes Samuel Beckett’s dictum, ‘Try
again. Fail again. Fail better’, to absurd extremes. His performances often
consist of lessons, demonstrations, workshops or experiments, each of which
is doomed to partial failure (total failure would constitute too much of an
achievement). He has devised participatory games, such as a misguided tour
of the Louvre involving unsuccessful attempts to outwit motion detectors and
alarms, and carried out research for a material that ‘permits traceless transit’,
as in the construction of a door you can walk through without having to open
it. Explaining that he likes tricks and enjoys hiding and moving soundlessly,
Dehn says: ‘I am interested in miracles. I am interested in becoming invisible …
Invisibility is not related to ending. It is a process of blurring outlines. I dissolve.
I merge. I transform.’
Francesco Pedraglio (b.1981, Como, Italy)
Artist and writer Francesco Pedraglio’s work has involved suppositions,
rumours and superstitions, invisibility and abstraction. When writing and
performing, Pedraglio focuses on the practical and conceptual difficulties of
storytelling, especially the problem of ‘making sense’ in English, a language
that is not his own. In his short stories words take on a life beyond the printed
page, becoming physical bodies in three-dimensional space.
9
Yara El-Sherbini
© Manuel Vason
Jeremy Deller with ed hall
Marlene Dumas
Yara El-Sherbini
Tracey Emin
Banner Making
Workshop
An evening with
marlene dumas
How to stop being
friends with someone
you no longer
have anything in
common with
In conversation with
Jeanette Winterson
TUE 19 June, 10am
In our age of social media and
flash mobs, Jeremy Deller and Ed
Hall will discuss the irreplaceable
value of hand-made banners,
used in marches, demonstrations,
commemorative displays and
exhibitions. After discussing issues
related to work in collaboration, with
each other and with various social
organisations, Deller and Hall will
lead a workshop in banner-making. This will include looking at different
ways to work up design ideas and
develop effective imagery for
banners as well as aspects of their
practical production.
Thu 5 July, 7pm
£10
7 hours plus breaks
Jeremy Deller (b.1966, London, UK)
Describing himself as a ‘self-taught conceptual artist’, Jeremy Deller is an
assembler of things and a ‘stager’ of events, orchestrating, curating and
directing projects including films, processions, historical re-enactments,
and exhibitions. Much of his work is collaborative and participatory, and many
of his free-ranging, open-ended projects are explorations of a kind of folk
or vernacular culture, or alternative ways of life. His recent Hayward Gallery
exhibition, Joy in People, included banners designed and made by Ed Hall.
Ed hall One of only a handful of banner makers working in the UK today,
Ed Hall creates striking banners for trade unions, campaign groups and other
organisations. He began making banners while working as an architect for
Lambeth Borough Council, where he was also a trade union representative.
His collaboration with Jeremy Deller dates from 1999, when Deller saw his work
at the Lambeth Country Fair. Deller considers that Hall’s work is a ‘fantastic
combination of the tradition of banner making with a contemporary subject.’
10
Please check website for
further details
£10
Marlene Dumas (b.1953, Cape Town, South Africa)
Marlene Dumas states that in her work she uses ‘second-hand images, firsthand emotions.’ Most of her paintings are based on found images; photographs
and stills from magazines, newspapers and films, or Polaroids that she has
taken herself. She regards these source materials as ‘part of our collective
unconscious; they picture our collective guilt, our poses, and our prejudices.’
Her highly sophisticated figurative work features unsettling themes including
politics, racism, religion, death and sexuality, but the explicit subject matter
is less important to her than the ambiguities and problems of representation;
its language, methods and ethics. Her images frequently exploit photographic
effects and techniques such as cropping, bleeding, blurring and distortion.
Mentioning that she’s always been interested in different views of reality,
Dumas says: ‘I believe that a painting is a new thing, a thing in itself, not an
illustration of something else. Even if it refers to real-life objects or situations,
in the end it does not really represent anything else. It is what it is.’
During the weeks leading up to
the opening of Wide Open School,
resident artist Yara El-Sherbini will
work with ‘The Huddle’, a visual arts
youth group at Southbank Centre,
to create and enact a syllabus that
provokes people into asking how we
know what we know. This syllabus
will offer topics that address skills
required for dealing with everyday
life, as envisaged by the group, and
may for instance offer ‘classes’ on
the following:
TUE 26 June, 7pm
• How to believe in Government
• How to move back home, due to the
current financial downturn
• How to emotionally detach from
Facebook
Tracey Emin discusses the uses
of autobiographical material in
art and literature with novelist
Jeanette Winterson.
£10
The printed syllabus which the group
creates will then be made available to
the public for Wide Open School.
Please note that this is a closed
class and not open to the public
Yara El-Sherbini (b.1978, Derby, UK)
Exploiting humour and parody as critical weapons, Yara El-Sherbini’s playful,
multidisciplinary approach to art-making uses jokes, quizzes and visual puns to
ask searching questions about art and life. Her provocative but disarming works
play with stereotypes and satirise Western perceptions of Arabs and the Middle
East (one of her trivia questions asks if you can name a movie in which an Arab
was not shown either as a bomber, a belly dancer, or a billionaire). In her joke
book, Sheik ’n’ Vac, which she has developed into a stand-up comedy routine,
she explores the nuances of language, dialect and everyday speech, and plants
coded messages within mis-spelt texts. But though she targets both Arab and
Western culture and society, El-Sherbini does not favour one above the other,
and sees her role as a catalyst for conversation and debate about social and
political issues.
Tracey Emin (b.1963, Croydon, UK)
Tracey Emin is one of Britain’s most celebrated artists. A natural storyteller,
she uses her own life as the starting point for her art. Though most of her
work, as she says, ‘starts off with me’, it transcends the personal, becoming
something that others can relate to. Her disarmingly frank yet often
profoundly private drawings, paintings, installations and sculpture are by
turns hard-hitting, romantic, desperate, angry, funny, intimate and ironic.
Sometimes confrontational and often provocative, her work resonates with
the legacy of feminist art, which investigated issues such as violence against
women, female sexuality and so-called ‘womanly’ crafts. Emin has been
awarded many honours. In 2007 she represented Britain at the 52nd Venice
Biennale and in 2011, following her major exhibition at the Hayward Gallery,
she was appointed professor of drawing at the Royal Academy.
Jeanette Winterson (b.1959, Manchester, UK)
Jeanette Winterson’s writing so far is book-ended by two accounts of her
life. Her first book, Oranges Are Not The Only Fruit, written when she was 25,
is semi-autobiographical (she calls it a ‘cover version’ of her past); her most
recent book, Why Be Happy When You Can Be Normal?, published in 2011,
is a companion and in some ways a corrective to Oranges. In between, she
has written poetic novels, science fiction, essays, short stories and books
for children.
11
Harrell Fletcher
Stephen Fowler
Simon Fujiwara
Meschac Gaba
Investigating,
understanding and
promoting local grass
roots organisations
Wildman Life Drawing
THE SCHOOL OF
PERFECT STRANGERS
The Intercontinental
Classes
Taking its starting point in the idea
of biography, life stories, personal
dramas and archetypal characters,
this two-day session involves the
creation of a performance that will
be filmed and presented online.
Participants will create a narrative
that explores the possibility of a
democratic process in a world of
individual stories.
Meschac Gaba’s work explores
the cultural and economic
repercussions of colonialism
in current exchanges between
Africa and the West. In this class,
participants exchange ideas
focusing on intercultural disparities.
Gaba will discuss his practice
alongside work by Beninese artist
Cyprien Tokoudagba and British
artists. Gaba and guest curators
will lead discussions on issues of
nationalism, internationalism
and exoticism. Thu 28 June, 10am and 2pm
MON 11 AND TUES 12 JUNE
TUE 26 – SAT 30 June, 2pm
In these afternoon classes, Harrell
Fletcher will make a presentation
about a local grassroots organisation
in London, discussing its areas of
concern as well as its activities.
Participants in the class will then
take the discussion further by
exploring ways to promote the work
of such non-profit groups. Among
other things, work in the class
could include designing flyers and
posters that would be put up in and
around the Hayward Gallery as well
as in other public areas to heighten
awareness about the work of the
local organisations and the issues
they are addressing.
(and Room 1 Sat 30)
£10 per class
Harrell Fletcher (b. 1967, Santa Maria, California, USA)
Harrell Fletcher’s unorthodox, socially-driven art grows out of his belief
that ‘creativity is going on in anyone who’s alive, oftentimes in ways that are
completely unacknowledged.’ His projects, which are often collaborative,
typically pay close attention to the overlooked and often examine the ways
in which people represent themselves, ‘like when a teenager puts posters up
in their room, or the way someone puts together a family photo album.’ Some
of his best-known projects include the participatory website Learning to
Love You More, which he created with artist and filmmaker Miranda July; The
American War (2005), his partial, photographic restaging of Vietnam’s ‘War
Remnants Museum’; and The People’s Biennial (2010) which he co-curated at
five different galleries in the US as a way of representing people and places
that are peripheral to mainstream art. Fletcher founded the Arts and Social
Practice department at Portland State University. His teaching focuses on
encouraging students to be curious, to ask meaningful questions and to
listen carefully to the answers.
12
For these classes, Stephen Fowler
will conduct a Wildman life drawing
class using a semi-tame Wildman as
his model. The room will include an
archive of the Wildman comprising
images and publications and the
class will proceed to a pertinent
soundtrack of 45’s from the 1940s
50s and 60s. Hayward Gallery Lecture Theatre
£10 per session
Approximate duration: 3hours
MON 11 June, 2pm
CLOSED SESSION:
THE INTERCONTINENTAL
CLASSES
TUE 12 and WED 13 JUNE, 10AM
Please check website for further
details
Led by Meshac Gaba and a guest
curator, this session for young
people aged 12 to 14 involves
discussions around the themes of
nationalism and exoticism as well
as a practical workshop of drawing,
painting and sculpture revolving
around these ideas.
£10
Stephen Fowler is an artist, printmaker and collector of esoteric small
press publications. He teaches drawing at the Victoria and Albert Museum,
Kingston University, and University of the Creative Arts. [RH]
SIMON FUJIWARA (b.1982, London, UK)
Simon Fujiwara’s projects explore his own life and family history, mixing fact
and fiction in often absurd and labyrinthine narratives. ‘I am my work,’ he has
stated, and goes on to say: ‘The beauty of art is that the very essence of it is
always autobiographical. Everything you make, people will look at it and say,
“What’s this person’s name? Where are they from? When were they born?”
I’m always surprised when audiences take the time to piece things together
like that, because it’s only really about one person’s life, but the joy is in
understanding how infinitely complex a human being’s life can be.’ His own
background is eclectic; the child of Japanese and British parents – his mother
was a dancer and his absent father an architect – he grew up, mixed-race and
gay, in a Cornish seaside village. Fujiwara studied Architecture before turning
to Fine Art, and architecture, along with erotic fiction, plays a key role in his
installations and performances.
Meschac Gaba (b. 1961, Cotonou, Benin)
An artist from West Africa currently based in Rotterdam, Meschac Gaba
explores the impact of colonisation on African cultures. His first major project,
The Museum of Contemporary African Art (1997-2002), is an extraordinary
series of installations and was made in response to the absence of
contemporary art from Africa in Western museums, and the lack of museums
of contemporary art in African countries. It presented, at different times and
venues, the twelve separate rooms of a fictional museum, including spaces
devoted to architecture, fashion, music, marriage and games, as well as
a museum shop, restaurant and library. Recently, Gaba has declared his
birthplace, the city of Cotonou, to be the Musée de l’Art de la Vie Active – the
Art Museum of Real Life. In doing so, he draws attention to the strategies of
survival and improvisation that characterise the city’s inhabitants: ‘They need
to create to be able to survive. In the city of Cotonou, you can see installations
everywhere – it is like an open-air museum.’
13
Gelitin
Write and Perform
a Monologue
‘teach us teach us
everywhere’
TUE 10 and WED 11 July, 10am
This intensive two-day course
introduces the art and devious
dynamics of performed monologue.
Participants learn to speak one’s
mind, to prevent interruption
and – perhaps – how the brain
functions. Warm-up exercises
include unexpected examples of
monologues, foraged from the darkly
comic routines of Lenny Bruce and
Richard Pryor, and from classic
works by Kleist, Shakespeare,
Sophocles, Daniil Kharms, Mary
Shelley, Samuel Beckett and others.
£20 (2 days)
3 hours each day
Dora García (b.1965, Valladolid, Spain)
Dora García’s art explores the political potential of the outsider, the outcast
and the outlaw, and in several works pays homage to eccentric and antiheroic figures, such as stand-up comedian Lenny Bruce, avant-garde
dramatist Antonin Artaud and underground filmmaker Jack Smith. When she
represented Spain at last year’s Venice Biennale, instead of producing a static
exhibition García choreographed an extended performance that constantly
evolved throughout the Biennale’s six months’ duration. Her project, entitled
The Inadequate, comprised objects, conversations, monologues, theatre,
silences and debate. It explored marginality and exclusion in art and society
and involved nearly a hundred participants who, as representatives of
independent, underground, dissident, unofficial, marginal and exiled
positions, were all experts in ‘inadequacy’. Its intention, García wrote,
was ‘to reveal the violent fragility of everything we regard as adequate.’
Peer-to-Gynt
THU 21 and FRI 22 June, 2pm
FRI 15 june, 10am
SAT 16 and SUN 17 June, 11am
Audacious interventions, anarchic
art events and wanton happenings
are Gelitin’s trade-mark. This
course turns the teacher/student
relationship upside down and back to
front. In Gelitin’s inimitable words:
‘after the workshop “f**k me f**k
me everywhere” at Yale University,
gelitin is ready for you to come and
teach us.
teach us teach us everywhere.
we will go somewhere, reach a point
or standstill
above the rim limit, between the wet
unkempt and dry unkempt,
the neanderthalic future, the
sphincter and the sphinx,
the puzzle of bodies as construction
material,
the will to fold and the impossibility
to hold.
come and teach us!
come and join us!
getting from here to there nowhere!’
£30 (3 days)
7 hours each day with breaks
Gelitin (founded 1993)
The Austrian collective known as Gelitin has been designated ‘more a game
than a movement’. It was formed by four artists from Vienna: Wolfgang
Gantner, Ali Janka, Florian Reither and Tobias Urban. They claim that they
first met at summer camp in 1978 (when they would have been aged between
7 and 10); they have been ‘playing and working together’ ever since. Mixing
performance, sculpture and architecture, they create absurd, chaotic and
often outrageous art events and interventions, which have been described as
‘demented play grounds’. These provocative, participatory works challenge
viewers’ senses and perceptions, allowing fun and freedom to usurp order
and authority. Always surprising, sometimes illicit and often libidinal, their
installations overturn conventions and test buildings to the limit. In their
first appearance at the Hayward, Gelitin flooded one of the Gallery’s outdoor
sculpture terraces, transforming it into a cross between a high-rise boating
lake and an infinity pool.
Visual artist Dominique GonzalezFoerster and composer Ari Benjamin
Meyers will present a two-day
workshop as part of their ongoing
project Peer-to-Gynt. This involves
a meta-staging of the Ibsen play
which takes as its reference not only
the original text and music by Edvard
Grieg but also the myriad links and
associations it has left behind in
popular culture, especially in films.
Participants will be involved in the
creation of short scenarios and
situations with music that take
these films as a starting point.
They will have an opportunity to
work alongside the artists and
discuss and explore their creative
process in depth.
Like the character of Peer himself
–a liar and wanderer who moves
easily between the realms of reality
and imagination – Peer-to-Gynt will
unfold over time, journeying from
place to place exploring new acts,
connections and forms in each city it
visits. Its appearance at the Hayward
Gallery follows a first presentation
of the entire project in Athens in
May 2012 and precedes an outdoor
performance of the fourth act in
Arles in July.
£20 (2 days)
3 hours each day
Dominique Gonzalez-Foerster (b.1965, Strasbourg, France)
Dominique Gonzalez-Foerster’s works blend fact and fiction, illusion and
reality. She regards films, and particularly books, as ‘reservoirs of possibilities’
and creates environments layered with cultural references and personal
memories. Explaining that her approach to art ‘has more to do with theatre and
staging than making objects such as paintings or sculptures,’ she talks about
‘generating narratives’. TH.2058, her 2008 project for Tate Modern’s Turbine
Hall, effectively turned the atrium into an epic film set. It envisaged London in
the year 2058, with the city’s inhabitants taking refuge from the relentless rain in
a bunker filled with books, piercing lights and gigantic sculptures, overlooked by
a vast screen showing extracts from sci-fi movies and experimental films. Her
collaborations with Ari Benjamin Meyers have involved works based on classic
films, including Orson Welles’s film version of Kafka’s The Trial and Martin
Scorsese’s After Hours. Their recent work, M.31, is a musical pursuit based
on Fritz Lang’s 1931 film, M, which uses ‘In the Hall of the Mountain King’ from
Grieg’s Peer Gynt as its haunting leitmotif.
Ari Benjamin Meyers (b.1972, New York)
Ari Benjamin Meyers’s is a classical composer and conductor who has
also worked with many contemporary artists. Focusing on experimental
and new music, his work includes operas, music for plays, dance and film
and often takes the form of ‘productive sabotages’; he constructs and
deconstructs musical situations, deliberately playing on the expectations
of particular audiences.
14
Antony Gormley
© Lars Gundersen
Ari Benjamin Meyers
© Friederike Seiffort
Dora García
Dominique Gonzalez-Foerster
with Ari Benjamin Meyers
Antony Gormley with michael newman
Still being:
a conversation
about time in art
TUE 12 June, 7pm
Antony Gormley in conversation
with Michael Newman.
Michael Newman was one of the
first critics to appraise Antony
Gormley’s work. In an early essay,
Newman wrote: ‘Since Leonardo’s
time the world has become a set of
objects to be understood and used
rather than something in which we
participate. For Antony Gormley art
furnishes a free imaginative space
in which to reachieve unity, balance
and the reconciliation between man
and the cosmos.’
The Purcell Room at
Queen Elizabeth Hall
£10
Antony Gormley (b.1950, London, UK)
Over the past thirty years, using his own body as subject, tool and material,
Antony Gormley has explored the human image in sculpture, investigating
the figure as a site of memory and transformation. He has created some of
the most ambitious and iconic works of British sculpture over the past two
decades, including The Angel of the North at Gateshead; Another Place, now
permanently sited on Crosby Beach at Sefton in Lancashire, and Blind Light,
the brightly-lit, cloud-filled box in which the bodies of visitors seem to vanish
and reappear, shown at the Hayward Gallery in 2007. In 2009, his project One
and Other invited members of the public to represent themselves by standing
on the fourth plinth in London’s Trafalgar Square. Gormley believes that, in a
world where nothing is permanent, ‘the mind-body instrument is an infinitely
extendable tool and that the adventure of being human is far from over.’
Michael Newman (b.1950, London, UK)
Michael Newman is an art historian and critic whose writing is concerned
with the image, the trace and time in art and philosophy. He teaches in the
Department of Art History, Theory, and Criticism at the School of the Art
Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in
the University of London. His publications include the books Richard Prince:
Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting
Conceptual Art.
15
Romauld Hazoume
© Jonathan Greet
Fritz Haeg and friends
Romuald Hazoumè
Jeanne van Heeswijk
Jeppe Hein with robert Müller-Grünow
Sundown Schoolhouse
of Queer Home Economics
Scrap Tales: making
art with discarded
materials
Public Faculty
Smells like
Teen Spirit
MON 11 June – sun 17 june
10am – 8.30pm daily
Fritz Haeg will organise and lead
a drop-in centre for classes,
demonstrations, seminars, talks,
and workshops related to GLBT
homemaking, inspired by the
programme of ‘home economics’
developed in the 19th century to
educate young women in domestic
duties. The Schoolhouse will take
place within and around a geodesic
dome installed on the Hayward
Gallery’s Western sculpture terrace.
The series will start on 11 June with
an introductory talk by Fritz Haeg,
Out and In the Homosexual Home,
THU 14 June, 7pm
SAT 30 June, 2pm
SUN 1, TUE 3 and WED 4 July, 2pm
about queer domestic architecture
and interiors, also introducing
his new project series, Domestic
Integrity Fields, of which a London
edition will be produced in the
Schoolhouse with local collaborators
during the programme.
Hayward Gallery:
The Sundown Schoolhouse
of Queer Home Economics
£10 per day
See his website
www.fritzhaeg.com/schoolhouse
for further details on daily classes
Fritz Haeg (b. 1969, Minnesota, USA)
Artist, architect, visionary designer and urban gardener Fritz Haeg believes
that ‘we are obsessed with our homes as protective bubbles from the
realities around us’, and aims to subvert this state of affairs. His work has
included edible landscapes, public dances, educational environments,
domestic gatherings, city parades, temporary encampments and
occasionally buildings for people – though he prefers making architecture
for animals. His Animal Estates project creates model homes for animals
that are unwelcome or have been displaced by humans. Another of his recent
projects is Sundown Schoolhouse, a peripatetic educational programme
involving happenings, gatherings and ecological initiatives, with workshops,
classes, clinics and seminars held in a mobile geodesic tent. Talking about
his work, which develops according to his instincts, or what he feels needs
to happen, Haeg says: ‘I think of it as Trojan Horse art, where it is wheeled out
and invades the culture without people being aware of where it came from.’
16
SAT 7 – TUE 10 July, 2pm
These six-hour workshops, each
spread over two days, seek to unlock
people’s innate creative potential,
resourcefulness and ingenuity.
Together with Romuald Hazoumè
participants will take discarded,
non-biodegradable everyday
objects that they have collected and
will use them to create previously
unimaginable artworks. Strategies
of re-using, reclaiming, transforming
and ultimately re-imagining found
objects lie at the heart of this
workshop. This use of found objects
and appropriated materials as well
as the beneficial effects that this has
on the environment is fundamental
to Hazoumè’s practice and marks
a significant element in much of
African art today.
£20 (2 days)
3 hours each day
Romuald Hazoumè (b. 1962, Porto Novo, Benin)
Romuald Hazoumè’s humorous, playful and political art is deeply rooted
in the culture and customs of Benin, in West Africa, where he was born and
where he continues to live. A sculptor, painter, photographer and sound artist,
he is best known for his masques bidon (‘jerry-can masks’) which are often
massed together in complex installations. He regards these portrait masks,
made from discarded plastic canisters and other found materials, as both a
tribute to West Africa’s masquerade traditions and a powerful commentary on
present-day life in Benin. The plastic containers refer directly to the illegal and
dangerous black market trafficking of petrol, which is transported (often by
boys) from neighbouring Nigeria to Benin in jerry-cans. A product of the West,
plastic jerry-cans are ubiquitous in Africa. As Hazoumè’s primary material,
they are both expedient and telling; in making works which are shown outside
Africa he says: ‘I send back to the West that which belongs to them; that is to
say, the refuse of consumer society that invades us every day.’
Jeanne van Heeswijk presents
the fourth incarnation of her
ongoing project Public Faculty.
This manifestation takes place
across four days. Participants
will share knowledge and try out
new ideas that seek to address
pressing issues of the day, whilst
allowing for the possibility
of failure. For van Heeswijk,
Public Faculty is an exercise in
learning ‘through disagreement
or subverting knowledge’. She
continues to say that participants
‘will teach each other the forms
of interventionist strategies and
micro-political tactics we have.’ The
accumulated knowledge will then
be demonstrated through various
‘performative actions’.
Off-site: meet at Hayward Gallery
Ostrich Lounge, 2pm
£20 (2 days)
Approximated duration:
3 hours each day
Jeppe Hein discusses the topic of
invisibility and sensory perception,
with particular emphasis on smell.
Drawing on his installation Invisible
Labyrinth as well as other recent
work, Hein will explore these themes
in conversation with the scientist
Robert Müller-Grünow, a scent
specialist with whom the artist has
previously collaborated. Together,
the two will examine synthesizing
flavours, offering the audience a
unique olfactory experience.
£10
Jeanne van Heeswijk (b. 1965, Schijndel, The Netherlands)
As a socially-committed artist, Jeanne van Heeswijk sees herself as mediator
who encourages citizens to effect change within their own communities.
Her work entails acting as a communicator and ‘go-between’ in situations
involving social spaces. One of her recent projects, The Blue House in
Amsterdam’s IJburg district, is described as a ‘housing association for the
mind, a platform for experimental community.’ It is a place where artists,
architects and scientists from all over the world have been invited to interact
with local residents in a new neighbourhood without a history, with the aim
of developing a collective environment in which citizens actively participate.
In her practice, van Heeswijk considers it essential that residents become
an integral part of the community: ‘being part of the whole process of change
that a neighbourhood is undergoing is key, and for this you need to create
an understanding of public domain as a shared space, where everyone’s
contribution makes a difference.’
Jeppe Hein (b.1974, Copenhagen, Denmark) Many of Jeppe Hein’s playful
participatory works, such as the much loved Appearing Rooms that has
materialised on the Southbank in recent summers, combine sculpture with
architecture and technology. Invisible Labyrinth (2005), however, is just what
it says it is; it cannot be seen but is experienced through sound and vibration.
Like Appearing Rooms – a fountain in which visitors interact with rising and
falling walls of water – Invisible Labyrinth explores the relationship between
spatial perception and memory, presence and absence, inside and outside.
Having researched how visitors act and react in exhibition spaces, Hein has
created works that disrupt conventional patterns of behaviour, subverting
and displacing our experience and perception of our surroundings and
ourselves. He has created many works that play with disorientation, nonphysicality and illusion and has recently collaborated with Robert MüllerGrünowthe scientist who specialises in ambient scent as a means to affect
human behaviour. As environmental psychologists have discovered, ambient
scents can elicit emotional responses that influence subsequent judgments.
17
Susan Hiller
Roger Hiorns
Thomas Hirschhorn
Tehching Hsieh
Dream Exchange
Untitled, class
Energy: Yes!
Quality: No!
Lecture
THU 21 and SUN 24 June, 4pm
WED 20 June, 7pm
TUE 3 and WED 4 July, 9.30am
Susan Hiller leads two separate
sessions assembling and studying
dreams relating to contemporary
political, social and economic
events. Participants are invited to
bring descriptions of dreams they
have had which relate to these
topics. Drawing on historical projects
such as the Mass Observation
dream diaries, the class will discuss
techniques of interpretation and
assess the possibility of a collective
unconscious.
Susan Hiller (b. 1940, Tallahassee, Florida, USA)
Susan Hiller remarks that ‘all of my work deals with ghosts in a way that
some people see and some people don’t.’ Her interest is in the ‘interrogation
and questioning of who I am, who we are . . .’ and her subjects embrace
communication, gender, desire and death. One of the pioneers of video art in
the UK, she uses a wide range of media, including painting, sculpture, printed
texts and large-scale installation, to explore the margins of consciousness
and the borderlines of language and meaning. Since the early 1970s, she
has investigated the place of dream and reverie within culture, and explored
the nebulous space between dream-states and reality. She is the co-author
of Dreams: Visions of the Night (1976) and launched her website Dream
Screens (http://awp.diaart.org/hiller/) in 1996. A major survey of her work,
traversing themes as diverse as supernatural experiences, dying languages,
psychoanalysis and cultural history, was held at Tate Britain in 2011.
18
Roger Hiorns imagines this class as
a potential work of art. It proposes
group meditation as a possible
way to address the problem of
how we relate to, understand and
conceptualise being. Exercises
will explore the internal workings
of the mind and mindfulness,
with the aim of creating collective
thought objects and the ‘opening
up of unquantifiable space’ in the
collective minds of the class. Hiorns
envisages the journey of three or four
mind states within each session,
using early performance work by
Bruce Nauman and one of George
Brecht’s ‘events’ as starting points
for de-automatising perception and
focusing consciousness.
Hayward Gallery Room 1 (Thu 21)
and Hayward Gallery Lecture
Theatre (Sun 24)
Approximate duration: 1 hour
Roger Hiorns (b.1975, Birmingham, UK)
In his sculptural works, Roger Hiorns investigates physical and
metaphysical transformations of ideas, actions and materials. Organic
matter, chemical compounds and processes (like brain matter, fire,
crystals, sperm and drugs) – along with such invisible ingredients as faith
– are introduced into man-made structures, among them car engines and
street furniture. Many of his sculptures and installations address the idea of
immateriality in art and raises questions about the nature of doubt and
belief. In the ambitious large-scale work SEIZURE (2008-9), Hiorns
transformed an abandoned council flat in South London into a strange and
somewhat sinister cave of blue copper sulphate crystals. Noticing that
people used SEIZURE as a spiritual space, Hiorns says: ‘there would be
people, crossed-legged in the corner, meditating. I wanted to continue that
thought, that you could be transformed and have your spiritual moment,
whatever that might be, in an area that was designed for that.’
Thomas Hirschhorn leads a class in
which participants will bring one work
(a text, an original painting, a drawing,
a song, a collage, a sculpture, a
video or anything else) and discuss
it with the class according to the
criteria ‘Energy: Yes! Quality: No!’
The participant can choose to make a
preliminary presentation of their work
or not. It is important that each work
be discussed under the same overall
conditions, therefore participants
should attend all presentations and
discussions.
To Hirschhorn, ‘judgement’ is a
positive term. ‘Judging the work is
never judging the person. Judging a
work (my work/the work of others) is
one of the keys to giving form, facing
this judgement is one of the keys to
asserting form - asserting form is the
most important thing in Art. (…)’
£20 (2 days)
each day including breaks
Thomas Hirschhorn (b. 1957, Bern, Switzerland)
Thomas Hirschhorn describes himself as ‘an artist, a worker and a soldier’,
explaining that he fights ‘hierarchy and demagogy.’ His complex sculptural
environments explore the human condition, combining philosophy with the
debris of modern life and piling concepts and materials together in vast, rambling
accretions. He regards these works, which address subjects as various as war,
protest, pop culture, fanaticism and fundamentalism, as ‘collages in the third
dimension’, defining this as ‘putting things together that are not meant to be put
together’. They are constructed from commonplace materials, such as cardboard
and packing tape, because these are things that ‘everybody knows and uses in
their everyday life, not for doing art’. His installations, made both for galleries and
for city streets, have taken the form of altars, kiosks, monuments and sorting
stations. In using these forms, he aims to implicate the viewer in the work, placing
them not just within a formal environment, but also in the issues and realities that
the work confronts.
Tehching Hsieh talks about the
21-year period between 1978 and
1999 when he practiced as an artist.
During this time, he made six epic
durational works; five individual One
Year Performances, followed by a
final work, Thirteen Year Plan.
£10
Tehching Hsieh (b.1950, Nan-Chou, Taiwan)
Tehching Hsieh revolutionised performance art in America in the late 1970s
and early 1980s, and the impact of his work remains profound. Between
1978 and 1999, he made six epic durational works; five individual One Year
Performances were followed by a final work, Thirteen Year Plan, after which he
stopped making art. Each of his remarkable One Year Performances – which
separately involved living in solitary confinement, depriving himself of sleep,
living outdoors, tying himself to another person and doing no art – required
extreme focus, discipline, dedication and self-denial. They were, he says,
‘about being human, how we explain time, how we measure our existence.’
The first One Year Performance (‘Cage Piece’) was made while he was living
as an illegal immigrant in New York City, and arose from the isolation that
he experienced during this time. Explaining that though his works relate to
his life experience they are not autobiographical, Hsieh includes among his
influences Dostoevsky, Kafka, Nietzsche, Camus’s Myth of Sisyphus, and
his mother.
19
Isaac Julien with david Harvey
Choreographing
Capital
Bouchra Khalili with
Marie-Pierre Duhamel-Muller
Do you speak English?
FRI 29 June, 2pm
Wed 4 July, 7.30pm
Artist and filmmaker Isaac Julien
discusses the representation of
capital in film, performance art,
the media and popular culture.
Julien will put his questions on the
depiction of the current financial
crisis to David Harvey, author of The
Enigma of Capital. Julien and Harvey
will consider the part these images
play in attempting to depict what
has for decades been considered
notoriously impossible to represent.
Hayward Gallery, lower floor galleries,
£10
Isaac Julien (b.1960, London, UK)
Isaac Julien’s film installations create an extraordinary visual language, fusing
dance, photography, music, theatre and sculpture while often exploring racial and
sexual identity. Remarking that ‘artists, especially film makers, have always been
involved in trespassing and translating cultures’, Julien states that, for him, ‘images
have to be politically convincing to work.’ As an artist and maker of ‘gallery films’,
his concern is to expand the concept of cinema; to break away from the convention
of a passive audience that sits in front of a single screen. Many of his installations –
including the recent multi-screen TEN THOUSAND WAVES (2010) – deal with themes
of migration and cultural displacement on both a local and global scale, presenting
an indictment of globalisation and economic inequalities. His new work is, he says,
‘about the movement of capital… the question of moving across predictable and
unpredictable categorisations, spaces, subjectivities.’ Isaac Julien is Professor of
Media Art at the State University of Design Karlsruhe [HfG].
David Harvey (b.1935, Gillingham, Kent, UK)
For over forty years, the ‘dialectical materialist’ geographer David Harvey
has been one of the world’s most trenchant and critical analysts of capitalist
development. Heis a Distinguished Professor at the Graduate Center of the
City University of New York (CUNY), Director of The Center for Place, Culture
and Politics, and author of numerous books, including Enigma of Capital and
the crises of capitalism (2010). ‘Capitalism, he has said, ‘never solves its crises.
It simply moves them from one place to another – from Brazil to Russia to
Argentina to America to Britain to Greece.’
20
The language
of reality SAT 30 June, 2pm
Moroccan artist Bouchra Khalili
has always been puzzled by the fact
that the iconic film Casablanca, which
is set in her own birthplace, shows
people of all nationalities speaking
only English, as if that were their
native language. And, needless to say,
there is not a word in Arabic, and no
Moroccan characters.
This class will provide a short
exploration of language in films, with
a specific focus on Western movies
set in or shot in Morocco, such as
the Hollywood classics The Prince
Who Was A Thief by Rudolph Maté or
The Man Who Would Be King by John
Huston, as well as Casablanca by
Michael Curtiz.
Bouchra Khalili and MariePierre Duhamel-Muller explore
deliberate inaccuracies in the
representation of languages and
dialects in contemporary Western
cinema, focusing on The Source
(2011), a Franco-Moroccan-Italian
co-production directed by Radu
Mihăileanu. Set in a remote village in
Morocco, it tells the story of women
who go on a sex strike in protest at
their living conditions. This social
comedy includes a trans-Arab cast,
with each of the actors speaking
Moroccan Arabic in the accent of their
own country. The second part of the
class focuses on language in Italian
and Chinese cinema.
Hayward Gallery Room 4, £10
Hayward Gallery Lecture Theatre, £10
Bouchra Khalili (b.1975, Casablanca, Morocco)
Bouchra Khalili ‘s videos and installations focus on displacement and migration,
and the relationships between physical and psychological geographies. She has
mapped the tortuous and clandestine travels of illegal immigrants, asylum seekers
and nomads across straits and borders in search of freedom, refuge, work, a better
life, or escape from repression. In recreating these journeys, image and sound take
different routes; as Khalili explains: ‘in my work, the sound is the opposite of the
voice-over; the sound does not explain the image, it participates in the making of the
image.’ She places great importance on documenting refugees’ specific languages;
their individual narratives of exile and loss are told in their mother tongues. As well
as making her own work, Khalili is committed to promoting Arab and innovative
international cinema. She is the co-founder of La Cinémathèque de Tanger, whose
mission is to develop film culture in Morocco. Khalili’s own films have been shown at
festivals galleries and museums worldwide, including the Sharjah Biennial in 2010
and New York’s Museum of Modern Art in 2011.
Elena Kovylina
Jompet Kuswidananto
Performance, ritual,
symbolic action:
rite as play and the
art of performance
1,000km Museum:
a guided tour of The
Great Post Road of Java
Tue 26 – THu 28 June, 2pm
TUE 26 and WEd 27 June, 10am
Over two sessions, this workshop
looks at secular ritual in
contemporary life and its relation
to acting and performance art.
Participants are asked to single out
elements of ritual that lie hidden
in ordinary, everyday customs and
behaviour. A separate task will entail
creating new rites, either ironically
or seriously. Practical exercises will
involve performing symbolic actions,
both traditional and absurd, and
participants are invited to come up
with proposals, improvisations and
actions related to the theme.
£20 (2 days)
3 hours each day
Elena Kovylina (b.1971, Moscow)
Elena Kovylina’s confrontational performances are as challenging and
incendiary as the social problems they address. State propaganda and the
oppression of the press, the West’s relationship with the former Soviet Bloc,
the exploitation of women – these are among the problems for contemporary
Russia that her performances focus on, and with which she forces her
audiences to engage. The commodification and selling of women’s bodies has
been a key concern for the artist, fuelling savagely satirical performances
in which she has eroticised and abused her body. While Kovylina’s work has
drawn on the legacy of 1960s and ‘70s female performance artists such as
Yoko Ono and Marina Abramovic, in her performance work she has tried to
articulate and hone a strategy for feminist politics that can be made viable
today. In 2002 she founded the Theatre of Homeless Youth, where she directed
experimental storytelling plays with street children. At last year’s Moscow
Biennale she carried out a nine-day performance in which she tested some
practical techniques aimed at achieving immortality. [SS]
Jompet Kuswidananto hosts a series
of one-day events in which he acts
as an apocryphal museum guide for
a narrative tour of The Great Post
Road of Java, Indonesia. The road,
which was originally constructed
by the Dutch in 1808 as a means of
mobilising armies against the British,
spans the entire island, linking many
of its major cities. Kuswidananto will
present new films made expressly
for the course, including interviews
with the residents, traders and
travellers that populate it. Building
up a complex picture of the road’s
cultural and historical connections,
the artist will explore its role as a
shifting site of performance and
exchange, inviting participants to
generate new dialogues in response
to the material. Hayward Gallery Room 4
3 hours each day
Jompet Kuswidananto (b.1976, Yogyakarta, Indonesia)
Jompet Kuswidananto’s dramatic multimedia works combine video, sound
and kinetic sculpture. Many of his installations feature phantoms; bodiless
figures dressed in an eclectic mix of Indonesian clothes and accessories from
different ethnic or ceremonial traditions. Their place of origin, the ‘third realm’
is – like his homeland, the island of Java – a place between continents and
oceans, where different peoples, cultures and religions become syncretised.
Jompet often refers to what he calls the ‘third reality’ which, in his words, is
‘an attempt to reconcile, manipulate or overcome disparate or contradictory
beliefs’ and to mediate between the ‘old’ and the ‘new’, the ‘genuine’ and
‘alien’, the ‘traditional’ and the ‘modern’; between ‘us’ and ‘the other’. This
syncretism is central to his work. ‘There is no culture or people that is pure,
for a culture always negotiates with another culture,’ he points out. ‘I take
Javanese syncretism as a point of departure, but in fact syncretism is a global
phenomenon.’
Marie-Pierre Duhamel-Muller
French film critic and curator Marie-Pierre Duhamel-Muller is the former director
of the Cinéma du Réel Festival at the Pompidou Centre in Paris and a member of the
selection committee for the Venice Film Festival. She writes, translates, teaches and
programmes both in France and Italy and has also worked for television as a producer.
21
Suzanne Lacy and the university
of local knowledge
Michael Landy with clive lissaman
Pedro Lasch with stefano harney
Xavier Le Roy
Mathematics of Participation:
Scale in Social Practice
Workshop on
destruction
Vertical Flâneur:
A Journey Through
Non-Linear Space
and Time atop the EDF
Energy London Eye
Choreographies:
reception and
production of
the visual
This two-part workshop explores the relationship of scale in participatory or
relational art through discussion and workshop critiques of participant projects.
Session one:
Session two:
THU 5 July, 6pm
FRI 6 July, 2pm
Suzanne Lacy and representative
collaborators (Knowle West Media
Centre, Arnolfini Gallery, University
of Bristol, BBC and the Bristol City
Council Public Art Programme) will
present The University of Local
Knowledge as a case study on scale,
strategies, and impact of working
across sectors within communities.
The presentation will be followed
by a conversation that engages the
audience in strategies and critical
implications of participatory art in an
era of increasing poverty and austerity.
This follow-up workshop is for artists
currently engaged in organising
projects and who are interested in
considering their work, particularly
as it relates to scale, aesthetics
and efficacy, in the context of likeminded artists. Each artist or
group attending is asked to bring a
brief power point presentation
(less than 5 minutes) of a work in
progress or plan for a work.
£10
Michael Landy will lead a workshop
on ideas and practices related to
destruction, with the assistance
of long-time collaborator Clive
Lissaman. Participants are asked
to bring one object of personal
significance which will be discussed
before being destroyed. The remains
of all these belongings will be used to
create a collective sculpture which
will ultimately self-destruct as the
process comes full circle.
8 hours with breaks
Suzanne Lacy (b.1945, Wasco, California, USA)
Suzanne Lacy is a writer, activist and pioneering visual artist whose work has been
described by an art writer as ‘radically political, urgently demanding and intensely
compassionate.’ Since the 1970s, she has created installations, video, and
large-scale performances on social themes, using art to resist racism, promote
feminism, denounce violence against women and explore challenging human
relationships. In the late 1970s she began organising large groups of people in
public art events and in 1987 produced The Crystal Quilt, a performance broadcast
live on the American PBS television network, which featured hundreds of older
women in Minneapolis. Between 1991 and 2000, Lacy worked collaboratively on
various projects under the acronym TEAM (Teens + Educators + Artists + Media
Makers), primarily in Oakland, California, a city characterised by a history of
political activism and extraordinary racial diversity, but which is also beset with
high rates of violent crime, poverty and school drop-out. In her socially-oriented
public performance work with TEAM, Lacy aimed to empower youth, and also to
demonstrate how art affects social change.
The University of Local Knowledge (ULK) is a multi-year artwork that
explores inequalities and hierarchies of knowledge and asks which values are
placed on which spheres of ‘expertise.’ The cross platform project includes
academics, artists, and activists, working with the community of Knowle
West, a social housing estate in Bristol. The first stage of ULK produced a
collection of over 900 short films. Over the last two years ULK has hosted a
large-scale public meal, film screenings and a series of site-specific seminars
bringing together local experts and university academics.
22
Michael Landy (b. 1963, London, UK)
Michael Landy’s art raises issues of disposal, destruction, value and
ownership and asks questions about consumerism and the commodification
of art. Recent works have included Art Bin, an installation which he conceived
as ‘a monument to creative failure’. A 600 cubic metre see-through skip was
installed in a public gallery into which everyone was invited to throw away art
with which they were dissatisfied. ‘There’s no hierarchy in the bin,’ he said.
‘All artists are treated the same, and I’ve left it up to them to interpret what
failure means.’ Nine years earlier, Landy had made Break Down, the work for
which he is still best known because it was so extreme. This project involved
listing everything that he owned, and culminated in a two-week performance
during which he systematically destroyed all 7,227 items, including his birth
certificate, novelty key rings, love letters, artworks, and a cherry-red Saab.
Clive Lissaman
A Fine Art graduate from Goldsmiths’ College, Clive Lissaman has worked
on a range of innovative projects with artists, including the production of
Michael Landy’s works Market and Break Down. Lissaman has also supported
the development of a wide range of education programmes that enable
young people to engage and interact with artists and arts organisations.
He is currently resident in Seattle where he is developing a cultural exchange
programme that allows teachers from the US to undertake residencies in
the UK through the auspices of the Imperial War Museum.
WED 4 July, 6pm
This workshop will combine live
aerial views from the EDF Energy
London Eye with the use of optical and
perceptual devices designed by Pedro
Lasch. While the artist discusses
London’s historical role as the leading
manufacturer and exporter of rational,
linear time, participants will use
Lasch’s mirror masks – to intervene in
individual, social and historical habits
of perception and thought.
Off-site: Meet at Hayward Gallery Ostrich
Lounge, 6pm. Check in 6.15pm at EDF
Energy London Eye for 6.30pm boarding.
£10 (including EDF Energy London Eye).
Please note: late arrivals will not be
boarded.Approximate duration: 1.5 hours
Take Me to the
Top: The Fine Art
of Finance
THU 5 July, 6pm
TUE 12 June, 7pm
This seminar on the culture of business
is conceived and led by Pedro Lasch and
co-taught with Stefano Harney. Designed
for business people and professionals
and enthusiasts of economics, as well
as artists and anyone interested in
the cultural aspects of contemporary
finance, the course interweaves
concepts such as strategy, leadership,
and logistics with the observation of key
sites in the history of global business.
Using some of his choreographies
as study cases, French dancer and
choreographer Xavier Le Roy will
address notions of spectatorship,
and the reception and production
of the visual within contemporary
choreography.
£10
Off-site: Meet at Hayward Gallery
Ostrich Lounge, 6pm. Check in 6.15pm
at EDF Energy London Eye for 6.30pm
boarding. £10 (including EDF Energy
London Eye). Please note: late arrivals
will not be boarded. ReturntoHayward
GalleryRoom1,7.30pm.
Pedro Lasch (b.1975, Mexico City, Mexico)
Pedro Lasch’s art involves public interventions, social interactions and ‘temporal
arrangements’. The range of his projects encompasses anti-monuments, language
games, radio works, lunch events and experimental workshops, as well as work
in more conventional media. ‘I see my work as a consecutive set of acts and ideas
that complement and interrupt the flow of the everyday,’ he says. ‘It’s a chain of
routine-breaking routines.’ Many of his early projects involved the Latino population
of New York’s Queens area, and explored international politics, migration and
what it means to be American. Lasch divides his time between teaching at Duke
University, North Carolina, and leading projects with immigrant communities and
art collectives in New York. He is a founding member of 16 Beaver, an artists’ project
based in New York’s Financial District, which organises events, presentations, talks,
conversations, screenings and political actions. Pedro Lasch has exhibited his own
work internationally and is participating in Documenta XIII in Kassel this summer.
Xavier Le Roy (b. 1963, Juvisy sur Orge, France)
Xavier Le Roy studied molecular biology at the University of Montpellier, and
has worked as a dancer and choreographer since 1991. His experimental
dance – often defined by critics as ‘non-dance’ or ‘anti-choreography’ – is
the product of radical thinking, expressed in conceptual works and ironic
performances in which every gesture is dance. Drawing on influences from
the worlds of science, performance art, music and contemporary dance, he
approaches his work scientifically, starting with a single idea or question.
His lecture-performance Product of Circumstances (1999), about his past as
a microbiologist and becoming a dancer and choreographer, played with the
ambiguity and challenge of watching movement in relation to a talk. As he
explains in the lecture, ‘I lost this very distinguished belief specific to science,
which is presented as the right of access to truth and to a different world.’ Once
he had escaped to dance, ‘thinking became a corporeal experience.’
Stefano Harney
Professor Stefano Harney is Director of Global Learning at Queen Mary
(University of London). The founder of Finance Watch, a research NGO
dedicated to banking reform, he is an expert on business ethics, corporate
governance, and responsible management education. His forthcoming book,
Business World, focuses on the borderless business world and the rise of
extreme neo-liberalism.
23
Lu Jie
© Long March Project
Mark Leckey
Lee Bul
Lee Mingwei
Lu Jie
We Know VIDEO
From Me, Belongs
to You Only
Dining and Singing
The Long March:
a case study
FRI 6 July 10am
and SAT 7 July, 11am
FRI 15 June, 7pm
Mark Leckey will lead a class over two
days on making an artwork through
the mass distribution potential of
the internet and what is known as the
Long Tail. Considering how websites
such as YouTube have become a new
medium for production and have
changed the way we think about art,
the class will work together to create
a digital collage of video, sound and
still images.
Hayward Gallery Classroom 3
£20 (2 days)
Appoximate duration:
Day 1: 3 hours
Day 2: 3 hours
Mark Leckey (b. 1964, Birkenhead, UK)
Mark Leckey‘s collage films, performances and gallery installations draw
upon both high art and popular culture. Merging, sampling, and recreating
material from current and historical urban culture, they reflect his interests
in fashion, dance music, literature, architecture and art. In Mark Leckey in
the Long Tail, a talk that he premiered in 2009, he extended this approach,
using examples and props to visualise the effects on culture of an internetbased economy. ‘The long tail’ is a term used to describe the situation in which
distributors like Amazon and Netflix can cater to all niches without operating
at a loss; Leckey says that, for him, the ‘long tail’ is ‘the means of production
to broadcast yourself, and what happens when everyone’s a potential
broadcaster, transmitting their innermost thoughts around the world.’ Talking
about how the internet has changed his work, he mentions that it has affected
his relationship to the material he uses, since ‘whatever I want is magically
always there, online’.
24
This illustrated lecture takes its title
from a line in a love letter sent to Lee
Bul. Wanting to share this feeling of
intimacy and warmth with visitors
to her retrospective, she used it as
the title of her recent exhibition at
the Mori Art Museum in Tokyo. In this
lecture, she presents her working
processes and all her major projects
as presented in that exhibition.
MON 11 June, 7pm
TUE 12 June, 7pm
WED 13 June, 7pm
TUE 19 June, 2pm
This lecture will be given in
Korean with simultaneous
English translation.
Using food as a medium for trust and
intimacy among strangers, each of
these three evening events features
a meal cooked by Lee Mingwei for
five participants and himself. While
sharing dinner, the participants will
also share songs that have particular
personal associations for each of
them. Besides selecting a piece of
music with special significance,
each participant is asked to bring his
or her own dining utensils (plates,
cutlery and cups) to the event.
£10
£10 per session
Lee Bul (b.1964, Yongwol, South Korea)
Featuring cyborgs and monsters and futuristic cityscapes, Lee Bul’s work
explores dreams, ideals and utopias inspired by Japanese anime and
manga, bioengineering, and visionary architecture. Her intricate sculptural
installations combine new media and innovative technologies in what she
describes as a ‘dream language that mediates between the unconscious and
lived experience.’ From her earliest street performances, when she made
and wore fantastic ‘soft sculpture’ costumes, alive with multiple protrusions
and dangling viscera, Lee’s work has touched on feminist issues. She often
questions women’s place in society, especially in Korea and Asia, and
addresses the ways in which popular culture influences opinions of feminine
beauty, both in the East and in the West. Later sculptures have analysed the
relationship between woman and machine, producing aberrant hybrids that
she calls ‘anagrammatical morphologies’, while the forms of Live Forever, a
trio of fully functional karaoke pods, morph between prototypical racing cars
and cryogenic chambers. In these works, Lee explains that her concern is with
ideas about ‘transcending the flesh and the desire for immortality.’
Lee Mingwei (b.1964, Taichung, Taiwan)
Lee Mingwei’s work is about hospitality, generosity, and sharing. He creates
participatory installations, where visitors explore issues of trust, intimacy
and self-awareness, and devises ‘performances without an audience’; private
events where individual participants investigate these topics directly with
the artist himself. Born in Taiwan, Lee relocated to America as a teenager.
He moves fluently between Eastern and Western cultures, fusing American
conceptual art practices with his Taiwanese heritage. While many of his
projects involve our most basic activities – eating, sleeping, walking and
conversation – much of his work evokes questions of belonging and a longing
for home, wherever and whatever that might be. It was during his first year in
graduate school that his Dining Project originated. Feeling isolated, he posted
leaflets all over the campus, inviting anyone interested in ‘sharing foods
and introspective conversation’ to contact him. Having selected his guests
by lottery, he cooked traditional Asian meals for thirty of the people who
responded, dining with them one by one.
The Long March Project (LMP) is
a complex and highly innovatory
international arts organisation
and participatory programme
based in China. In this class, Lu Jie,
LMP’s director and chief curator,
presents Long March as a case
study. Describing the Project as
a movement which overcomes
seemingly insurmountable setbacks,
he will discuss the relationship of
LMP – a non-profit organisation in
a country which does not recognise
such enterprises – to the Long March
Space (LMS), a leading commercial
gallery in Beijing. This unusual mix
of ambitious public art projects
and a business venture is a survival
strategy which has much to teach
independent curators in the West.
As Lu Jie says, ‘everyone should
undertake their own Long March.
That means educating and sharing.’
£10
Lu Jie (b.1964, Fujian, China)
In London, as a student at Goldsmiths College in the late 1990s, Lu Jie
conceived the Long March Project. One of the first two people from mainland
China to study creative curating abroad, he had travelled vast distances not
just physically but professionally, having moved from being a traditional
painter to being a curator of contemporary art. This journeying led him to think
about the ways that contemporary art could connect with social development
and change. In 2002, Lu initiated the ‘Long March Project – A Walking Visual
Display’. This participatory programme, involving over250 artists, writers,
theorists, curators and scholars from China and abroad, aimed to retrace
Mao Zedong’s historic Long March, creating public performances, exhibitions
and discussions at points along the six-thousand mile route. Since then, the
Project has also established the Long March Space in Beijing and has set
up international projects. The most recent of these is the Ho Chi Minh Trail,
a collaborative contemporary arts project investigating collective memory,
migration, history and identity in China, Vietnam, Cambodia and Laos.
25
Nathaniel Mellors
Art & Humour: What
Could Be and What Is
WED 27 June, 7pm
Darius Mikšys
Aleksandra Mir
Ernesto Neto
FRI 29 and sat 30 june
Freddie on the Plinth
Macro-micro
sculpture dance
MON 11 and TUE 12 June, 10am
Please check website for details.
Artist Nathaniel Mellors talks about
comedy and its existing and possible
intersections with art.
This will be the second of two
‘Frieze Magazine at Wide Open
School’ events. Hayward Gallery Lecture Theatre
£10
Nathaniel Mellors (b.1974, Doncaster, UK)
Nathaniel Mellors makes films and sculptural environments that probe and
parody the complex relationship between language and power. Using and
usurping the formats of mainstream entertainment, his works are inventive
crossovers between visual art, music, theatre and text. They draw their
inspiration from popular icons of cinema and theatre as well as from literature,
revelling in surreal aspects of humour and language from vaudeville, Samuel
Beckett and Monty Python to Rabelais and Jonathan Swift. Mellors describes
his ambitious video project Ourhouse, parts of which were shown at the
Hayward Gallery last year in British Art Show 7, as ‘British sitcom meets
[Pasolini’s 1968 film] Teorema’. Its absurdist script and idiosyncratic imagery
challenge comprehension and rationality and play with the concerns of
contemporary art.
26
FRI 6 – SUN 8 July, 2pm
Aleksandra Mir will present a
45-minute lecture on the connection
between two people with an unlikely
but beautiful connection: the
legendary rock star Freddie Mercury
(1946–1991) and Czech sculptor Irena
Sedlecká (b.1928). As a student at
the Academy of Fine Arts in Prague,
Sedlecká was awarded the State
Prize for excellence and thereafter
created many Socialist Realist largescale commissions before fleeing
the Communist regime for England
in 1966. It was in London, after
Freddie’s death from AIDS in 1991,
that she received the commission
from the band Queen to create a
larger-than-life bronze memorial
statue of the rock star.
Darius Mikšys (b.1969, Kaunas, Lithuania)
For a long time, Darius Mikšys stopped using the word ‘art’ in relation to
his work. Refusing to ally himself with any genre or medium, he describes
what he does as ‘just projects’, and speaks about his ‘active practice of
exhibition-making’. His whole modus operandi is based on social networks,
bringing people together to create performances and shared experiences. A
self-proclaimed concept designer, whom others have called a ‘practitioner
of persuasion art’, many of his conceptual schemes have taken place far
beyond the confines of the gallery. These have included learning new skills
such as playing the accordion or cricket (which led him to establish Lithuania’s
first cricket club), organising a workshop on avoiding eye contact, and
procrastinating his own lecture On Procrastination. For his first solo exhibition,
when he represented Lithuania at the 2011 Venice Biennale, Mikšys invited
200 Lithuanian artists who had received government grants to submit a work
to his project. The concept, he said, was ‘to create a metaphorical mirror for
the state and society.’
The lecture will be followed by a two
hour drawing class where students
are free to explore and to draw from
Irena Sedlecká’s scale models and
studies of Freddie Mercury which she
produced in preparation for making
the statue. All drawings produced
during the class will be exhibited as a
collective exhibition.
Open to people with all levels of
drawing ability, as well as fans of rock
music and classical art. This class
welcomes your unique perspective
on all of the above.
Hayward Gallery Project Space
£10 per class
Please arrive for 9.45am – the class
will start promptly at 10am and
latecomers will not be admitted.
Aleksandra Mir (b. 1967, Lubin, Poland)
Aleksandra Mir’s work asks questions, makes you laugh, and makes you
think. Her practice relies heavily on communication and social interaction,
and on collaboration; in much of her work, she solicits the participation of
friends, acquaintances and strangers in playful upheavals of social norms.
Her projects – many of which relate to replicas and travel – have included First
Woman on the Moon (1999), a simulated female moon landing that interlaced
issues of space travel, feminism, and imperialism; and a proposal to make
a second Stonehenge that would allow everyone free and unlimited access.
The How Not To Cookbook exemplifies her approach: for this publication she
asked 1,000 people for their advice on what NOT to do in the kitchen, based on
their own experiences of failure: ‘I was interested in how we are taught or teach
ourselves through trial and error and how, by making our guilty failures public,
we may even be creating an original and subversive form of art.’
Ernesto Neto will run a three-day
workshop in which the class will
work as a group to explore themes
of the body, physicality, movement
and scale. The course will feature
practical assignments making play
of impulse and improvisation within
the creative process.
Participants will be asked to bring
a choice of their own materials to
work with including pens, pencils,
sketchbooks, string and fabric.
£30 (3 days)
3 hours each day
Ernesto Neto (b.1964, Rio de Janeiro, Brazil)
Ernesto Neto’s sculpture and installations speak of both the microscopic
and the macroscopic. While his vast, immersive installations evoke anatomy
and the body’s internal landscape, many of his shapes and forms resemble
protean organisms; cells or amoebae enlarged to colossal proportions.
Constructed from fragile fabric membranes stretched over skeletal
armatures, his sensuous walk-in environments are ‘life experiences’, to
be entered and explored in what he describes as a ‘body-mind continuity’.
Often augmented by pungent scents, they invite sensory interaction as
well as stimulating psychological and intellectual responses. But though
contemplation is an important response, so too are movement, play and
interaction. The Edges of the World, the labyrinthine installation that Neto
created for the Hayward Gallery in 2010, incorporated a garden and a
swimming pool, as well as social spaces and spaces within which the visitors
themselves became sculptural elements.
27
Photo:
Hans-Günther Kaufmann, Munich
Olaf Nicolai and students
from the Academy of Fine Arts, Munich
MOUNTAIN SCHOOL WHAT MOUNTAINS
TEACH US
Makoto Nomura
Music and physical
movement
TUE 3 July, 10am
WED 3 and THU 4 JUL, 2PM
This course will be structured around
a series of lectures and workshops
focusing on the mountain as a topic
of reflection as well as of practice.
It will range in scope from semiotics
to learning climbing. It will cover
mountain air doping, physical and
mental climbing, Mont-Blanc-school
of character (after de Saussure),
cabin feast, summiteer and special
guests.
Mistakes and
Misunderstandings
in Music
WED 4 July, 10am
Hayward Gallery Wide Open School,
various venues
Price TBC – please check website
for further details
All events start from the base camp
in the gallery and will use the space
at the Hayward for touring lectures.
Japanese composer and musician
Makoto Nomura leads a workshop
for anyone who enjoys moving their
body, as well as for musicians and
dancers. Participants will explore
entertaining and enjoyable physical
exercises as ways of playing musical
instruments. The class will then
have an opportunity to put their new
learning into practice by playing
Southbank Centre’s Javanese
gamelan – a traditional Indonesian
musical ensemble composed
of various tuned percussion
instruments.
Hayward Gallery Lecture Theatre,
£10
Olaf Nicolai (b.1962, Halle (Saale), Germany)
Olaf Nicolai’s conceptually-based art probes and deciphers subjects as
diverse as aesthetics, consumerism, nature, music, the body, time and space,
and questions the way in which we view our everyday surroundings. His work
includes site-specific installations, environments and interventions, many
of which are collaborative. Words, signs and symbols play a central part in his
projects, which often incorporate books and experimental publications that
he has made especially for them. Physical activities and games also feature in
his work; he has created an ice rink in a gallery, and made outdoor works that
transform a skatepark into a ‘street surfing painting’ and a museum courtyard
into a football pitch. He is interested in the idea that art can be a catalyst for
change and can help in the transformation and regeneration of public spaces.
28
Yoshua Okón
Communication is an important
part of all human activity.
Makoto Nomura notices how in
everyday life, communication
often entails wonderful creative
misinterpretations and errors.
This workshop concentrates on
how we can deviate from musical
convention by making such
mistakes and misunderstandings,
intentionally and unintentionally.
Mischief and nonsense ideas
are invited! Participants will use
Javanese gamelan instruments
but are also welcome to bring their
own instruments.
£10
Makoto Nomura (b.1968, Nagoya, Japan)
Makoto Nomura is a composer and pianist who has pioneered new forms of
collaborative composing, directly involving others – including ‘non-musicians’
– in the creation of his works. Using musical games and wordless discussions
as starting points for compositions, he has involved community groups,
including residents of old people’s homes, children, people with disabilities
and dancers, in making improvisatory works. Western orchestral instruments,
traditional Japanese instruments, the Javanese gamelan, and found objects
such as stones, plastic bottles and balloons have all been brought into play.
He has held recitals in public baths using hot water and buckets, played
melodicas with animals (his collaborators in Music with Pets included ducks,
pigs, horses, monkeys, orang-utans, lions and an ant-eater) and, with the
Hokusai Manga Quartet, has used Hokusai’s drawings as a score. One of
Nomura’s innovatory compositional strategies is Shogi, which he describes
as ‘a kind of recipe for collaborative composition among various people with
different musical backgrounds and various musical abilities. It is just like
playing cards around a table.’
Wide Open Score
Advisory, Conciliation
and Arbitration Service
THU 5 July, 10am
In this workshop, Makoto Nomura
explores strange, enjoyable and
entertaining music without using
conventional musical notation.
Creaky noises, energetic free rhythm
on percussion, tone-deaf singing,
and other such peculiar forms will be
explored. How can we make a score
for such wide open music?
Nomura will explain his own method
of collaborative composition,
‘Shogi Composition’, and encourage
participants to explore their own way
of notating music.
No musical knowledge is required for
this workshop. Participants can bring
their own instruments and will also
have access to Javanese gamelan
instruments. This workshop will
conclude with a mini-concert.
£10
FRI 29 June, sessions every hour from 2pm to 8pm
SAT 30 June, sessions every hour from 11am to 5pm
SUN 1 July, sessions every hour from 11am to 5pm
Yoshua Okon invites people to have
a one-to-one conversation with him
based around a set of questions
that he frequently asks himself. His
temporary office at the Hayward
Gallery is named after the independent
UK public body that acts as a mediator
and helps to resolve problems and
disputes in the workplace. During each
45-minute appointment, participants
choose questions to discuss from a list
including the following:
Do you believe we have the power to
control the destiny of our civilization?
Do you believe technology will save us?
Do you believe nationalism and
democracy are compatible?
Do you believe nationalism and
humanism are compatible?
Do you believe your every day
actions (way of life) are connected
to violence, corruption and
exploitation around the globe?
Do you believe individualism is
intrinsically alienating?
Do you believe we have culturally left
behind the spirit behind human zoos?
Do you believe it is ethical to
have children?
The aim is not to answer these
questions but to discuss together
the issues they raise.
Hayward Project Space Back Room
One-to-one session lasting 45
minutes, £10
Strictly over 18s only
Yoshua Okón (b. 1970, Mexico City, Mexico)
Yoshua Okón describes his art as ‘a series of near-sociological experiments.’
Over the past two decades, he has created projects that make use of staged
situations and semi-orchestrated performances, often with the participation
of people that he encounters in public places. He has worked with Guatemalan
day labourers, veterans of their country’s civil war; Mexico City policemen; a
family living in California’s High Desert; and, in a re-enactment of Joseph Beuys’
1974 cohabitation with a coyote, Okón confined himself with a human ‘coyote’,
or Mexican migrant smuggler, hired to act like the animal. Okón says of these
interventions that they ‘act like detonators that dislocate social codes’ and that
they aim to question our habitual perceptions of reality and truth, selfhood and
morality. In 2010, Okón co-founded an art school in Mexico City, which has been
described as being more like an intervention than an art school.
29
Joao Onofre
© Anamary Bilbao
João Onofre
Lucy + Jorge Orta
Dan and Lia Perjovschi
Susan Philipsz
Recruitment Plan
Cloud Architecture Timelines and ’Zines
Sound Workshop
João Onofre leads a two-day
workshop exploring both empirical
sensory perception and intuition.
The course will comprise a
preliminary session of health
check ups to determine the state of
participants’ basic senses, such as
hearing, sight, speech etc. followed
by a second session the next day in
which the group will undertake water
divining (searching for the presence
of water using a dowsing rod).
Lucy + Jorge Orta lead a two-day
workshop on Cloud Architecture.
The artist duo describe Cloud
Architecture as invented living
spaces designed ‘for social
interaction that can change
according to use, and [are] built with
recycled or sustainable materials.’
TUE 26 and WED 27 June, 2pm
Day 1: Hayward Gallery Room 1
Day 2: Off-site, meet at Hayward
Gallery Ostrich Lounge
£20 (2 days)
3 hours each day
João Onofre (b. 1976, Lisbon, Portugal)
João Onofre’s performance-based videos are experiments with unpredictable
outcomes, some of which border on catastrophe. For these works, as with
the live performances that he creates, he enlists professionals from many
different spheres of activity to carry out whatever it is they normally do
for a living: to sing, act, dance, play music, do gymnastics, or – in the case
of a vulture – to fly around his studio. Many of his works make use of body
language to reflect on the difficulties of communication in the world today.
Appropriating an historical work of art, a song, or a scene from a film as a
starting point, his videos frequently explore group dynamics through role
playing. He also often places his actors in situations demanding extreme
physical endurance. In his live performance sculpture Box-sized DIE, which
features a different Death Metal band each time it is presented, the musicians
are enclosed in a sound-insulated steel structure where they play until they
exhaust the oxygen inside. Invisible and unheard, the hidden performance
animates an otherwise static container.
30
MON 11 and TUE 12 June, 10 am
WED 27 – FRI 29 June, 10am
Hayward Gallery Room 2,
£20 (2 days)
Day 1: Approximate duration:
3 hours with breaks
Day 2: Approximate duration:
3hours
Suitable for age 18 and upwards.
The first part of the workshop will
be a seminar conducted with a
guest architect. The second part
will consist of building scale models
of cloud architecture spaces. The
course will last the full day on
Monday (until 5pm) and then 3 hours
on Tuesday morning.
Lucy (b.1966, Sutton Coldfield, UK) + Jorge Orta (b. 1953, Rosario, Argentina)
Lucy + Jorge Orta’s collaborative practice deals with humanity’s fundamental
needs. Their sculpture and painting, installations and interventions,
performances and workshops explore issues such as water, food, shelter,
mobility and communication. In focusing on issues that affect all our lives,
their stated goal is to ‘help change people’s attitudes and habits, activate
debate ... and even change current legislation.’ Their projects have included
the creation of portable minimum habitats; an investigation of the food chain
in global and local contexts; and participatory artworks centering on the ritual
of dining and its role in community networking, as well as works that raise
awareness about organ donation, and the global emergencies concerning
water and the environment.
This three-day workshop will start
with a brainstorming session
based on the conviction that the
best approach in art – as in other
professions, or in life in general - is
to make what you can out of what
you have. The initial provocation
will be making a timeline of the day
(or week or year), and/or making
drawings for a fanzine – with both
activities inspired by actual political,
social and private events. Students
can choose which formats to work
with and can switch them during
the day. Group discussions will take
place throughout the class, while
the artists will aim to encourage
SAT 7 and SUN 8 July, 2pm
and empower participants and to
assist them in finding and developing
their ideas. The goal is to realise the
diversity of dreams and solutions;
to be flexible; and rethink how to
use source materials from the mass
media, books, everyday culture,
personal stories, and art. At the
end of the workshop, the class will
produce a collective fanzine and a
personal timeline.
£30 (3 days)
3 hours each day
Dan and Lia Perjovschi (b. 1961, Sibiu, Romania; b. 1961, Sibiu, Romania)
Dan and Lia Perjovschi’s separate and highly personal approaches to art are
deeply rooted in performance. Dan creates ‘temporary drawings made with
permanent markers,’ which mix humour with satire and comment on current
political, social and cultural issues. They are made on site in museums and art
galleries. Lia’s installations combining images, texts and objects are visual
representations of her knowledge, experience and memories of international
contemporary art. The Perjovschis began making art during the Communist
era, under one of the most repressive regimes in Europe. After the 1989
Romanian Revolution, when they were able to travel and to work openly,
Lia began to focus on conceptual projects such as Timelines, Mind Maps,
and Knowledge Museum. These open-ended archival works encourage the
sharing of knowledge, ideas and information, activities that were forbidden in
Romania during the Communist period.
Artist Susan Philipsz will open this
session with a short presentation
of her work before leading a sound
workshop exploring some of the more
public areas of the Hayward Gallery,
including its stairwells and rooftop
terraces. This class will explore,
in the artist’s words, ‘the emotive
effects of song; how it can trigger
memory and redefine a place.’
£10 per session
3 hours per class
Susan Philipsz (b. 1965, Glasgow, UK)
Susan Philipsz creates subtle yet immersive installations in which the artist’s
unaccompanied voice is the central element. Engaged with the notion of
sound as a physical or sculptural experience, Philipsz is best known for
recording herself singing unaccompanied versions of popular songs or folk
ballads which she replays in public spaces, or in a gallery. Responding to
the character or architecture of a space or place and drawing from musical,
literary and historical sources, her works often stimulate a heightened sense
of spatial awareness, emotion and memory. Whether installed on a riverbank,
in an ancient Greek temple, under Glasgow’s railway bridges, or in the City of
London, her works allow listeners to experience space and place in an entirely
new way. ‘I work with sound but that sound is always installed in a particular
context and that context with its architecture, lighting and ambient noises
forms the entire experience of the artwork,’ she explains. ‘It is a visual, aural
and emotive landscape.’
31
Amalia Pica
Cesare Pietroiusti
Marjetica Potrč with Richard Sennett
The Public School
Walk the walk talk
Production and
Free Distribution of
Drawings Workshop
In conversation
External Program
SUN 1 JULY, 2pm
Amalia Pica leads a walking lecture
and discussion looking at the role
of walking in creative processes.
The group will be joined by guest
speakers along the way, including
artists and writers who walk as part
of their practice.
Off-site: meet at Hayward Gallery
Ostrich Lounge, 2pm
£10
SAT 16 June, 3pm
TUE 19 – FRI 22 June, 10am
The outcome of these workshops will
be drawings created by the artist and
participants, which are then given
away for free but subject to various
specific conditions – for example,
the owner or ‘holder’ of the drawing
commits to give it away to the first
person who asks them a question
they cannot answer. Each whole
day workshop will be in two parts.
Mornings will be spent brainstorming
to arrive at the particular conditions
to be printed on these transient gifts,
which are intended to be passed from
one temporary holder to the next.
Afternoons will be occupied with the
actual making of the drawings, using
unconventional media such as tea,
salt water or beer.
Hayward Gallery Room 4 (Tue + Wed)
Hayward Gallery Room 1 (Thu + Fri)
£10 per class
7.5 hours including breaks
Professor Richard Sennett will
join artist Marjetica Potrč for a
discussion exploring different
versions of the future city and the
possible role of the artist within
these. Potrč will discuss her major
projects addressing the future city
in locations around the world,
including Caracas, Venezuela,
Anyang, South Korea and a
modernist neighbourhood
redevelopment in Amsterdam.
FRI 6 – SUN 8 July, 11am
The speakers will investigate how
cities can become more liveable as
networks of neighbourhoods and
explore different forms of shared
space and collective architecture,
including the role of rural culture
and architecture as a catalyst for
social change.
£10
External Program is an online
education program organised by The
Public School and AAAARG.ORG.
Motivated by Gilles Deleuze’s 1989
entreaty to ‘look for new weapons’,
it is oriented away from certification
and employability and towards
learning for its own sake. People have
been invited to participate in the
collective creation of its curriculum
by offering to teach something,
requesting a lecture on a particular
topic, or helping to synthesise the
various strands.
The first three classes will take place
at Wide Open School. The classes will
be recorded at the Hayward Gallery
and made freely accessible online
shortly thereafter.
There will be a limited number of
places. Take a chance and book
before the details are confirmed!
The topics and teachers of the three
classes will be established by early
June so please check the Wide Open
School website to find out what
they are.
£10 per class
Amalia Pica (b.1978, Neuquén, Argentina)
Many of Amalia Pica’s installations and temporary interventions address
the absurd slippages and failures in everyday communication. Her work also
examines the power of false memories and the ways in which cultures and
regimes seek to govern and control thought. Individual works are frequently
specific to a place or a situation, and often concern ideas of transition,
passage, migration and dislocation. She says that she would like her works ‘to
be like myths, to unfold into several versions or levels, none of which is more
valid or authentic than the other.’ A recent year-long project with the London
borough of Tower Hamlets involved the journeyings of a nomadic sculpture
which Pica sent out into the community, where it was looked after by local
residents in their own homes. In the context of this project, Pica asks: ‘What
makes an area? Is it its buildings? Is it its history? Is it its people, every single
one of them?’
Cesare Pietroiusti (b. 1955, Rome, Italy)
Cesare Pietroiusti’s interventions, performances and video works are
primarily concerned with questioning our ideas of value in terms of both
money and art, and rethinking the logic of exchange. Reversing our usual
relationship with money, he has opened a shop where the goods for sale are
banknotes and the currency used to purchase them is the customer’s gaze,
and set up exhibitions where the artworks are exchanged for visitors’ ideas.
Pietroiusti’s practice often starts with assigning himself or others a task, or
asking others to give him instructions. He has solicited stories from people in
the street (and elsewhere) and bartered with practical skills, giving lessons
in making mayonnaise, writing the Greek alphabet, or properly flossing one’s
teeth in exchange for being taught to cut hair, use Photoshop, or remove
one’s vest without taking off one’s coat. His interests lie in collaboration,
participation and co-authorship: ‘what I like most is that popping up of
ideas that wouldn’t have otherwise emerged from the individual minds
of the participants.’
Marjetica Potrč (b. 1953, Ljubljana, Slovenia)
Marjetica Potrč’s art and architecture focus on how to make life on earth more
sustainable, while accommodating humanity’s need for shelter, well-being
and community. Believing that ‘citizens are the ones who make the city’,
she involves communities in participatory projects in which situations or
structures are adapted in order to improve their living conditions. She has
worked throughout Europe as well as in places as dissimilar as Rajasthan
and Detroit. Speaking of her practice, which involves people from different
disciplines and backgrounds working together, she says: ‘There are many
reasons why the sharing of knowledge is necessary, but perhaps the most
important is that, still haunted by the lost promises of modernism, we feel
the world must be reconstructed. In my work, art’s role is to mediate and help
envision a project that articulates a new culture of living.’ Marjetica Potrč is
currently a professor at the University of Fine Arts (HfBK) in Hamburg.
The Public School (initiated 2007 by Sean Dockray, in Los Angeles, USA)
The Public School best explains itself; as stated on its website, it is ‘a school
with no curriculum. At the moment, it operates as follows: first, classes
are proposed by the public (I want to learn this or I want to teach this); then,
people have the opportunity to sign up for the classes; finally, when enough
people have expressed interest, the school finds a teacher and offers the
class to those who signed up.’ After operating for a year in Los Angeles, new
schools, following the same model, were started elsewhere in America,
and then further chapters opened in other parts of the world, including
Brussels, Berlin, Helsinki and Durham. As the website explains: ‘Each chapter
functions independently yet stays in keeping with the original mission ... Most
importantly, The Public School provides any curious person with access to an
underrepresented educational model.’
Richard Sennett (b.1943, Chicago, USA) The eminent and highly influential
sociologist Richard Sennett, a professor at both New York University and
the London School of Economics, explores the ways in which people in urban
societies can learn to survive and co-exist in an increasingly overcrowded world.
He writes about the cities in which we live and the work that we do, emphasising
the value of craftsmanship and co-operation, which is itself a craft. His most
recent book, Together: The Rituals, Pleasures and Politics of Cooperation, is the
second instalment in a planned trilogy about ‘the skills people need to sustain
everyday life’.In this volume he argues that living with people who differ is the
most urgent challenge facing civil society today.
32
33
Tobias Putrih
QIU ZHIJIE
Raqs Media Collective
Pedro Reyes
Disappearing as
Design Strategy
MAPPING LONDON
About Time
Social Atom
FRI 15 and SAT 16 JUNE, 11AM
THU 28 June, 6.30pm
FRI 29 June, 2pm
In this two-day course Tobias Putrih
will begin with a lecture exploring
the techniques and philosophical
resonances of camouflage. The
artist will trace how these have
been developed and implemented
throughout Modernity, from Adolf
Loos’s conception of the White City to
Apple Computers and Roger Caillois’s
conjectures on mimicry, finishing with
a discussion of current strategies of
disappearing. On the second day Putrih will conduct
a workshop introducing practical
examples of camouflage responding
to the Hayward Gallery itself. This will
involve a discussion and ‘re-enactment’
of the ‘hypothetical disappearance of
the visitor inside the museum’ as well as
a study of the texture of the building’s
façade and modes of disappearance
against this backdrop.
Day 2: Hayward Gallery Lecture
Theatre
£20 (2 days)
Tobias Putrih (b.1972, Kranj, Slovenia)
Tobias Putrih describes his fragile structures, which range from small modular,
toy-like objects to large installations and environments, as ‘anti-objects’. Made
from everyday materials such as cardboard, polystyrene blocks and plywood, his
works often appear precarious, temporary and provisional and resemble models
or prototypes. They address the high ideals of Modernism, such as social utopias,
modern architecture and the evolution of cinema, investigating their promises
and failures. Putrih is inspired by visionary architects and intellectuals including
Frank Lloyd Wright, Buckminster Fuller, and Adolf Loos, the German educationalist
Friedrich Froebel and the French thinker Roger Caillois. Putrih, who studied
physics before turning to art, says: ‘I don’t think art is about consistency; it’s about
complexity ... The key question for me is how to make an object that expresses
its own self-doubt, questions its own existence.’ His installation Overhang (a
collaboration with MOS architects), shown at Baltic Centre for Contemporary Art,
Gateshead, in 2009, was a styrofoam structure on
the constant verge of collapse.
34
Over two days Qiu Zhijie leads
participants through personal and
collective exercises in mapping
London. During the first session, My
London, the artist and participants
draw their own subjective
geographical or mind maps and
discuss their personal approaches. In
the second session, Our London, the
group works together to communicate
and exchange ideas to develop a
collective map of London.
Materials will be provided by Wide
Open School.
Hayward Gallery Room 2 and Room 4
£20 (2 days)
Day 1 – 3 hours
Day 2 – 2 hours
Qiu Zhijie (b. 1969, Zhangzhou, Fujian Province, China)
Since 2003, artist, curator, critic and teacher Qiu Zhijie has developed his
concept of ‘total art’, both in his own work and with his students in the Total Art
Studio at the China Academy of Art. Qiu, who has been described as a ‘cultural
archaeologist’, defines ‘total art’ as an artistic practice based on cultural
research, which takes its impetus from history in the making and seeks in
turn to improve the world. Trained as a calligrapher, he views all schools of
Chinese art as ‘mutations from ‘calligraphy’, and makes no distinction between
different disciplines: his own art also includes painting, sculpture, photography,
video, installation and performance. In 2002, Qiu took part in the creation of
‘The Long March – A Walking Visual Display’. He is currently Chief Curator of
the 9th Shanghai Biennale, and his work Blueprints (2012), which consists of
large-scale, ink-based maps, forms the second instalment of the series of
installations Prompts and Triggers at Witte de With in Rotterdam this June.
WED 13 and fri 15 June, 2pm
THU 14 June, 10am
Raqs Media Collective (Jeebesh
Bagchi, Monica Narula and
Shuddhabrata Sengupta) will lead a
three-day course of conversations
and considerations on time and
timeliness.
The first day will consist of two related
lectures presented by the artists: On
the Qualities of Time and Two or Three
Things We Know About the Future.
The second day will involve a trip to
The Royal Observatory in Greenwich
and a picnic in the grounds.
Participants will be asked to think
about the evolution of timekeeping,
the history of longitude and the
relationship between time-keeping
and death at sea.
TUE 10 and WED 11 July, 2pm
On the third day the artists will host
Readings at the Time Table, an evening
banquet in which texts and wine
will be served like courses from an
elaborate menu. Each participant
will be asked to read a fragment of
text for discussion by the group and
formulate a toast to time.
Day 1: Hayward Gallery Room 2,
4 hours including breaks
Day 2: Off-site: Meet at Hayward
Gallery Ostrich Lounge,
Tickets for Day 1 (only) £10
£30 (3 days) (including admission to
the Observatory, but not including
food or travel expenses)
Over 18s only
Raqs Media Collective (founded in 1992, New Delhi, India)
Raqs Media Collective comprises Jeebesh Bagchi, Monica Narula and
Shuddhabarata Sengupta. Their practice encompasses writing, photography,
film, video, new media, theory and criticism. They explain that their name,
Raqs, is ‘a word in Persian, Arabic and Urdu and means the state that “whirling
dervishes” enter into when they whirl … At the same time, Raqs could be an
acronym, standing for “rarely asked questions”.’ Their cross-disciplinary work
takes the form of installations, image-text collages, online and offline media
projects, lectures, performances, and encounters, but their overarching
interest is in dialogue and discourse and their special concern is for the
dispossessed. Much of Raqs’ work is to do with notions of contemporaneity;
one of their concerns has always been, they say, ‘to look at different kinds
of connections and connectivity in time and space.’ And they add: ‘we are
constantly looking at the history of the moment in which we are in now.’
Pedro Reyes leads two separate
workshops of group activities and
games designed as mental warm-up
exercises. These range from
‘The Great Game of Power’ in which
participants arrange objects in
order of power in relation to one
another, to ‘Social Atom’ where the
group will create configurations of
‘human molecules’.
£10 per class
Pedro Reyes (b. 1972, Mexico City, Mexico)
Pedro Reyes approach to art is both visionary and playful. His projects
combine problem solving with social activism and have involved a plan for
converting a defunct Modernist housing complex into a high-rise urban farm;
creating a temporary clinic providing ‘speed therapy’ (as in ‘speed dating’)
to help heal the afflictions of urban life; and an international tree-planting
programme, using shovels made from melted-down handguns. Trained as
an architect, he is intent on improving the urban environment in a hands-on,
pragmatic way. He is especially interested the psychosociologist Jacob L.
Moreno’s idea of ‘sociatry’, which he explains as ‘the art and science of healing
society’. Another influence has been the philosopher and mathematician
Antanas Mockus, who during his time as mayor of Bogotá, Colombia, created
inspirational social strategies, involving humour, games, and theatrical
stunts, that dramatically improved urban life. Talking about art museums,
which he thinks of as fridges that preserve objects for posterity, Reyes says:
‘I’m more interested in using the cultural institution as an oven, where you cook
new realities.’
35
Tim Rollins + K.O.S.
A MIDSUMMER
NIGHT’S DREAM
the river
In these workshops, designed for
young people aged 13-17, Tim Rollins
+ K.O.S. will lead discussions about
two classic works of art, exploring
the themes and ideas of each, and
will then lead a workshop in which
members of the class produce a
collective visual artwork that grows
out of their responses to the works
in question. On Saturday, the class
will explore and respond to William
Shakespeare’s A Midsummer
Night’s Dream.
On Sunday, the class will explore
and respond to Duke Ellington’s
musical composition The River.
SUN 24 June, 2pm
Tomás Saraceno
Kateřina Šedá
Wael Shawky
Deep Space
Around the clock
Art and History
Tomás Saraceno leads a two-day
workshop imagining possible
solutions to forming habitats in
extreme locations – and in particular
deep space. Drawing on the ideas
of visionary architect Buckminster
Fuller who said that as inhabitants
of Spaceship Earth ‘we are all
Astronauts’, Saraceno and his team
of experts invite people to join him
to envisage living in outer space and
what structures that would entail. Kateřina Šedá leads a marathon
24-hour long lecture over the final
two days of Wide Open School.
Wael Shawky hosts a discussion
addressing the intersection of art
and history. Drawing on examples
from the artist’s previous work the
group will address questions such
as ‘How do we translate history into
art work?’ and ‘Do we really believe
in history?’ SAT 16 and SUN 17 June, 2pm
TUE 10 July, 10am
FRI 15 june, 2pm
SAT 23 June, 11am
£10 per class
Both classes will follow an
experimental workshop format that
Rollins and K.0.S. developed over the
past three decades while working
together in the South Bronx area of
New York City.
£10 per class
Tim Rollins + K.O.S. (Tim Rollins b. 1955, Pittsfield, Maine, USA;
K.O.S (Kids of Survival) founded 1984, South Bronx, New York, USA)
In 1985, artist Tim Rollins moved from part-time teaching to full-time
collaboration with a group of disadvantaged high-school students who called
themselves K.O.S. (Kids of Survival). Based in the South Bronx, one of New
York’s most deprived areas, the group came together initially through the
after-school Art and Knowledge workshops that Rollins set up. Together,
Rollins and his students developed a way of working that combined artmaking with lessons in reading and writing. In a process that they called
‘jammin’, Rollins or one of the K.O.S. would read aloud from a literary classic
while the other members drew, relating the stories to their own experiences.
In Rollins’ words, ‘what we’re doing changes people’s conception about who
can make art, how art is made, who can learn and what’s possible, because a
lot of these kids had been written off by the school system. This is our revenge.’
The group has exhibited extensively worldwide and their work is represented
in public and private collections including Tate Modern and the Museum of
Modern Art, New York.
36
This lecture will be given in
Czech with simultaneous
English translation.
Hayward Gallery Project Space
FREE
Duration: 24 hours
£10
£20 (2 days)
3 hours each day
Tomás Saraceno (b. 1973, San Miguel de Tucumán, Argentina)
In view of the predicaments facing planet Earth – the accelerating ecological
crisis, overpopulation, the social and political effects of globalisation – Tomás
Saraceno considers art as ‘a space to imagine possible futures. It’s a necessity
to really think about how we want to live.’ His experimental work encompasses
utopian architectural proposals, inflatable sculptures and environmental
installations that explore visionary ideas for a sustainable metropolis in the
sky. These are manifested in his on-going project, Air-Port-City. Saraceno’s
clusters and constellations of transparent, balloon-like biospheres are
inspired by structures and configurations found in nature – clouds, soap
bubbles, spider webs, sponges – and his interdisciplinary interests and
approaches have led him to collaborate with scientists at NASA as well as with
engineers, chemist, botanists, astrophysicists and arachnologists. ‘Utopia
needs to include everyone and everything,’ Saraceno believes. ‘We all need
the courage to dream, to share the responsibility of not only one, but many
possible futures.’
Kateřina Šedá (b. 1977, Brno, Czech Republic)
Kateřina Šedá’s social projects are playful, poignant and often profound in
what they reveal about human nature. She begins each of her participatory
works by undertaking rigorous research into patterns of behaviour and
communication among the subjects of the project. These have included
villagers from the Brno area, the citizens of Prague, her neighbours and
her own family, as well as communities in foreign countries. The projects
themselves usually take the form of games, in which the players are at
once the producers and participants, actors and audience, in a communal
experience. ‘Every work originates in a different way,’ Šedá says. ‘I often
happen upon places, town centres or communities, where I see a problem or
a state of unease and I try to change things.’ In 2011, her project From Morning
Till Night was staged in the area surrounding Tate Modern. Aiming to explore
the social dynamics of two very different places, Šedá invited 80 people from a
small village in the Czech Republic to re-enact their everyday activities in this
alien environment.
Wael Shawky (b.1971, Alexandria, Egypt)
Wael Shawky’s installations, performances and videos explore pivotal issues
in society, politics, culture and religion in the Arab world. He aims to show ‘a
society in transition, a condition that is not clear, a translation,’ and uses many
of the techniques of popular entertainment – both ancient and modern – to
re-present the causes and effects of political events. Taking the format of a
TV gameshow, with children as actors, he has re-staged the assassination of
Egypt’s President Sadat in 1981 and, using 200-year-old Italian marionettes,
he has retold episodes from the history of the Crusades as a horror show seen
through Arab eyes. His animated film installation Al-Aqsa Park re-imagines
the Dome of the Rock in Jerusalem as a fairground carousel while Larvae
Channel 2 (2009), in which an elderly Palestinian couple describe their forced
eviction from their home in the West Bank, combines film and animation, with
cartoon-like outlines drawn around the figures, emphasising their every move
and gesture.
37
Shimabuku with daisuke hayashi
Art and Cooking
are similar
SUN 1 July, 3pm
How do you accept
something you don’t
understand?
TUE 3 July, 2pm
A unique encounter between one of
Japan’s most celebrated young chefs,
Daisuke Hayashi of Sake No Hana and
Shimabuku, a Japanese artist whose
often strange and surreal projects have
frequently involved food, as well as
tortoises, fish, and a touring octopus.
Hayashi’s demonstrations will cover
a range of activities such as sushimaking using local ingredients or the
Japanese artistry of arranging food on
the plate. Throughout, the chef will be
in conversation with the artist whose
reflections on art and cooking will
shed light and create new associations
between art and the culinary traditions
of both the East and the West.
In this class, Shimabuku explores the
need for faith and a sense of mystery
when dealing with the contemporary
globalised and media-engulfed
world of instant communication and
information overload. By surveying
and analysing some of his own
works, Shimabuku will develop
the theory that accepting without
understanding is a useful technique
and approach to the modern world and it is through our relationship to
understanding art that we can apply
this technique to life in general.
To him ‘Art is the realm in which we
can practise accepting something
we do not understand.’
Yinka Shonibare MBE
with Richard Phillips
in conversation
with Professor
Richard Phillips
Who’s f**king who:
Sex in the colonies
SUN 17 June, 7pm
Yinka Shonibare MBE talks with
Richard Phillips, Professor of
CultralGeography at the University
of Sheffield, to explore the history
of British sexual behaviour in the
colonies and the role of sexuality
in power relations during the time
of the Empire.
Alexandre Singh
Song Dong
causerie
What is the mirror?
Talking to the
mirror in the heart
THU 21 and fri 22 June, 2pm
Alexandre Singh leads sessions
over two days in which he discusses
learning based upon conversation
and dialogue as a tool for intellectual
exploration. Joining him will be
specially invited thinkers and
practitioners who have approached
this topic from different perspectives.
The framework of these sessions will
mirror the concept, being an intimate
discussion held across a table with a
small audience of listeners.
This class forms a link with
the artist’s ongoing project
‘The Humans’ that he has developed
for Witte de With, Rotterdam:
www.wdw.nl/event/the-humans/
£20 (2 days)
3 hours each day
WED 27 June – SUN 1 July
Song Dong leads a performance
workshop inspired by the question
‘What is the mirror?’ The class will
meet for three mornings, over a
five-day period, to undertake a
series of meditative performances
and discussions. On the final day
participants will discover the answer
to the question ‘what is the mirror?’
Day 1: 10am
Day 2: Class stay at home
Day 3: 10am
Day 4: Class stay at home
Day 5: 11am
3 hours each class
This is a FREE event
(tickets will be issued on a first
come, first served basis)
£10
This lecture is recommended for
over 18s only
Shimabuku (b. 1969, Kobe, Japan)
Shimabuku’s performances, videos, photographs and installations are often
inspired by chance encounters or discoveries. Travel is a major theme in his
work; food is another. Sometimes the two coincide. In Cucumber Journey
(2000) he documented an excursion he made from London to Birmingham,
travelling by narrow boat on the Grand Union Canal. During the two-week
journey, he pickled the cucumbers he had brought from London; ‘a slow trip
and a slow food’, as he remarked. Other works have involved taking a live
octopus on a tour of Tokyo, and arranging an underwater tryst between a
potato and a fish for Fish & Chips. Shimabuku see parallels between making
art and cooking. He is always amazed by food: ‘there are so many surrealistic
encounters between ingredient and ingredient.’ For Wide Open School he is
collaborating with sushi chef Hayashi Daisuke, who trained under Yoshihiro
Murata, the world famous kaiseki chef and Japanese food evangelist. Hayashi
is currently Head Chef at the Japanese restaurant Sake No Hana in London.
Yinka Shonibare MBE (b. 1962, London, UK)
Yinka Shonibare’s witty, sensuous and poetic works disrupt and challenge our
ideas about cultural identity. They reflect on the complexities of nationality,
history and ethnicity, post-colonialism and today’s global economy. His
paintings, photographs, films and sculptural installations make extensive use
of African-print cloth. This vibrantly coloured fabric was originally produced in
Dutch Indonesia, then copied and manufactured in England and exported to
West Africa. For Shonibare, who was born in England but brought up in Nigeria,
it is ‘a metaphor for something which is multicultural and essentially hybrid
like my own identity.’ Theatricality is central to his work, which includes many
references to Western art history. He has translated Rococo paintings into
three-dimensional tableaux, with mannequins dressed in African fabrics.
Shonibare’s figures characteristically lack heads – a playful reference to the
plight of the aristocracy during the French Revolution. Remarking that this
headlessness removes direct connotations of race or individual identity, he
says: ‘it amused me to explore the possibility of bringing back the guillotine for
use on the historical icons of power and deference.’
Alexandre Singh (b.1980, Bordeaux, France)
Alexandre Singh’s narrative performances begin as straight academic
discourses before becoming intellectual wild-goose chases, meandering into
diversions, digressions and tall stories. As he describes them, ‘each of the
lectures starts off with the relation of various facts and dates and somewhere
along the line somehow dissolves into a web of slippery connections and
associations seemingly far removed from the original premise, but always
coming back again and again to explore in a surprisingly fantastical manner the
very dry facts and figures that I’d casually dropped in at the beginning.’ A wealth
of more or less useless information, encompassing such subjects as science,
pseudo-science, industry, magic, technology, commerce, history, art history
and literature is presented in a mesmerising mix of fact, fiction and tangential
logic. Singh considers his contribution to Wide Open School as an extra-mural
part of his theatrical project, The Humans (currently on view at Witte de With
in Rotterdam), which is described as ‘an on-going installation, an exhibition,
multiple encounters and “Causeries” [chats], rehearsals and a play.’
Song Dong (b.1966, Beijing, China)
Song Dong’s art, which has always contained autobiographical elements,
is a sustained quest for self-knowledge. In his performances, photography,
video projections and ‘life art’ (his term for installations), Song combines a
sense of the absurd with a deep involvement in spiritual experience. ‘I am
interested in interior things,’ he says. ‘It’s the mutuality between heaven, earth
and the human being that resonates with me.’ Much of Song’s work reflects
on the relationship between the Taoist concepts of Being and Nothingness.
Two recurring themes and motifs are water and mirrors; the insubstantial
and the illusive. As a personal ritual and a meditative practice, Song keeps a
diary written in water on stone; inscriptions that rapidly evaporate, leaving
no trace. Many of his video works concern mirrors and mirroring and are, in
various ways, explorations of the self, as well as investigations into the unreal
and the illusory. In these works, he contemplates the nature of representation
and suggests that beyond the false images that mirrors present it is inner
identification that is important.
Richard Phillips is Professor of Geography at the University of Sheffield. A
specialist in cultural geography, histories of empire, and postcolonial criticism,
he has examined the phenomena of curiosity and adventure in postcolonial
travel. His monograph Sex, Politics and Empire: A Postcolonial Geography
investigates controversies surrounding prostitution, homosexuality and the
age of consent in the British Empire, and radically revises our notions about the
importance of sex as a nexus of imperial power relations.
38
39
Bob and Roberta Smith
with anna minton
Just what is it that
makes today’s public
spaces so different,
so appealing…
MON 11 June, 7pm
In this talk artist Bob and Roberta
Smith joins journalist Anna Minton
to discuss the importance of
public space both physically and
intellectually. The discussion will look
at recent changes to public libraries,
health service, art galleries and higher
education in the light of increased fees
and will seek to trace a genealogy of
how public space has evolved since the
first moves towards privatisation in the
1980s. Smith and Minton will also look
at ways in which public space and the
public realm might be, in the words of
the artist, made ‘sexy’.
£10
just what is it that
makes today’s public
spaces so different,
so appealing
proposal intervention
invitation?
SAT 16 June, 11am
Bob and Roberta Smith invites
discussion, examination and
dialogue about what makes a lively
and interesting artistic intervention
in public space. Participants will
envisage what they want their public
intervention to look like and then
create proposals based on these
ideas, which could, for instance, take
the form of a letter or ‘parcel of love’
to a politician.
£10
bob and roberta smith
+ the apathy band
symphony for the
public realm
SUN 17 June, 2pm
Bob and Roberta Smith invites people
to join him in his ambient band ‘The
Apathy Band’ to create a ‘symphony
for the public realm’ using the music
software ‘Garageband’. Drawing on
the artist’s interest in both music and
art in public spaces, participants will
discuss the possibilities of music in
public spaces and then collectively
compose and make music to this end.
Kidlat Tahimik
Pascale Marthine Tayou
Film screening
From inception to
death: the nature and
life cycle of artworks
TUE 10 and Wed 11 July, 7.30pm
In these evening sessions, Kidlat
Tahimik will screen some of his
unique, open-ended films and
documentaries. There will be
discussions around these films as
well as a performance by the artist.
£10 per class
TUE 10 and WED 11 July, 2pm
In these classes participants will
intimately explore and discuss
the nature of an artwork from its
inception to its exhibition and
beyond. Pascale Marthine Tayou
will address the essence of an
artwork, from its initial inspiration,
conceptualisation, to its production,
installation and ultimately to its
dispersal. In the second part of the
class, he will focus on the conditions
under which artworks are exhibited.
Illustrating the discussion with a
selection of works spanning his
own career, Tayou aims to foster an
open and lively debate with fellow
participants around the phases of an
artwork’s creation and its subsequent
incarnations in the world.
£10 per class
This class will be conducted in French.
Participants are invited to bring their
own laptops and/or machines with the
programme ‘Garageband’ on them.
£10
Bob and Roberta Smith (b. 1963, London, UK)
Bob and Roberta Smith (one artist with two names) is an activist who believes that
people should make their own art. Over the past 15 years he has produced vibrantly
coloured signs and paintings, presenting political sloganeering and absurdist
wordplay in a font he calls ‘Sign Writers Block’. Bob and Roberta Smith’s work also
includes performance, music and cookery. Explaining that many of his projects
have entailed working with the public rather than producing things for them, he
says: ‘I’m more interested in how people understand their surroundings, where
they are and what they can do; how art can improve their lives and be a language for
understanding the world.’ A passionate supporter of public spaces and institutions
such as museums, galleries and libraries, he sees government cuts to the arts and
humanities, and in health and higher education, as ‘like ripping up the Magna Carta.’
Among his many other activities, he co-founded the ever inventive Apathy Band,
hosts ‘Make Your own Damn Music’ on Resonance FM, and is a Tate Trustee.
Kidlat Tahimik (b. 1942, Baguio City, Philippines)
In the past three decades, the self-taught Philippine filmmaker Kidlat Tahimik has
become a truly seminal figure within international underground cinema. Heavily
influenced by his experiences growing up in the shadow of American military bases
and the cultural colonialism they brought with them, his prize-winning first film,
Perfumed Nightmare, of 1977, came to international attention thanks to Francis
Ford Coppola and Werner Herzog, who assisted with its distribution. It announced
Tahimik’s enduring subject, creation and destruction, specifically in terms of his
country’s troubled history and how local community and old insular ways of life have
come into conflict with powerful and invasive foreign cultures. Taking a brilliantly
surreal, low-fi experimental approach to telling stories, he looks at what is lost and
asks what can be saved in his ongoing video diaries. His ever-expanding 30-year
film project Memories of Overdevelopment, made with the help of friends, family
and visitors to the island, tells the story of a Filipino slave’s round-the-world
journey. [SS]
Pascale Marthine Tayou (b.1967, Yaoundé, Cameroon)
Based in Belgium and working all over the world, Pascale Marthine Tayou
is a nomad both in life and art. Multifarious, ungovernable, surprising and
provocative, his work is always linked to the idea of travel. Explaining that
his use of found materials is more about history than recycling, Tayou
appropriates things that he finds on his journeyings – plastic bags, train
tickets, fast-food wrappers, and other flotsam from the mess and mania
of global consumerism – which he then diverts, ‘instilling a soul into it’.
He considers his sculptures, films, photography and installations to be
‘collective’ works in that they are a reflection and agglomeration of everything
that happens to him in his daily life. Stating that, for him, art is simply a means
of communication, Tayou insists, ‘I want the public to enter into my world.’
Anna Minton Author and journalist Anna Minton has written a series of reports
on the urban environment and public spaces in cities. She has investigated the
phenomena of gated communities and ghettos in America and their emergence in
the UK, and inquired into the growing privatisation of public space in Britain. Her
influential book, Ground Control: Fear and Happiness in the Twenty-First Century
City, first published is 2009, will be republished on 26 June 2012, with new material
including a chapter on the true Olympic legacy.
40
41
Wolfgang Tillmans with peter Török
Jalal Toufic
Jessica Voorsanger
Mark Wallinger
The Scientific
Fundamentals
of Photography
Part 1: Optics
and lenses
The Dancer’s Two Bodies
Flashdance meets
West Side Story
Drawing Through
History: From
Alberti to Pixar
This two-day class explores different
ways of thinking about dance, and
will consider what kind of body is
produced by dance. Jalal Toufic looks
particularly at the ‘subtle dancer’,
who is projected beyond his or her
body’s physicality into a realm of
altered movement, space and time.
He also looks at film, which Walter
Benjamin called a medium of sudden
‘changes of place and focus’, as a
means of revealing extraordinary
movement in dance through
freeze-frame, reverse motion and
slow motion, reconsidering spatial
absence and the dancer’s creation
of space.
Wide Open School resident artist
Jessica Voorsanger leads a series
of sessions with young people from
the local area around Southwark and
Lambeth in which the group explores
iconic dances from films and then
recreate them. The exercise is not
one of demonstrating dancing talent
as such, but rather acts as a platform
to explore performance and popular
culture. Participants will take apart
films of their collective choosing
The Scientific
Fundamentals
of Photography
Part 2: Digital imaging
WED 4 July, 7pm
TUE 3 July, 7pm
Wolfgang Tillmans talks with Peter
Török, Professor in Optics at Imperial
College London, to introduce the
technical workings of photography
at a scientific level. Drawing on
examples from the artist’s work,
Tillmans will put his unanswered
questions about how photography
works to Török, who will analyse these
and illustrate what is happening at a
particle and physical level. In this first
discussion they will focus on optics
and lenses in an effort to understand
such phenomena as distortion,
chromatic aberration and vignetting.
The second of two discussions
between Wolfgang Tillmans and
Peter Török, Professor in Optics
at Imperial College London,
introducing the technical workings
of photography at a scientific level.
In this discussion the focus will be
on digital imaging and will look at, for
instance, CCD sensors and issues
to do with representing the image,
for example the task of depicting
the visible spectrum, the effect of
too little or too much light, and the
impact of hot and cold temperature.
£10
Wolfgang Tillmans (b.1968, Remscheid, Germany)
Twenty years ago, at the outset of his career, Wolfgang Tillmans was
immediately recognised as being a new kind of artist-photographer, who
depicted modern life in highly personal and provocative ways. His work
focused on portraits, landscape and still life, but was particularly concerned
with youth culture and the politics of identity. Since then, he has moved
between figurative and abstract imagery and constantly challenged
photographic conventions. Much of his recent work has involved the physics
and mechanics of photography, from making ‘cameraless pictures’ to
creating images by feeding them through a processing machine while it is
being cleaned, so that they pick up traces of dirt and silver residue from the
chemicals. Mentioning that his first passion was astronomy, Tillmans says:
‘I’m a great believer in observation … The experience of relative perception is
something that keeps turning me on.’
TUE 10 July, 6pm
WED 11 July, 2pm
SAT 23 and Sun 24 June, 2pm
Led by Mark Wallinger over
two days, participants in this class
will explore the story of the world
as reduced to two dimensions,
from Alberti to Pixar. Embracing
both practice and theory, the class
will consider the history of drawing
as a way of structuring vision,
encompassing a perceptual run
from the rods and cones of the eye,
to colour theory and perspective.
£20 (2 days)
up to 3 hours each day
Hayward Gallery Classroom 1
£20 (2 days)
Approximate duration: 3 hours each day
Jalal Toufic (b. 1962, Beirut, Lebanon)
Jalal Toufic is a writer, video artist and film theorist who is regarded as one of
the most important cultural figures in the Arab world. Although much of his
work carries political overtones, his short, essayistic videos are characterised
as much by humour and curiosity as by philosophical reflection. His subjects
range from death-in-life and sleeplessness to memory as a phantom of life.
Describing himself as ‘a thinker and a mortal to death’, Toufic’s work often
reflects his heritage; that of being the offspring of two of the world’s most
destroyed peoples (his father was Iraqi and his mother Palestinian), and of
being brought up in post-traumatic, post-war Lebanon. Speaking of those
who have experienced ‘surpassing disaster’, he warns: ‘fiction is too serious
a matter to be left to “imaginative” people.’ Toufic is influential not only as an
artist in his own right but also as an instigator or catalyst, who stimulates his
colleagues and students to create better, more complex, and more probing
work. His work is included in this summer’s Documenta 13.
Peter Török is Professor of Optical Physics at Imperial College London.
His research interests include the theory of electromagnetic problems,
diffraction, focusing and microscopy with especial emphasis on confocal
microscopy and optical data storage. He is also concerned with finding new
applications for adaptive optics, which is a well-established method in
astronomy, but is also being used in eye imaging where, in combination with
high power pulsed lasers, it provides a novel approach to eye surgery.
42
and then create scenes to surprise
audiences within the Hayward
Gallery and the environs during the
run of Wide Open School. As the
artist says, ‘In this class the students
will be the teachers as much as
the teacher will be the student, no
different to normal school then.’
Jessica Voorsanger (b.1965, New York, USA)
Jessica Voorsanger’s art explores society’s obsession with fame. Working
in a variety of media ranging from painting, sculpture, installation, mail art,
film, photography and performance according to the nature of each project,
she probes the concept of ‘celebrity’ within popular culture. Much of her
work has been provoked by television, and children’s television in particular.
Having fallen in love with teen idol David Cassidy, star of The Partridge
Family, as a child in 1970s America, Voorsanger believes that children’s TV
programmes are where the seeds of fandom are sown. Recently, her interest
has moved from the specific relationship between celebrities and their fans to
a more general enquiry into how reality TV has altered the nature of the term
‘celebrity’, which now includes people who are famous for being famous (or
notorious), as well as people of real talent.
Mark Wallinger (b. 1959, Chigwell, Essex, UK)
One of the most thoughtful and unpredictable artists working in Britain, Mark
Wallinger uses a variety of media to explore complex themes of identity –
social, political and cultural – through subjects ranging from horse-racing and
football to homelessness and education. Passionately engaged with politics,
literature, history, sport and popular culture, his interests and concerns
include ambiguities of perception and the unstable relationships between
knowledge and experience, fact and fiction, reality and illusion. His works are
witty and accessible, yet at the same time provocative and challenging, and
frequently relate to art history’s grandest themes: religion, spirituality, and
death. They include State Britain, his Turner prize-winning reconstruction of
the late Brian Haw’s anti-Iraq war protest outside Parliament; Ecce Homo,
a life-size sculpture of Christ on Trafalgar Square’s fourth plinth; and, most
recently, UNDANCE, a collaboration with composer Mark-Anthony Turnage
and choreographer Wayne Mc Gregor. In 2009 he devised The Russian
Linesman, an exhibition exploring frontiers, borders and thresholds in art
and life, for the Hayward Gallery.
43
Gillian Wearing with sam rumbelow
Method Acting
SAT 30 June, 11am
SUN 1 July, 2pm
Gillian Wearing leads a two-day
class about method acting with
distinguished method acting
teacher Sam Rumbelow.
£20 (2 days)
3 hours each day
Margaret Wertheim /
institute for figuring
Theoretical
and practical
explorations
of space
Morning classes will focus on
theory, introducing foundational
concepts in geometry and their
application to physics.
The truth against
the world
In conversation
with Brian Dillon
Bedwyr Williams will deliver a
lecture-performance he describes
as ‘a kind of gumball rally through
Welsh culture’ in which the audience
will be invited to dress as makeshift
Druids (with costumes provided in
the gallery). Zig-zagging through
Welsh visual culture, participants
will be led on a tour through Welsh
nationalism, subcultures and
fashion via the motley figures of
Evelyn Waugh, young farmers, the
Beatles, the Maharishi, Brian Epstein
and Mario Merz…
Artists Jane and Louise Wilson
talk to writer and critic Brian Dillon
about the concept of the ruin and its
representation in contemporary
cultural discourses.
WED 13 June, 7PM
Jane and Louise Wilson will join
Caroline Wilkinson, Professor of
Craniofacial Identification at the
University of Dundee, in a conversation
about the forensic sciences and
forensic tendencies in art.
This will be the first of two
‘Frieze Magazine at Wide Open
School’ events. Hayward Gallery Lecture Theatre
£10
£10
Forensics workshop
FRI 6 July, 7pm
TUE 12 – THU 14 June 10am
How do mathematicians and
physicists conceive of space?
In these one-day intensive courses
participants will explore the history
of Western scientific thinking about
space from Descartes to string
theory.
Bedwyr Williams
Jane and Louise Wilson with
brian Dillon and caroline wilkinson
In the afternoon participants will
engage in hands-on-exercises that
give experiential insight in to the
nature of space through techniques
such as cut-and-paste construction
and paper folding.
Various venues – please see
website for details
£10 per class
7 hours with breaks
£10
TUE 19 June, 7pm
in conversation with
Caroline Wilkinson
THU 14 June, 10am
Jane and Louise Wilson lead a
workshop on forensic tendencies
in art and film.
£10
Gillian Wearing (b. 1963, Birmingham, UK)
Gillian Wearing’s photographic works, videos and films explore the disparities
between people’s public personae and their private selves. She is interested
in the fears, fantasies and secrets of ordinary men and women and how we, as
onlookers, identify with them. Describing her approach as ‘editing life’, she has
said: ‘A great deal of my work is about questioning handed-down truths... I’m
always trying to find ways of discovering new things about people, and in the
process discover more about myself.’ Her early documentary works, such as the
series of photographs in which anonymous Londoners display signs revealing
their inner thoughts, and the candid video confessions of masked volunteers,
led on to works in which she used actors. In 2010 she produced Self-Made, her
first feature-length film. Facilitated by Method acting coach Sam Rumbelow, it
features non-actors who ‘play themselves’ in roles of their own choice. ‘Are these
people typical of us?’ Wearing asks. ‘Are we all playing a role?’ Earlier this year, a
comprehensive survey of Wearing’s work was shown at the Whitechapel Gallery.
Margaret Wertheim (born 1958, Brisbane, Australia)
Margaret Wertheim is a science writer, curator and the author of books on
the cultural history of physics and perception. In 2003, she and her twin
sister Christine founded the Institute For Figuring, a Los Angeles-based
organisation that explores the poetic and aesthetic dimensions of science
and mathematics. From the physics of snowflakes and the hyperbolic
geometry of sea slugs, to the mathematics of paper folding, the tiling patterns
of Islamic mosaics and graphical models of the human mind, the Institute
explores the manifestation of figures in the world around us and the figurative
technologies that humans have developed through the ages. One of the
Institute’s interdisciplinary projects is the Hyperbolic Coral Reef, a large-scale,
constantly mutating series of crochets that replicate the forms of natural
coral. Developing organically, the reef is made by an ever-expanding group
of participants from around the world. More than 5,000 people worldwide,
including visitors to the Hayward Gallery, have actively contributed to Coral
Reef exhibitions conceived by Margaret and Christine.
Sam Rumbelow
Sam Rumbelow is a professional coach who specialises in Method acting,
an approach to stagecraft pioneered by the Russian acting teacher
Konstantin Stanislavsky (1863-1938). As Rumbelow explains, Method is often
misunderstood: ‘There is no such thing as Method acting because it’s not a
style, it’s a body of teaching and techniques and approach.’ He goes on to define
Method as ‘an approach to creativity that is rooted in the notion of exploring
inner truth – a means to get beyond performance.’
44
Bedwyr Williams (b. 1974, St Asaph, Wales)
Bedwyr Williams is a Welsh artist based in Wales, whose live performances
and installations deal with Welshness, otherness and difference. ‘Welsh
people are born on the back foot, but as a result of having a second language
we’re able to look at the world in a slightly different way,’ he remarks. ‘That’s
what my work’s all about, really – it’s how I view the world from my place on
the periphery.’ Often described as a stand-up comedian, Williams refutes this
claim, explaining that ‘what I do is funny, but there aren’t any jokes as such.’
His work has included the Blaenau Vista Social Club, a travelling night-club
in the back of a caravan, and performances featuring a Celtic bard and a
ranting, fire-and-brimstone preacher. Williams represented Wales at the 2005
Venice Biennale and in 2011 won the Gold Medal for Fine Art at the National
Eisteddfod in Wrexham.
Jane and Louise Wilson (b.1967, Newcastle upon Tyne, UK)
Jane and Louise Wilson describe their way of looking as ‘forensic’. Over the past
two decades, their film and video installations have probed collective fears
and paranoia, and investigated architectural sites that were former centres of
power during the Cold War. Their atmospheric photographs also have a filmic
quality, conjuring up underlying narratives of violence or crime. Fascinated by the
techniques and politics of surveillance, they have infiltrated and surveyed such
locations as the disused US Air Force missile base at Greenham Common, the
abandoned headquarters of the East German secret police, and Russia’s defunct
cosmonaut training centre. Their recent work has included a photographic portrait
of the aftermath of the Chernobyl nuclear disaster and a two-part film installation
inspired by the assassination of Hamas official Mahmoud al-Mabhouh in a hotel in
Dubai. Entitled Face Scripting: What Did the Building See? , this was commissioned
by Sharjah Art Foundation and first presented at the Sharjah Biennial 10 in 2011.
Brian Dillon is the author of Sanctuary, a novella set in the ruins of a Modernist
building. He has also edited Ruins, an anthology surveying the contemporary ruin in
cultural discourse, aesthetics, and artistic practice. Dillon is the UK editor of Cabinet
magazine and a regular contributor to such publications as frieze, the Guardian, the
London Review of Books, Art Review and Artforum.
Caroline Wilkinson is Professor of Craniofacial Identification at the
University of Dundee. Her research focuses on the development of accurate facial
reconstruction methods.
45
Haegue Yang
Carey Young
David Zink Yi and friends
Vita Activa
Speechcraft
Tumbadoras, Timbales
and Drums: An
introduction to AfroCuban percussion
SAT 7 July, 11 am
SAT 23 June, 2.45pm
Haegue Yang hosts a day-long
workshop of knitting and origami. In
the morning participants will begin
with a session of origami and then in
the afternoon move on to knitting.
The class will undertake these
activities alongside the artist and
instructors from local knitting and
origami associations. Through the low-key activities carried
out in small groups, the course
explores how learning is ‘unfolded
and woven amongst the participants.’
By deliberately shunning ‘frontal
lecturing’ and the ‘high pressure
of productivity’ participants
will be involved in an exercise of
‘domesticising the institution.’ Yang has established a studio in
Berlin that for the artist functions
as a ‘micro or temporary community
… which shares the modest process
of creation as well as intimate and
personal narratives.’ With this class
she aims to extend this personal
experience to members of the public.
£10
Appoximate duration:
6 hours with breaks
Haegue Yang (b. 1971, Seoul, Korea)
Haegue Yang’s work involves what she calls the ‘condensation of
communication’ and frequently makes allusions to political events
and personages. The abstract forms and narratives that she creates in
installations and sculptures are constructed from things found around
the home, including venetian blinds, folding laundry racks, light bulbs and
feather dusters. Yang’s installation 5, Rue Saint-Benoît, shown at the Hayward
Gallery in 2010, examines the concept of private space as a site for personal
and political struggle and survival. It takes its title from the Paris address
of author Marguerite Duras, whose apartment became a meeting place for
the Resistance during World War II. In her 2009 workshop, Shared Discovery
of What We have and Know Already, a skill-sharing and knowledge exchange
project in which paper folding and knitting were active ingredients, Yang again
alluded to Duras – specifically her wartime work in the Vichy government’s
Paper Allocation Agency, and her talent for DIY.
46
Speechcraft is a participatory
performance by Carey Young that
will see the Hayward Gallery host
the international public speaking
club Toastmasters.
Widely used by people from all
walks of life, but especially popular
in business, the Toastmasters
training method helps individuals
construct their public presence in
order to look and sound like ‘leaders’.
Invited speakers and members
of the audience will be given the
opportunity to practice impromptu
speech-making using objects
from the artist’s studio as a point
of departure.
As with every Toastmasters meeting,
the speeches will be judged and
evaluated in a cycle of inspiration,
review, and reward. ‘Speechcraft
highlights and questions the
relationships between art and
the public,’ explains Young, ‘by
presenting Toastmasters as a kind
of alternative space of creativity,
interpretation, ritual, and critique.’ Hayward Gallery Lecture Theatre
£10
2 hours 20 minutes
THU 5 and FRI 6 July, 11am
Artist David Zink Yi is joined by
several of his regular musical
collaborators for two days of
workshops on Afro-Cuban
percussion. Deploying claves,
congas and drums, the class will
learn the principles of Cuban
music, exploring different genres
such as salsa, guaracha, mambo
and chachacha.
Participants are invited to
bring their own instruments if
they have them.
Meet at Hayward Gallery
Ostrich Lounge,
£20 (2 days)
5 hours with breaks each day.
This course is undertaken with the participation
of The London Olympians Toastmasters Club.
Carey Young (b. 1970, Lusaka, Zambia)
Using performance, video, installation and text as her media, Carey Young’s
witty and satirical work explores corporate and legal culture. She takes the
language, tools and tactics of business and law, and adapts them to her own
ends, without losing their original (often absurd) character. Her first sculptural
and mixed-media works were made in collaboration with computer hackers
and science fiction writers. Since then, she has worked with business/law
professionals such as conflict resolution specialists, venture capitalists,
motivation and negotiation skill trainers and call centre agents, directly involving
them in her works. The video Everything You’ve Heard is Wrong (1999) documents
her performance at Speakers’ Corner in Hyde Park, London. Here, Young delivers
a skills workshop on successful corporate-style communication in a location
renowned for entertainment, madness, outrage and, in particular, for religious
or political extremism and bombast. Speech Acts (2009) was a series of ‘call
centre art works’ accessed by phones installed in the Contemporary Art Museum,
St Louis.
David Zink Yi (b. 1973, Lima, Peru)
David Zink Yi’s art is underpinned by what he calls a ‘layered notion of identity’.
In his videos, photography, and sculpture, he examines culturally determined
practices, including cooking, dancing, singing, music, and speaking, in order
to explore how identity is formed and expressed through everyday actions.
Many of his videos explore the changing role played by indigenous traditions,
colonialism and trans-global migration, in the creation of personal and
cultural identities. In the 1990s he learnt to play conga drums while visiting
Cuba and subsequently formed a band, De Adentro y Afuera (From Within and
Without) with a group of Afro-Cuban musicians. Music not only became one of
the main subjects of his work, but also a means of structuring his videos and
performances. Having previously found enormous difficulty in producing so
many of the things that he wanted to create as a visual artist, he realised that
‘in music it was just there.’
47
Plot your schedule
Datecourse
48
Datecourse
49
Subject Index
ACAS(Advisory, Conciliation and
Arbitration Service) Yoshua Okón,
p.33
Action and gesture Cullinan
Richards, p.8
Afro-Cuban percussion David Zink
Yi and friends, p.45
Apparition and disappearance
Jochen Dehn and Francesco
Pedraglio, p.9
Conversation and dialogue
Alexandre Singh, p.39
Economy of means Guy Ben-Ner,
p.4
Creating a curriculum The Public
School, p.33
Endurance Tehching Hsieh, p.19
Creating a new profession Tania
Bruguera, p.5
Creating a syllabus Yara ElSherbini, p.11
Grassroots Harrell Fletcher, p.12
Great Game of Power Pedro Reyes,
p.35
Life cycle (of artwork) Pascale
Marthine Tayou, p.41
Life drawing Christina Binnie,
Jennifer Binnie and Wilma Johnson,
p.5; Stephen Fowler and Wildman,
p.12
Energy: Yes! Thomas Hirschhorn,
p.19
Guides, apocryphal Jompet
Kuswidananto, p.21
Everyday life Yara El-Sherbini,
p.11
Hiding Bonnie Camplin, Kieron
Livingstone and friends, p.6
Exoticism Meshac Gaba, p.13
High finance Pedro Lasch and
Stefano Harney, p.23
Mapping Qiu Zhijie, p.34
History Lu Jie, p.25; Wael Shawky,
p.37
Marathon lecture Kateřina Šedá,
p.37
Humour Nathaniel Mellors, p.36
Long March Lu Jie, p.25
Long Tail Mark Leckey, p.24
Cyborgs Lee Bul, p.24
Failure Jochen Dehn, p.9
Astronomy – see Optics
Autobiography Tracey Emin and
Jeanette Winterson, p.11; Simon
Fujiwara, p.13
Dance Martin Creed, p.7; Xavier Le
Roy, p.23; Ernesto Neto, p.27; Jalal
Toufic, p.42; Jessica Voorsanger,
p.43
Faith Shimabuku, p.38
Fanzine Dan and Lia Perjovschi,
p.31
Deep space Tomás Saraceno, p.36
Banner making Jeremy Deller and
Ed Hall, p.10
Destruction Michael Landy and
Clive Lissaman, p.22
Behaviour art Tania Bruguera, p.5
Boxing Cullinan Richards, p.8
Camouflage Jochen Dehn, p.9;
Tobias Putrih, p.34
Disappearance Adam Chodzko,
p.7; Tobias Putrih, p.34 (see also
Apparition and Disappearance)
Causerie Alexandre Singh, p.39
Discarded materials – see Scrap
Celebrity culture Jessica
Voorsanger, p.43
Discoverers and discovered
Georges Adéagbo and Stephan
Köhler, p.3
Cloud architecture Lucy + Jorge
Orta, p30
Collaboration Jeremy Deller and Ed
Hall, p.10
Colonialism Meshac Gaba, p.13;
Jompet Kuswidananto, p.21; Yinka
Shonibare and Richard Phillips,
p.38
Comedy Nathaniel Mellors, p.36
Concept design Darius Mikšys,
p.36
Fishing Georges Adéagbo and
Stephan Köhler, p.3
Dining Lee Mingwei, p.35
Capitalism Isaac Julien and David
Harvey, p.20
Churches Georges Adéagbo and
Stephan Köhler, p3
50
Digital imaging Wolfgang Tillmans
and Peter Török, p.42
Film Bouchra Khalili, p.20; Jompet
Kuswidananto, p.21; Kidlat
Tahimik, p.41; Jalal Toufic, p.42;
Jessica Voorsanger, p.43
Dowsing – see Water divining
Drawing Aleksandra Mir, p.27;
Cesare Pietroiusti, p.32; Mark
Wallinger, p.43 (see also Life
drawing)
Drinking Cao Fei and Pak Sheung
Chuen, p.6
Food and cooking Yto Barrada
and Mounira Bouzid El Alami;
Lee Mingwei, p.35; Shimabuku
and Daisuke, p.38
Forensics Jane and Louise Wilson
and Caroline Wilkinson, p.45
Fragrance Jeppe Hein and Robert
Müller-Grünow, p.17
Freddie Mercury Aleksandra Mir,
p.27
Duke Ellington Tim Rollins +
K.O.S. , p.36
Duration Tehching Hsieh, p.19
Representation Marlene Dumas,
p.10
Optics Wolfgang Tillmans and
Peter Török, p.42
Recruitment João Onofre, p.30
Ritual Christine Binnie, Jennifer
Binnie and Wilma Johnson, p.5;
Elena Kovylina, p.21
Ruins Jane and Louise Wilson and
Brian Dillon, p.45
Surveillance Bonnie Camplin,
Kieron Livingstone and friends,
p.6
Sushi Shimabuku and Daisuke
Hayashi, p.38
Tall stories Simon Fujiwara, p.13;
Alexandre Singh, p.39
Third Reality Jompet
Kuswidananto, p.21
Meditation Bonnie Camplin, Kieron
Livingstone and friends, p.6; Roger
Hiorns, p.18; Song Dong, p.39
Orchid Pavilion – see Poetry
Scrap Romuald Hazoumè, p.16
Origami Haegue Yang, p.46
Self-denial Tehching Hsieh, p.19
Time Antony Gormley and Michael
Newman, p.15; Pedro Lasch, p.23;
Raqs Media Collective, p.35;
Tehching Hsieh, p.19
Immortality Elena Kovylina, p.21
Method acting Gillian Wearing and
Sam Rumbelow, p.44
Outer space Tomás Saraceno,
p.36
Sensory perception Jeppe Hein
and Robert Müller-Grünow, p.17
Timelines Dan and Lia Perjovschi,
p.31
Improvisation Ernesto Neto, p.27
Mind reading Mark Allen, p.3
Painting Cullinan Richards, p.8;
Marlene Dumas, p.10
Sex Yinka Shonibare and Richard
Phillips, p.38
Tumbadoras, timbales and drums
David Zink Yi, p.47
Incarnation Pascale Marthine
Tayou, p.41
Mindfulness Roger Hiorns, p.18
Participation Suzanne Lacy and
the University of Local Knowledge,
p.22
Shakespeare Tim Rollins + K.O.S.,
p.36
Underground cinema Kidlat
Tahimik, p.41
Shogi composition Makoto
Nomura, p.26
Walking Amalia Pica, p.32
Immateriality Roger Hiorns, p.18;
Cesare Pietroiusti, p.32
Miracles Jochen Dehn, p.9
Internet – see Long Tail
Intuition João Onofre, p.30
Mistakes and misunderstandings
Makoto Nomura, p.26
Invisibility Jochen Dehn and
Francesco Pedraglio, p.9; Jeppe
Hein and Robert Müller-Grünow,
p.17
Mirror Song Dong, p.39
Jammin’ Tim Rollins and K.O.S., p.36
Monologue Dora García, p.14
Java Jompet Kuswidananto, p.21
Mother tongue Yto Barrada and
Mounira Bouzid El Alami, p.3
Jellyfish Dorothy Cross and Philip
Hoare, p.8
Future cities Marjetica Potrč and
Richard Sennett, p.33; Tomás
Saraceno, p.36
Judgement Thomas Hirschhorn,
p.19
Gamelan Makoto Nomura, p.26
Geometry Margaret Wertheim /
Institute for Figuring, p.44
Non-linear space Pedro Lasch,
p.23; Ernesto Neto, p.27; Tomás
Saraceno, p.36; Margaret
Wertheim / Institute for Figuring,
p.44
Subversion Jeanne van Heeswijk,
p.17
Scent and smell Jeppe Hein and
Robert Müller-Grünow, p.17
Free distribution Cesare
Pietroiusti, p.32
Games Pedro Reyes, p.35
Questions Yoshua Okón, p.29
Oral history Georges Adéagbo and
Stephan Köhler, p.3; Yto Barrada
and Mounira Bouzid El Alami, p.3
Knitting Haegue Yang, p.46
Dreams Susan Hiller, p.18
Neo naturism Christina Binnie,
Jennifer Binnie and Wilma Johnson,
p.5
Language and dialects Bouchra
Khalili and Marie-Pierre DuhamelMuller, p.20
Money Pedro Lasch and Stefano
Harney, p.23
Peer Gynt Dominique GonzalezFoerster and Ari Benjamin
Meyers, p.15
Performance Simon Fujiwara,
p.13; Tehching Hsieh, p.19;
Alexandre Singh, p.39; Song Dong,
p.39; Bedwyr Williams, p.45
Physical movement Ernesto Neto,
p.27; Makoto Nomura, p.26 (see
also Dance)
Mountaineering Olaf Nicolai, p.28
Music Martin Creed, p.7; Dominique
Gonzalez-Foerster and Ari Benjamin
Meyers, p.15; Makoto Nomura, p.26;
Bob and Roberta Smith, p.40; David
Zink Yi and friends, p.47
National identity Yael Bartana, p.4
Poetry Cao Fei and Pak Sheung
Chuen, p.6
Sound Guy Ben-Ner, p.4; Susan
Philipsz, p.31
Whales Dorothy Cross and Philip
Hoare, p.8
Zines Dan and Lia Perjovschi, p.31
Space exploration Margaret
Wertheim / Institute for Figuring,
p.44
Spectatorship Xavier Le Roy, p.23
Speech making Carey Young, p.47
Quality: No! Thomas Hirschhorn,
p.19
Storytelling Georges Adéagbo and
Stephan Köhler, p.3; Yto Barrada
and Mounira Bouzid El Alami, p.3;
Simon Fujiwara, p.13; Alexandre
Singh, p.39
Queer home economics Fritz
Haeg and friends, p.16
Welsh culture Bedwyr Williams,
p.45
Social Atom Pedro Reyes, p.35
Public space Jeanne van
Heeswijk, p.17; Bob and Roberta
Smith, p.40
Neanderthalic future Gelitin, p.14
Lie detection Mark Allen, p.3
Water divining João Onofre, p.30
Singing Martin Creed, p.7; Lee
Mingwei, p.35; Susan Philipsz, p.31
Sphincter and sphinx Gelitin, p.14
51
VISITOR INFORMATION
Hayward Gallery
Classes from £10
Please check listings for times
Transport
Southbank Centre is a short walk away from Covent
Garden and Westminster and minutes from the
Waterloo, Charing Cross and Embankment London
Underground and British Rail stations.
Access
Southbank Centre is accessible to people with
disabilities. Visitors with a disability can join our
Access List.
Email [email protected]
or phone 0844 847 9910 or send a fax 020 7921 0607.
Concrete at Hayward Gallery
Regular music and DJ nights take place throughout
the year at Concrete, the Hayward Gallery’s day cafe/
night bar. For full details visit southbankcentre.co.uk
MEMBERS EXPERIENCE MORE
Become a Southbank Centre Member and enjoy
free, unlimited entry to all Hayward Gallery
exhibitions, priority booking, special invitations to
Member events and access to the Members Bar.
Free entry to all Hayward Gallery exhibitions when
you join on the day of your visit. Already bought a
ticket? Bring your ticket to the Hayward Gallery
Ticket Offi ce and we’ll deduct the entry fee from
your Membership price.
Supporting Southbank Centre
JOIN THE CONVERSATION
100 International Artists Reinvent School
11 June – 11 July 2012
Add your thoughts and creations to the Wide Open School blog
www.wideopenschool.wordpress.com
Conceived by Ralph Rugoff, Director, Hayward Gallery
Get Closer: Supporters Circles
The Supporters Circles enable individuals to
develop a closer relationship with our artistic
programme whilst helping to support our work.
Supporters enjoy invitations to previews of every
exhibition at the Hayward Gallery, unlimited free
entry for themselves and a guest, and opportunities
to meet artists at a series of exclusive events like
private views, talks and receptions.
Curatorial team: Richard Parry, Rahila Haque and Eimear Martin
Follow @southbankcentre on Twitter
and tweet with #wideopenschool
Project administration: Sarah Cashman, Urszula Kossakowska,
Luisa Summers and Rachel Porter
Technical support: Ruth Pelopida, Dave Wood and the Hayward
Operations team, with Southbank Centre Production team
Like Hayward Gallery on Facebook
Wide Open School course guide designed by Southbank Centre
Design Studio, produced by Southbank Centre Marketing
For details of how to become more involved please call
020 7921 0825 or email [email protected]
Artist profiles by Helen Luckett, unless indicated otherwise
[RH=Rahila Haque; EM= Eimear Martin; SS=Skye Sherwin]
Corporate Support
If you would like to learn more about how we work
with our many corporate partners, please call our
Development Department on 020 7921 0683.
Corporate Supporters
Bloomberg
Christie’s
Clifford Chance LLP
Cobra Beer
JCB
J.P. Morgan
JTI
Lloyds Banking Group
Wide open School
© Hayward Gallery, Southbank Centre, 2012
All images in this brochure are © and courtesy the artist unless
stated otherwise
Louis Vuitton
MasterCard
Russell-Cooke Solicitors
Shell
Sotheby’s
The Book People
Hayward Gallery and Southbank Centre would like to thank the generous international supporters of Wide Open School:
Supported by the Korean Cultural Centre UK (KCCUK) and
the Korean Culture and Information Service (KOCIS) with
the kind support of the Korean Ministry of Culture, Sports
and Tourism (MCST)
B R A Z I L I A N
G O V E R N M E N T
Join now at the gallery or phone 0844 875 0071
Online southbankcentre.co.uk/membership
also on at HAYward gallery
Invisible
Art about the Unseen, 1957–2012
11 June – 5 August
A work of art that exists solely in the mind of
the viewer and an invisible film are some of the
pieces on show at the Hayward Gallery’s summer
exhibition. Invisible brings together artworks from
the past seven decades that place an emphasis on
the conceptual and communicative possibilities of
art, while bypassing the requirements of visibility
and materiality. Conceived against a backdrop of
art institutions competing to mount ever larger
and more spectacular exhibitions, Invisible aims
to provide a tonic for our thinking about art and
the roles that the audience plays in expanding its
potential meanings.
52
From Yves Klein’s utopian plans for an ‘architecture
of air’ and Robert Barry’s Energy Field (AM 130 KHz)
piece from 1968 – which encourages a heightened
awareness of the physical context of the gallery – to
the immersive experience of Jeppe Hein’s Invisible
Labyrinth (2005), the works in this exhibition span
diverse aesthetic practices and concerns.
Featured artists include Robert Barry, James
Lee Byars, Maurizio Cattelan, Jay Chung, Tom
Friedman, Mario García Torres, Carsten Holler,
Tehching Hsieh, Yves Klein, Roman Ondák, Song
Dong, and Andy Warhol, among others.
Hayward Gallery 10am – 6pm daily
Late-night opening Thursday &
Friday until 8pm
£8 (£5 for Wide Open School students
upon presentation of their ticket)
Free entry for Southbank
Centre Members
Supported by Ministry of Education, Science, Culture and Sport of the Republic of Slovenia and Embassy of the Republic of Slovenia in UK
Supported by Czech Centre, London; Culture Ireland; Daiwa Anglo-Japanese Foundation; Embassy of Denmark, Great Britain;
Italian Cultural Institute; Ministry of Culture of the Republic of Lithuania.
HAYward gallery
11 June – 5 August
Invisible
Art about the Unseen, 1957–2012
Yves Klein In the Void Room (Raum der Leere), Museum Haus Lange, Krefeld, January 1961. Photo by Charles Wilp

wide open school - Yara El

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