Browsing Tag: Nottingham

    curating

    Ruth Angel Edwards, Trace Programme (2016)

    February 18, 2016

    trace

    Skate parks are paradoxical places: social enterprises often supported by local councils which still manage to attract, engage and win over even the most disaffected kids on two to four wheels.

    Contemporary art can be this way. Projects with an ‘edge’ can still attract funding. You might even say that funders like a soupçon of youthful dissent along with their community minded fare.

    Now artist and curator Ruth Angel Edwards is bringing together more than 20 fellow artists for a show at Flo skatepark, Nottingham. Whoever might fund Flo, this rad weekend will be lottery funded.

    Can we say with any certainty that skateboarding is harmless? No, because it’s an activity in the vanguard of the debate about public and private space. If skating is banned, that’s private space.

    It is hoped that some of the artists in Trace Programme already recognise the political challenge posed by skaters and will come to Nottingham ready to celebrate their anarchic energy.

    But here’s another activity which struggles to find a legal place in the world: dance parties. Raves are even less popular than skating and are frowned upon from the East Midlands to the East Coast. 

    In 2015, creative think tank Communitas staged a rave in a domestic setting in NYC with a respectable dinner party as its legal front, with repetitive eats as an alibi for repetitive beats.

    For another strand of this subcultural weekend, artist Frank J. Miles, is recreating his New York event at Nottingham’s artist-led studios Backlit. You bring the booze. Mixmag will bring the soundtrack.

    Rave dinner parties bring enough baggage to qualify as compelling pieces of art. They bring in social practice, performance art, dance culture, drug culture, and even (techno) shamanism.

    Art historical reference points include Judy Chicago’s all-female Dinner Party and, just perhaps, The Last Supper by Leonardo. Neither turned into a rave, but both had an agenda just as strong.

    Trace Programme runs from 19 – 21 February 2016, with a launch party this evening. Exhibtion can then be seen at Flo Skatepark, with rave/dinner at Backlit. 

    contemporary art

    Morley Threads @ Backlit

    November 19, 2015

    Backlit's current premises Alfred House as a factory (1)

    In the late 19th century, a wool factory in Alfred House, Nottingham, became an asset of the largest wool manufacturing company in the world. Now the premises are an artist-led studio space.

    On the face of it, artists have plenty in common with textile workers. Low pay, hazardous conditions (albeit psychologically speaking) and, in the case of Backlit, here in Nottingham, a union.

    The Morley Union is comprised of photographers, writers and historians who have gathered in retrospective support of one of the better employers these shores have ever seen: Samuel Morley.

    It was Morley who owned the factory in Alfred House. And now Alfred House is set to be the venue for Backlit’s exhibition, and a programme of talks which seeks to celebrate the former boss.

    It has really come to something, that we might hero a 19th century capitalist. Morley was also a media tycoon. He cut the cover price of the liberal Daily News and turned round its fortunes.

    Backlit promises the chance to relive the noise and sweat of the industrial plant, which must still haunt their white-walled exhibition space and paint-splattered workshops.

    The Union have pulled together an archive of artefacts, oral histories and even video interviews which will recall experience of workers from a time when Nottingham was a textiles capital.

    But if you’re still wondering what conditions were like, if mere words won’t do, local digital design studio Hot Knife has developed a playable VR tour of the former factory.

    Meanwhile a photographic exhibition will gather images from buildings and monuments related to Morley. And a youth oriented fashion show may inspire you about the future of textiles in Nottingham.

    Morley was a genuine philanthropist: a decent, responsible boss, rather than a glittering habitué of the fundraising gala. He was also an abolitionist at a time when this was to stick your neck out.

    In 1999 the UK saw an introduction of the minimum wage: £3.60 an hour. The current rate is £6.70. Small wonder there are campaigns for the living wage of £8.25 for 60 minutes of menial pain.

    No matter how philanthropic company chairmen might feel themselves to be, most are answerable to a board of shareholders. Dutifully, they overlook their workers’ needs, in the name of profit.

    But this is not a lesson in capitalism, but a postscript to the life of a man who combined his wealth with a healthy set of ideals. Any plutocrats reading criticismism, please take note.

    Morley Threads runs weekends only (between 21st and 29th November) at Backlit Gallery, Nottingham. For directions, opening times, and a full programme of events see their site.