So, we often say that the edges are the most interesting places to be – (see the word ‘liminal’ in a million dissertations in the last ten years or so). That culture is like a ring doughnut, the sweet and tasty stuff is on the edge, whilst the centre is pretty empty and tasteless (why we called our space, The Edge). Maybe that’s a prejudiced view, but it’s something I personally have come to believe, and it’s no surprise that it’s happened. My life has kind of pointed the way.
I grew up on a council estate on the edge of the city, literally. The Maypole estate, where our maisonette was situated, is a typical concrete jungle (i’m sure much improved since the early 70s, when I resided there), but just across the way the countryside begins. So my days were spent between your usual trying to survive on a dodgy estate, attempting to read every book in the tiny portakabin that served as a library, and murdering a range of fluffy and feathered animals for our meagre dinner table – I got my first shotgun at the age of 8, my stepfather was an inveterate poacher and we would often go out for ‘country walks’, returning blood smeared, with pockets full of dead creatures and live ferrets. So, I never joined in much with life on the estate, avoided the gangs (my possession of a number of illegal firearms, crossbows and evil gutting knives meant they avoided me, too), preferring the company of my books and the countryside to my potential compatriots.
I won a scholarship to a grammar school (King Edwards Camp Hill), where the ‘liminality’ continued. I couldn’t stand school, the other kids were ‘too posh’ (actually they were all pretty middle class, but that was posh as far as I was concerned) – and it was definitely mutual. Contracting a mystery long-term illness didn’t help, (which actually turned out to be a ‘mild’ dose of TB, diagnosed years later when we got our ‘TB jabs’), which meant I never really engaged with the school. TBH, at that time the teachers wore cloaks around school, and there was a real ‘poor mans’ public school vibe at the place, so how was a poor boy from a council estate supposed to understand or engage with that world?
So, about the age of thirteen I discovered the joys of drug-taking, petty crime and sudden violence, spending the next couple of years indulging heavily in all three, whilst occasionally popping into school often enough to keep my mother from the arms of the law (obviously I put her through hell, poor woman – but I made up for it later, promise). So, on the one hand I was going to this ‘good’ school, all uniforms, ‘old boys’ and games of fives (for fucks sake!), then going off to hang out with bikers, junkies, thieves, rastas, and, worst of all, musicians. I turned up to one of my ‘O’level exams on the back of a Triumph ‘Bonnie’, clutching a half-pint of stolen brandy, wearing nothing but a pair of old cut-off jeans – needless to say I am yet to obtain any official qualifications, though I probably earned a Phd in the old University of Life, having quaffed, smoked, ingested, injected, fought and fucked more than many people twice my age before I ever left school.
Anyway, I don’t want to write a whole autobiography here, I’m maybe being self-indulgent enough – the pattern has continued to this day, in that the communities and activities I have engaged in over the years have tended to be at the margins, in those liminal spaces between this and that, legality and illegality, society and anarchy. The point I’m making, I think, and I’m not entirely sure, is that I have enjoyed it immensely, and continue to do so. The edges of the doughnut are where all the taste is for me, and I guess that’s why we, as artists aren’t afraid to take risks (Sandra’s bio is very different, but no less liminal, born in Africa, punk, traveller, etc). We’re actually more comfortable in places that would be out of most people’s comfort zones, it’s why we can breezily make work in some of the dodgiest places on the planet, why we can find a way to communicate with people that others feel they can’t. And, I guess also it’s why we’ll never be part of the ‘art gang’, never be entirely accepted in our ‘own community’.
And of course, I wouldn’t have it any other way.
‘Community’, whatever that is, and we shall come to that, is well and truly on the agenda these days. It’s just one of those words you seem to hear in all kinds of contexts now – people are even talking about ‘community arts’ again, which has been a dirty word (phrase) for ages. People often think we do work with the community, and of course they’d be completely wrong – we don’t. To paraphrase my favourite psychopath, ‘there’s no such thing as the community’. There’s just people.
When I hear the word community come out of the mouth of most people, particularly within my ‘community’ of the cultural and ‘creative’ sector, what I hear is ‘them, over there’. What it seems to mean is often, the poor, the people who don’t engage like I do, the disenfranchised, etc. But we all belong to multiple communities, just start listing the communities you belong to – geographical, career interests,cultural, leisure groups, friendship circles, family, etc, etc, it just goes on. We often say that there are (getting on for) 7 billion cultures on the planet – how’s that for multicultural? And this ties in with the community thing. There are billions of communities, communities aren’t fixed, they are living, changing, adapting things – and defy reductive approaches, it’s just all part of the way we try to make sense of things.
So, as I said, we don’t work with the community, we work with people, with individuals from all kinds of communities, and I guess that’s one of the reasons we’re good at it. We recognise that each person is a whole bundle of cultures and communities and we just take them as they are, on an individual basis, and day to day. The problem with trying to define community is that we start to box things off, to say this is so and so community, the Muslim community, the Highgate community, the Black community and then we start to define what that is – but communities are made up of individuals, very different individuals with different values and approaches to being in the world, but that may have something in common. And they’re not fixed, communities are ameboid, constantly changing shape and membership.
We’re not about community at all, we’re all about connectiveness, communication and mobility. We want to see those billions of communities in a constant dance, shifting, changing, influencing each other – even breeding in a way, to create that rich tapestry of life, to make it a more complex and beautiful picture.
Let’s get embroidering!
Last Friday we had our second BASS Festival outing – Woman – The Revolution Has Been Feminised! And I think the point was proved quite nicely, with superb performances by a range of female or female-led acts, including Annette Fagon, Unique, Indigo and a storming set by Sykes and Amazon Sheek, with Soesmix on the decks. Annette was a great compere and really helped the vibe along, another ‘my cheeks hurt from grinning too much’ evening – we have a lot of those at the Edge. Quite large-ups to Ian Sergeant who worked hard putting the night together (and getting down on the decks at the ‘after party’ ), Rose Oliver for the pics (below) and everyone else who contributed to make it such a special night. We shall look forward to many more like it.
Woman
To You From Super Me continues at the Public in West Bromwich until this Sunday. Get your skates on for your last few chances to see this ‘mesmerising’, ‘beautiful’ and ‘brave and inspiring’ installation. While stocks last.
Wednesday evening was the launch of our new exhibition To You From Super Me at the Public in West Bromwich. Lots of fun was had by all, not least the young people who were the ‘stars’ of the show. The Exhibition, in the lower gallery, consists of three sections. A documentary, filmed by Si Walker and edited by Babis Alexiadis, which shows the workshops and sessions we’ve been doing with the Sandwell AAYP group at the Windmill centre in Smethwick, since July last year. It’s a great film in its own right and one of the audience members thought that it was the artwork, and was happily surprised when the other two parts of the exhibition were revealed. Part two is a display of seven large images, created by comics artist John McCrea, showing the young people’s super alter egos, developed during the workshops. The images are really fantastic and really show how special the young people are, and how individual. Part three consists of three large widescreen projections, arranged into a ‘goalpost’ shape , if viewed from above, where the young people are projected life-size to surround you. The film, shot and edited by Chris Keenan, with a great soundtrack by Martin Clarke, lasts about 15 minutes – I must have seen it a hundred times and I’m still not in any sense bored with it, it really gives you a glimpse into the worlds of the young people and reminds us all about our individuality, that we all have ‘powers’ in some way and really reveals why we love the young people so much. It’s well worth a visit, so if you are anywhere near the Public in West Brom, take a look, promise you won’t regret it. To You From Super Me runs at the Public until 26th June, normal gallery opening times.
TYFSM
Other News
Tonight, Friday 10th of June at the Edge, we are being honoured with a visit by ‘Queen of 2 Tone’, Pauline Black. She’ll be performing some music and also talking about her new book ‘Black by Design’ as part of Bass Festival. This year’s theme was ‘Revolution’ so we have hooked up with Ian Sergeant to create two events looking at the sexual revolution in Black music, tonights ‘in conversation’ event with Pauline and next week ‘Woman – The Revolution Will Be Feminised’ will have a host of female artists working in the ‘urban’ genre (loosely) – more information over on the Facebook page.
We just returned from our annual trip to the Goat Milk Festival, in Bela Rechka, Bulgaria after having the time our lives and making a very beautiful intervention in response to this year’s theme ‘abandonment’. Abandonment is something that affects everyone, one way or another, and was a great subject to respond to. In context, in a tiny, possibly dying village in the North West of Bulgaria, it is something that is perhaps more evident than ever. Someone told me that the average age of the inhabitants was 70, after having met several 90+ years olds and only 2 people under 16, I believed it. Like many countries, particularly on the edges of Europe, Bulgaria is suffering from the effects of rural emigration. The young flee the villages in search of opportunities, leaving behind an ageing population and rapidly-decaying infrastructure. In Bela Rechka it seems every third house is a crumbling ruin, and the sense of abandonment is palpable.
So, how to describe Goat Milk? It’s a unique festival, kind of the anti-Biennale. You’re not there to show off. You’re not there to sell anything. You’re there to meet other artists, thinkers, poets, photographers, musicians, you name it, and to participate together. There’s not that much ‘art’ on show, there’s a linear programme of workshops, talks, discussions, film screenings (followed by more discussions), and a very long dinner queue at the only place to get food, staffed by incompetent, hungover Bulgarian local lads. I guess I’m not selling it well, because I think it’s the best art festival I’ve ever been to. It’s all about the conversations. Artists from all over the World gather there, unpaid for the most part, so engage in such a wonderfully open and uncompetitive way (for the most part) that the experience becomes a great source of energy, a revitaliser. Our friend Murat, a drummer and activist from Turkey put it best, ‘we all come together from our different ‘war fields’ and we rest and talk, and realise we are not alone, then we go back, energised, to continue’. He is pretty dramatic sometimes, particularly after a few rakias, but you get the picture.
So we went over mob-handed, accompanied by Si Walker, as always, Nicky Getgood and her ‘man’, Carl along with Soesen Edan. We’d decided before we went that we’d try to make an artwork of some kind and had been considering the abandoned houses which were the focus of the festival this year. We hooked up quickly with Iranian artist Gita, who had a microphone permanently clamped in her hand and was recording everything, and with our friend Antina who grew up locally and had made a beautiful installation, mapping the abandoned houses and interviewing locals to find out their stories.
We looked for a house to respond to and settled pretty quickly on a pretty dangerous looking blue house, which was due to be demolished in a month for safety reasons. Sandra and myself designed a process for the group to respond to the house. Working in silence, we would investigate the house, inside or outside. We would respond to a set series of themes, using our sense of smell and touch, noticing patterns and movements. We would then go and have lunch, without talking about the experience, letting it sit for a few hours, before coming back together to feedback to the group. It’s harder than you think, you really want to go ‘did you notice, so and so?’ and the resultant feedback sessions produced a series of amusingly arm waving pixelations. So, much discussion about the house, and the context ensued. One of the things we had found was a ‘necrolok’ – a poster with a photograph of a deceased person, displayed annually on bus shelters, lamposts, walls, in an effort to remember the dead – we also found the original photograph. I should say at this point that there was much debate on the voyeuristic nature of what we were doing – ‘going through someone’s knicker draw’, as it were, but we trusted ourselves to take a respectful approach and to replace everything where we found it. At times the house felt like a museum, at others like a mausoleum, and this related directly to the issue at hand.
Bulgarians, we were told, particularly the old, fear being forgotten more than they fear death. As long as they are remembered, they are somehow still alive, and the necroloks are an obvious example of this. And here we were in a village, with a population of the old, surrounded by decaying and crumbling houses, all at risk of being forgotten. We started to formulate a response, a way to commemorate the situation, and an intervention began to take shape.
We made a series of announcements around the festival – ‘look for a sign at 9.45, and bring something to leave behind’, we told people. There was soon a sense of intrigue, particularly amongst the more adventurous festival goers – though some people clearly wanted to know what was going to happen. So at 9.45, some of our group gathered with Murat, the drummer, near the Kazan (rakia house – ‘party central’ at the festival) and began to lead an impromptu procession up the lane towards the house. Swinging lights and lanterns, drumming and dancing, a party atmosphere developed, as we passed the ‘pub’ (the only bar in the village) a bunch of local people joined, to see what all the fuss was about. As we reached the house Murat’s drumming became softer and the whole ‘audience’, turned to look up at the house. We’d lit a single window in which we had placed the necrolok poster, the original photograph and a jar of preserved peaches we had found inside the house. After a while, one of our group stepped forward and laid an object down into a small circle of stones we had made in front of the house. Then stood up and looked at the house for a while. The audience needed no more instruction and for the next ten minutes object after object was placed in the circle, each audience or group member then paying their respects to the house, and it’s history. When the final object had been placed in the circle, the eight members of the group, until then part of the audience,turned around, made eye contact with someone in the audience, then walked towards them slowly, before cupping their face with their hands and leaning forward to kiss them and whisper the word ‘goodbye’, then disappearing into the darkness. The audience were left with the house to make their own way back.
So that was our response, a simple, beautiful act, yet interrogated constantly over the 30 hour development period in the most complex way. We made an intervention that respected and responded to the theme, whilst giving ‘entry points’ for the audience to ask their own questions. We don’t proscribe what these questions may be, and rarely provide ‘interpretation’ or artist statements to explain what the work is about – it’s either obvious, or there’s enough going on that telling people what it is would seem limiting. This unnamed intervention worked incredibly well – more than one audience member was in tears (we had to administer rakia to one young lady, for medicinal purposes) – in fact, when I demonstrated ‘the kiss’ to our group, out of context, one of our group began to cry uncontrollably. Everyone understands abandonment, or has been abandoned at some point in their lives, so the theme resonates with us all. In Bulgaria, the fear of being forgotten is so real that people try and get remembered through leaving traces of themselves. Our experience in Bela Rechka taught us that we need to remember what has gone before, but perhaps sometimes, we need to learn to let go more readily.
Will post some photos when we get the time.
And in other news
This Friday 3rd of June at the Edge, it’s Sonic Asylum 4 – whoopee! The usual triple bill of live musical performances, weird stuff, sonic installations and cake. And a return visit from – The Auctioneer! From 8pm, 3 quid on the door.
Thursday at the The Edge, Fierce are showcasing work from the Platinum programme, set up to develop live artists in the region.
We are beavering away all week to install our exhibition ‘To You from Super Me’, at the Public. We’re dead excited about this, it”s a video triptych featuring life size projections of 8 of the young people with autism we’ve been working with for almost a year now. We love working with these extraordinary young people and wanted to find a way to share what we have learned working with them, so image-maker Chris Keenan, Marvel comics artist John Macrae and ourselves have put together this fantastic installation. Show opens this Friday and runs for a few weeks in the lower gallery at the Public in West Bromwich, try and make it over.
Just before we head off to Goat Milk, we just wanted to update you all about ‘To You From Super Me’ . We’ve been working with young people in Sandwell for almost a year, developing this project and it’s been an amazing journey for all involved. We’ve got as much out of the process as the young people we’ve been working with, who are autistic. Early on, we realised how special they are as people, and wanted to reveal what we’d learned to others. The young people operate in the world in very different ways to others, aloof in some ways, incredibly free in others and it has been a pleasure working with them and seeing them grow as people over the last year. We wanted to celebrate them, and their individuality – anyone who is defined through a condition, e.g. ‘autistic’ becomes framed for others through that label, and we wanted people to see through that, to enjoy the incredible individuals who might be hidden behind. So we created ‘To You From Super Me’.
We’ve been working with comics illustrator John McCrea and image-maker Chris Keenan, to create a series of intimate and revealing portraits of the young people and their super ‘alter egos’. From 3rd to 26th of June 2011 we will be exhibiting TYFSM at the Public in West Bromwich. Life-sized projections of the young people will surround the audience and, for once, give them a chance to really see these very special individuals behind the label.
We’ll see you there
No, really, we are. Straight after 3 Minute Heroes (more about that in a bit) we’ve installed ‘Heard And Not Seen’ at Ward End Library in Washwood Heath. ‘Hans’, as we affectionately call it, is a powerful series of installations which focus on the relationship of Islam with other communities. A timely intervention in the light of current events. We’ve been working with women’s groups in the neighbourhood to add content to the reactive media and interactive installations that make up the exhibition. It’s a great venue for the piece, the library is very popular and brings a whole new audience to a highly relevant and contemporary art installation. Heard And Not Seen continues at Ward End Library for the next two weeks, with an evening event on Thursday 12th May, 6-8pm, where you can meet some of the groups and artists involved in the project.
Immediately after that we will be going into production with ”To You From Super Me’. For almost a year we’ve been working weekly with the AAYPP group of young people with autism at the Windmill Centre in Smethwick. It’s been an amazing journey for the young people and ourselves and will culminate in an exhibition at the Public in West Bromwich during June. We’re working with Marvel comic artist John McCrea and image-maker Chris Keenan to create a series of powerful and moving video portraits of the young people and their super ‘alter-egos’ which will be displayed life-size in the exhibition. Watch this space for details
Other Stuff
We’re off for our annual visit to the Goat Milk Festival in Gorna Bela Rechka in Bulgaria, where we’ll be hooking up with our colleagues Raycho Stanev, Diana Ivanova, Babak Salari and the gang, making some interventions at the festival and drinking copious amounts of rakia.
In the meantime, 7 Inch Cinema are holding a Post Apocalyptic Walk-in Movie night at the Edge on May 12th, which promises to be fun. This will be closely followed by the ‘Taking Control West Midlands‘ weekend of talks and workshops on 14th/15th May. We’re very happy to be supporting this event, with workshops and talks from the likes of Indymedia, UK Uncut, hacktivists and activists there’s a cornucopia of ways that people can get involved in their community and work towards The Project – creating the world in which we wish to live – which has always been our main objective, too.
And, if that’s not enough, the first week of June sees the Edge host two more events. On the 2nd of June, Fierce Festival will be showcasing some of the work from their Platinum programme at the space. And on the 3rd of June, we’ll be shindigging along at the 4th Sonic Asylum – we’ll be announcing the line-up next week, but expect the usual eclectic and unusual acts and music, accompanied by the usual madness – we don’t call it Sonic Asylum for nothing.
Friday and with the 3 Minute Hero team staying at The Edge for over 14 hours straight there were alot of tired faces! but it was worth while with the space looking great and alot of the last minute jobs being done! Rhys did a great job with the scrolls. Laura did an amazing job sowing all the fabric for the drops. There were also alot of the last minute jobs done with the whole team recording the poem, Sarah finishing attaching the ribbon the the feathers an tea cups, Ben designing the bunting and then putting it all together. Ash and Luke were also really helpful doing odd jobs and then cooking a fantastic meal for the team.
3MH15042011
Thursday and such a great day the butterfly was hung by Lee and Ben. Thanks to the great people at Stans Cafe in the AE Harris building we were able to get the tables for the court yard which look amazing especially with Tessa’s table cloths on them! Unfortunately Ben and Soes got a little bit lost on the way to pick up the tables! Also Jo finished his poem and what a poem it is!
Wednesday was a very long day with the 3 Minute Heroes Team staying late to get more done. But what alot got done! The butterfly finally got its wings thanks to Sarah and Jo. Ben managed to catch up both the Friction Arts and the Hello Digital blogs! There was also great work from Sanj getting the shop built and put in situe.
3MH13042011
"@krishgm because he's morally bankrupt?"16 hours ago"@SarahABGee V.gd thanks stonkin' coupla years ahead, do u fancy a coffee and view from our wonderful roof top 'Edge'? great plans afoot..x"yesterday"@getgood @TalkAboutLocal @karenstrunks you've the same photo face I make when photo-ing people Karen! miss you Nicky. Sandra x"yesterday
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