Category Archives: Brighton

Work Programme at CAC

work programme

“Unfortunately, this being East Germany/Gert patriotically volunteered to be sent on a labour/Beautification course of the countryside north-west of Dresden/And never seen again.” *

There is something punitive about Work Programme at the gallery known as CAC. At time of writing we’re on edition 28, and more than 27 souls have already pitched in and given us shows. Work is on the tin; artists are expected to labour. And this is a Programme, a temporal and spatial structure which must be followed: fill a Brighton gallery in just six days and make it good.

But what results! Each one has been a triumph of the impossible. Rarely have so many, produced so much, in so little time and with so little cash. Hard graft has led to, I would say, miracles. And to arrive at a launch is always to see a familiar place rendered strange. Yet the next conscript moves in on the very next day. A Francis Alÿs piece comes to mind: Sometimes Doing Something Leads to Nothing.

This important film, also called Paradox of Praxis, follows the Belgian artist as he pushes a block of ice around the streets of Mexico City. It takes an entire day for the sliding block of H2O to melt. So he is left with nothing (although of course he has a film). Work Programme also leads to nothing. But in both cases, nothing is not a failure but a good outcome.

Needless to say, in these austere times, Work Programme doesn’t pay. In this respect it is worse than sewing mail bags. But, if only for one week, free labour does allow artists to opt out from the dominant economy, with its hedge funds and its property ladders. It gives participants and audience, alike, access to another non-monetary system, that of the gift.

Anthropologists are not the only ones to have an interest in the gift-giving feast of potlatch. Found in North West Canada and some parts of the States, this competitive event is a non-lethal act of war. It asks which indigenous tribe can give away the most. Things get out of hand, buildings are burnt and possessions thrown in rivers.

Meanwhile back at CAC, shows open on saturday evening; on sunday they close. The spotlight lasts less than 24 hours. Work is removed, and often destroyed, before the weekend is out. This moves us away from the commodification of art and, in the subterranean space at CAC, we find a community of artists and friends surely tapping into something a little more primal.

And just as cells (correctional and/or monastic) are the most ambient of spaces. The architecture at 31 Queens Road are by now well charged with hard work, anxiety and at times, clearly, wild flights of inspiration. CAC might be the engine room of the Brighton art scene, making other gallery models look cumbersome.

But are they cumbersome, or merely humane? As demonstrated, this is a punishing model for art production. If it suggests a gulag or a camp, that would suit our provincial setting at the end of the A23. And by the way, a certain Mark E Smith (singer with The Fall) once described Brighton as a “cultural prison”**. To the best of my knowledge he has never been to Work Programme, but he would recognize it for what it is.

The first Work Programme of 2014 opens (and closes) on Saturday 18/01 at 7pm at Community Arts Centre, 31 Queens Road. The artist in residence is Sam Ayres.

*The Fall, Athlete Cured (from the 1988 album, The Frenz Experiment).

**Mark E Smith, Renegade (Penguin 2008), p.150

Save APEC Studios


Industrial House in Conway Street Hove looks just as workmanlike as its name would suggest. If I was a councillor presented with the chance to knock it down, I just might.

But having been inside the office-like space, the industry seems to be altogether more interesting than, say, just the embroidery of sports logos. Inside they are making art.

So perhaps the resident sportswear business should have taken over the whole building. Chances are that way all talk of demolition could be avoided. Logos have clear social value.

Art, as usual, is viewed as a marginal, obsolete activity. But there are 18 diverse artists currently working in APEC studios, housed in this building for almost 10 years.

They range in age from 23 to more than 70. They are players in a city art scene which already suffers from lack of galleries and affordable space in which to make art.

Now they face eviction. Shame that grants were once secured in good faith to set up APEC. Money donated by Arts Council England and Co-operative Finance, counts for nought.

That’s not to mention the contributions of founding members, many of whom gave up their time and skills to transform the interior into workable units of creative space.

Good news is, since this is Christmas, you can help. APEC need just 1250 signatures to prompt a debate on this matter in a full council meeting.

“Workshops, office space, studios, storage and other premises remain affordable, appropriate and available for use,” said the council. Can’t put it much better than that.

Please take a moment to sign the APEC petition by Friday at the latest. We can and should hold Brighton Council to their word on this.

Farewell Grey Area

Rostan Tavasiev, Ghost (2008)

It is oft said things have to get worse before they can get better. And with news of this Friday’s vacation of Grea Area, the Brighton gallery scene couldn’t get much worse.

In the past, usually after one or two libations, I have opined that quality of life is already good enough here on the South coast. Limited art seems like a trade off for a vibrant music scene.

But enough is enough. The closure of Grey Area’s will perform a spleen-ectomy on a patient already weakened by loss of, perhaps, wisdom teeth with the recent closure of Permanent Gallery.

Another promising space closed last year. That was literally called A&E. We are left with a tatty heart (Phoenix), a distracted mind (Brighton Uni) and an echoing ribcage (Fabrica).

Some of the spirit of Grey Area should live on in nearby Mingus Calypso, perhaps a pineal gland. But the Neue Froth Kunsthalle, as it is also known, is in semi-legal possession of its premises.

Mingus has taken the bold move to begin acquiring a permanent collection. But without a permanent space, it should prove tricky for them to secure funding and higher profile shows.

No one ever died for want of an art gallery. But the same could be said of a football stadium. And look how councillors moved heaven and earth to secure funding and permission for the Brighton Amex.

Since there’s now a bit less to blog about, I hope you’ll forgive me for posting a handful of links to a few past shows. As can be seen, Grey Area was great. Let’s hope it’s back soon in some form.

Grey Area is having a closing bash this Friday. Details on ArtRabbit here.