Derica Shields

The Live Art Almanac, Volume 4 launch @ The White Building, Jun 28

27 June 2016

The Live Art Almanac, Volume 4 is launching at London’s The White Building on June 28.

Featuring writing by the likes of Derica Shields, Coco Fusco, Morgan Quaintance and Vaginal Davis, the publication is a collection of ‘found’ writing about live art and radical performance-based practices, published by Live Art Development Agency (LADA) and Oberon Books. The event will feature two open discussions on “the state of writing” from current and former LADA members as well as Harriet Curtis of Kings College London, and a debate with UK-based writers, Diana Damian, Maddy Costa and Mary Paterson.

The pieces were “published, shared, sent, spread and read” between January 2012 and December 2014 and collated into several loosely themed sections including ‘Locating Performance’, ‘Performance Under Attack’. ‘Speaking Up/Speaking Out’, ‘Show Me the Money’, ‘High Art in Low Places’, ‘Reviews’ and ‘Dearly Departed’. These include writing on or by the likes of Mykki Blanco, Wu Tsang, Shia LaBeouf and boychildMarina Galperina, Claire Bishop, Steph Kretowicz and Emily Roysdon, among others.

See the LADA website for details.**

 

 

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Sarah M Harrison + Hannah Black @ Lisa Cooley, Feb 24

23 February 2016

New York’s Lisa Cooley gallery will host the launch of two recent books by Sarah M Harrison and Hannah Black on February 24.

All the Things by Harrison is published by London gallery and publisher, Arcadia Missa, and Black’s Dark Pool Party is published by Arcadia Missa and Dominica.

At the event, the two writers will perform excerpts from their books alongside readings by Jackie Wang, Derica Shields and Jasmine Gibson whose work ‘Drapetomania’ (2015) can be downloaded here.

The event promises wine in little plastic cups and a sense of wellbeing.

See the FB event page for more details and for a short description of both books.**

Sara M Harrison, All the Things (2016). Courtesy Sara M Harrison and Arcadia Missa
Sarah M Harrison, ‘All the Things’ (2016). Courtesy Sarah M Harrison and Arcadia Missa.

 

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Girls Like Us #7 @ Minibar Stockholm, Dec 9

9 December 2015

Culture magazine Girls Like Us finally lands in Stockholm with its seventh issue, themed ‘BODY’, launching at Minibar Stockholm on December 9.

The new issue features interviews with the artist K8 Hardy, cinematographer Babette Mangolte, artist and writer Louwrien Wijers, filmmaker Mariah Garnett, essays by Derica Shields and Crystal Campbell, and various Q&As with healers, herbalists and witches.

The launch event comes with a whole evening of programming, including the screening of Mariah Garnett’s ‘Picaresques’ (2011) at 18:30, Francine Agbodjalou reading the essay ‘Bodied’ by Derica Shields at 20:00, and Vaska Fimpen playing songs on the theme ‘Sad Pony / Hot Legs’.

See the magazine website for details. **

Mariah Garnett, 'Picaresques' (2011). Video still.
Mariah Garnett, ‘Picaresques’ (2011). Video still.
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Frieze London 2014 reviewed

31 October 2014

“Sounds like a trap. Is it a trap?” says the shifty blue iris of Sophia Al-Maria’s ‘Tsagaglalal (She Who Watches)’ (2014) video. The robotized voice carries through the speakers of a CRT TV set, on rack and rollers, powered by a battery and pulled along by two straight-faced attendants wearing sunglasses. They’re the props for a guided tour of Frieze London 2014, commissioned by the fair, inspired by John Carpenter and starting at the pavilion’s tours and catalogues desk. It’s raining outside, the tent roof is being buffeted by strong winds and everything feels futile. “Will they withstand a real rain?” Al-Maria’s words come less as a question than a warning as she interrogates the “temporary structures” of “weak shelters covered in a carpet chosen to match the drapes” that is the Frieze fair. It’s the premiere four-day event, bringing both the rich and the desperate from around the world to binge on “that great flower of our species’ effort” that some call art but Al-Maria’s omniscient eye calls commodity.

The TV and its two attendants lead their audience through a half-hour assault of the sections marked yellow, green and purple on the map in the Frieze Fair Guide. They’re the ones where each gallery’s share of the space appears to shrink according to their capital importance. Experimenter Kolkata and Project88 are there. The former features Indian art collective CAMP’s collaborative film From Gulf to Gulf’ (2013), while my Nokia won’t wordpredict ‘Mumbai’ when I try to type in the origins of the latter. Around here are the Gs, Hs and Js of the ‘Focus’ of the fair, the smaller spaces with fewer viewers where the more interesting artists are. Morag Keil capitalises the letters spelling “REVENGE” painted in acrylic across cereal boxes on a shelf in the center of an otherwise sparsely furnished Real Fine Arts booth. There are stuffed toys on one side; a conch, a hot dog and a puffed oat on a mixed media mount on the other. A print of an interview with Harry Burke called ‘Can you live in art?’ is chained to a pair of chairs for children in a corner. It was originally conducted for Keil’s exhibition called L.I.B.E.R.T.Y.. Dreams.

“In a way, that’s what locations are today, different markets,” says Michael Connor, moderator of the three-day offsite discussion series centred around its thematic title, Do You Follow? Art in Circulation. The stage is set up in the industrial space of the Old Selfridges Hotel, an extension of the high-end shopping centre. The infrastructure inside is non-existent so there are port-a-potties downstairs and the salon where the complimentary beer and Smartwater flows freely is full of plants framed by the building’s concrete structure. The sense of a space catering to the bottom feeding art marked ‘post-internet’ couldn’t be better realised.

Morag Keil installation view @ Frieze London 2014. Courtesy Real Fine Arts.
Morag Keil installation view @ Frieze London 2014. Courtesy Real Fine Arts.

On Day One Martine Syms, Kari Altmann and token abstract expressionism expert Alex Bacon talk the #same-ness of networked art across aesthetics and algorithms. Takeshi Shiomitsu reads out his dense ‘Notes on Standardization’: and cites a subject position – across race, gender, class, sexuality – as shaping an experience of culture, while “our interactions are rendered within the confines of the user interface or platform”. Hence, the notion of dissidence-so-long-as-you-follow-the-rules, which is exemplified IRL when a puppy enters the building to the joy of the ICA staff but the chagrin of Selfridge’s security who force the dog and the human it’s attached to back outside.

It’s this fruitless performance of disruption that is probably best realised on Day Two during Constant Dullaart’s ‘Rave Lecture’, his ‘BRIC mix’ booming across from a concrete corner as an art audience stands around largely unmoving behind obstructive grey pillars. They’re reading the geopolitical messages that dance in lurid neon streams of colour, the laser beams “projecting chemically enhanced pleasure into your children’s future”. The sonic intensity of thumping electronica featuring languages I don’t understand generates that familiar feeling of fear and fascination that’s also at the core of Al-Maria’s “cosmic horror of reality” back at the Frieze pavilion. Tsagaglalal’s shaming gaze glitches, cuts and scrambles across fleeting interjections of images and bold white text: “EARTH LOST 50% OF WILDLIFE IN 40 YRS”. Her human flunkeys run their UV torchlights along the pavilion walls to reveal the residue of human handprints glowing alien-blue.

How diverse. How pointless. These are thoughts that linger as the tour passes through this battlefield of economic warfare – assaulted by art and artists fighting for attention. There’s the queer crosshatch of space, time and cultural signifiers in a lurid installation of Sol Calero’s “ciber café” at Laura Bartlett. PC computers propped on desks, among Hispanic food brands and gaudy gestural prints, are running on Windows XP and screening films of street parties. Men in dark blue overalls are chanting “at the rodeo I was like, this is the one” for Adam Linder’s performance art-for-hire at Silberkuppe. A line of people connected at the head by pink fabric walk past as part of James Lee Byars’ ‘Ten in a Hat’ (1968) at the exact moment that Tsagaglalal asks, “What are these weird wandering ghosts?” No joke.

“…then we went to the ICA for a little bit, then we went to see Big Ben and the London Eye…” yawns a visiting invigilator at one booth describing a week of costly cultural enrichment before I’m confronted by Nina Beier’s ‘Hot Muscle Mortality Power Pattern’ (2014) at Croy Nielsen. Keychains and dog treats, power sockets and perfume bottles are embedded in packing foam and framed behind UV security glass above a carpet scattered with organic vegetables, ordered online for Beier’s ‘Scheme’ (2014). Villa Design Group’s live auditions for a film adaptation of Jean Royère’s 1974 memoirs, ‘Arab Living and Loving as Seen by a French Interior Decorator’ at Mathew Gallery is filmed and re-mediated above the scene via a line of screens on the scaffolding. Carlos/Ishikawa offers free manicures care of Ed Fornieles over an Oscar Murrilo table flanked by Korakrit Arunanondchai’s body-paintings. ‘Affordable’ limited edition reproductions by Parker Ito, Neïl Beloufa, Ed Atkins are available for purchase at Allied Editions, while Richard Sides’ mixed-media contribution warns ‘Gamble Responsibly’.

Carlos / Ishikawa, G26 Frieze Focus, London 2014. 
Carlos / Ishikawa, G26 Frieze Focus, London 2014.

“There’s even a food court” is another observation of art fair infrastructure by Al-Maria’s Tsagaglalal that runs through my mind while watching a photographer take a picture of the “A to B Coffee” café. The people there are consuming across from the Corvi Mora booth, where Anne Collier’s framed C-print memo ‘Questions (Relevance)’ (2011) queries “What does all this mean?”. An answer comes in the infantilised whisper of Laure Prouvost’s narrator in ‘Paradise On Line’ (2014), played in a pink-carpeted projection room at MOT International and suggesting ‘grandpa’ is “just interested in painting bottoms and not conceptual art”.

“Did I see Beyoncé? Yeah, yeah, yeah…” an attendant groans through her phone, walking past Mike Kelley’s ‘Rewrite’ (1995) enamel on wood panel that reads “our method of exploration: polymorphous perversity” at Andrew Kreps. The thin metallic ‘clack’ of Hito Steyerl cracking a screen in her ‘STRIKE’ (2010) video is playing on loop at its entrance as it occurs to me that Beyoncé’s presence was only felt at Frieze last year through the popular icon as self-image in Jonathan Horowitz’s eponymous mirror. It’s as if now the art and the image is not only reflecting a certain reality but somehow materialising it, in the same way that Amalia Ulman problematises the distinction between the performance and the person in her social media experiment in networked self-objectification, ‘Excellences & Perfections’ (2014). Presented in a slideshow on Day Three of the Art in Circulation series, she reveals that the photos of her fake boobs were fake. The minor plastic surgery and talk with the ‘King of Collagen’ was real but the public breakdown wasn’t. Or was it?

“Bodies are suitcases for a consciousness”, announces Ulman, paraphrasing infamous body-modification pioneer Genesis P-Orridge, “but who is this suitcase by?” In the case of the artist it’s one by the networked patriarchal gaze. Fellow panellist Derica Shields suggests an alternative model of authorship of the body for black women, reanimating themselves as cyborgs in 1990s music videos to create a “sense of control but also invulnerability”. Perhaps, it’s a way of achieving what Hannah Black’s polymorphous narrator can only aspire to while plummeting towards the earth’s core to the warped and slowed tune of Whitney Houston in ‘Fall’ (2014) screened before the panel begins: “At 13,000 feet, I finally discover my own language”.

The search for language appears part of a perpetual capital exchange as pamphlets from Deutsche Bank encourage “#artmagyourself”; urging art viewers to “post a selfie with the artwork you love and win a terrific prize!” whether it’s next to one of Cerith Wyn Evans’ chandeliers or Heman Chong’s red vinyl text of ‘The Forer Effect’ (2008) that cold reads, “Some of your aspirations tend to be pretty unrealistic”. They’re as unrealistically aspirational as Shanzhai Biennial’s ‘Live’ installation at the art fair entrance. There they re-imagine their work as real estate in the Frieze brand-emulating sale of a £32,000,000 “Ultra Prime Residential” property in a room coloured rich-people-red with a contact email on the wall for “qualified buyers” only. Merlin Carpenter’s consciously crude painting of a middle-aged couple grinning in the golden glow of a stock sunset suggests ‘Price on Request’ at dépendance. Cory Arcangel’s Lakes series of flatscreen animations advances from ‘Diddy/Lakes’ (2013) at the team gallery inc. booth in 2013 to the bigger Lisson Gallery. The ripples under ‘Miley Cyrus’ and ‘Dinner’ is powered by modems and hanging above the milieu of rainbow-coloured carpeting and Joyce Pensato’s huge black and familiar Disney head in ‘Mickey for Micky’ (2014).

The fabric of fantasy tears at one point when a cleaner walks past me in the Frieze pavilion’s ‘Main’ section. She’s sweeping the space in front of Fiona Banner’s huge dark image of graphite on paper shouting “THE HORROR! THE HORROR!” in ‘The Greatest Film Never Made (Mistah Kurtz – He Not Dead)’ (2012). It’s an IRL occurrence that has a similar effect as Monira Al-Qadiri’s mediation in her ‘Soap’ (2014) video. Screened at Art in Circulation and featuring popular Gulf soap operas based in worlds of affluence, Al Qadiri reimagines these shows that forever forget the labour behind the wealth by transposing the ‘help’ into existing episodes. A vase is smashed in a fit of passion. The maid bends down and cleans it.

Shazhai Biennial No. 5 installation view @ Frieze London 2014. Courtesy the artists and Project Native Informant.
Shanzhai Biennial No. 5 installation view @ Frieze London 2014. Courtesy the artists and Project Native Informant.

‘But what’s the plan?’ one wonders as Christoper Kulendran Thomas explains his accelerated drive to bringing Sri Lankan artists into a post-fordist economy, whether they like it or not. The artist argues for an integration into the spread of malignant markets on the back of branded sportswear: “I was thinking that what failure for me would look like in this work, is probably what success would look like for a lot of artists”. Though I’m not so convinced there’s that much of a distinction as I try to list every artist and booth who made it into Frieze worth mentioning: Simon Thompson at Cabinet London, Jack Lavender and Amanda Ross-Ho at The Approach, Lisa Holzer and Philip Timischl at Emanuel Layr, Hannah Weinberger’s ‘Frieze Sounds’ work, Société, Loretta Fahrenholz… There’s more but this whole piece has turned into an exercise in Search Engine Optimisation for ‘good art in a bad world’ while really just drowning in its own impotence as part of the fabric of collective failure.

“Is this an art fair or a mall?” barks Al-Maria’s electronic mouthpiece in my mind as I wander by Carsten Höller’s ‘Gartenkinder’ playground at Gagosian and Salon 94’s acid-yellow curation of Snoopy animation and largescale emoticons causing retinal burn at ‘The Smile Museum’. This is definitely Al-Maria’s “maze of particleboard walls built to bare a heavy product”. More succinctly, it’s Hannah Black’s “shiny surface of a world of shit”, as read from a poem performed during the Art in Circulation #3 talk, before speculating that “hopefully we are the last, or among the last generations of a collapsing empire”. Because when Monira Al-Qadiri says the purpose of the “over-the-top, luxurious, crazy, dystopian image” of the GCC art collective is to mirror the reality that “our governments have somehow become corporations”, it’s easy to assume that it also goes the other way. Along with the sense of being trapped in a violent cycle, circulated by the structures that exacerbate pre-existing socio-economic prejudice while hurtling us towards environmental collapse, one can’t help but agree when Tsagaglalal concludes, “this conversation can serve no purpose anymore. Goodbye”. **

Frieze Art Fair runs in London’s Regent’s Park annually in October.

Header image: Sophia Al-Maria, Frieze Live tour @ Frieze London 2014. Photo by Polly Braden. Courtesy the artist and The Third Line.

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