I asked a group chat of friends who I know have watched most of Scrubs what the music from that scene was.
They understood exactly what I meant.
I volunteered as the Site Manager for the yearly Wimbledon multi-disciplinary Site Specific Art Festival known simply as Park.
In previous years, Park was exclusively at Cannizaro Park, however this year was the first year that the festival hosted works across multiple sites.
Arial photograph of Cannizaro Park, showing Cannizaro House, now the Hotel du Vin at the top right.
Park is curated and organised by Juliet Haysom, so I worked closely with her before, during and after the day of the festival on the 22nd April. The negotiated position of site manager also put me in charge of all the interns for Park, across the 5 Sites. I also helped in putting Tim Alexander’s work into all of the booklet and separating them into groups before making sure the right intern had the right pile of an appropriate number for their site.
I also helped loading the van on the Wednesday, unloading and setting up on site the day before, and assisted in the break down at the end of the exhibition day.
The whole experience was tiring, but it was fantastic be part of group working with a common goal. It gave me a good insight into the amount of work which goes in to organising an art show, especially a ‘pop up’ show like Park.
1 – Bedwyr Williams
Bedwyr Williams brand of Art presentation is incredibly humanising. He fuses the presentation of his work with what is essentially stand-up comedy. This made him very engaging as a speaker. He was critical of a certain type of practicing artists, namely those who see themselves as completely removed from their own context.
He was also doubtful of the inherent skill of ‘successful’ artists as the one distinguisher which he found in his own previous work, that is, what dictated how well others received it, was money.
2 – LUX
Lux is the UK centre for the distribution and promotion of artists’ films and experimental video. It is descended from the London Film-Makers Co-op which used to host film screenings and have a central equipment store, attempting to aid artists in the production of experimental films by spreading the cost amongst its members and providing a supportive context.
Nowadays, LUX is more of an archival project, although it does try to keep its collection up to date and work still with producing artists and institutions.
3 – David Barrett
David Barrett is the Associate Editor of Art Monthly, and imageless idea and art criticism magazine intended to “give people a way in” to the contemporary art world. This talk was a thematic one, attempting to contextualise the practice of art criticism. His main point, explored in part by the etymology of the term critic as a farming term, separating the wheat from the chaff, was art criticism is about distinguishing the successful art from the rest. Crucially however, it is a subjective enterprise, and dependant on audience, context and perspective.
He also distinguished art criticism which must have a value judgement by definition, from theory, which does not need, and cannot give such a value judgement for individual art works. Criticism cannot be passive.
put paid [to the idea]
The wrong kind of snow – what a fantastic phrase to have entered into a certain type of reporting parlance. Fantastically British in its humour.
“A relation of cruel optimism exists when something you desire is actually an obstacle to your flourishing” – Lauren Berlant, ‘Cruel Optimism’, Duke University Press