The Public Secret exhibition: a virtual presentation

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photograph taken by Thanos Andronikos

The Public Secret is by far the largest project undertaken by the collective to date. Quite literally: this disused warehouse is more expansive than many of the nearby major established galleries. The work that culminated in our last show ‘Will The Last Person to Leave The 20th Century Please Turn Out The Lights?’  was of a very different nature: it was largely an exorcism of the persistence of 20th century culture, through a reflection on events in 2017 that seemed to suggest an ending to what the blog Flip Chart Fairy Tales called ‘the long 1990’s’.  If the sour-turning culture and ethos of the 1990’s still seemed to grip the first 2 decades of the 20th century, then it was merely a locatable iceberg tip for a prevailing sense that we were being dominated by spectres of the whole of  Modern Western culture, which were encasing us in lives unfit for 21st century demands.

Mere Pseud's haunting presence at Baildon, West Yorkshire, 2017
Mere Pseud in Baildon

The exhibition was dominated by hauntology, most notably through the spectral presence of Mere Pseud, whose memory reprisals could well still be chattering away in the disused space we used. It was, however,  guided by the writings of the then-recently passed Mark Fisher, who, to paraphrase, said ‘we remain trapped in the 20th century, because it feels like the 21st century never occurred’. But with ongoing events in 2016 and 2017, the belief structures that arguably glued us to the 20th century seemed to be giving way.

This show, in an abandoned pub in the unrealised landscape of West Yorkshire (where nothing – urban, suburban, rural, new or old – seems quite at ease) was apt to leave the ‘what next’ question blank. This was, after all, The Retro Bar at the End of the Universe; we felt so at home there, we could have quite easily sank into this self-made 20th century mausoleum and remained there forever.

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For this reason it was an emotionally easy ride putting this project on. We knew the next step would be much harder, because we had to now ask much bigger questions: what sort of world do we actually want to live in? Do we want to be involved in this making? With the size of the task at hand, even a little emotional investment in it can have exhaustive consequences, but what other option was there? We could slowly choke to death on ever more distant and broken reprisals of TLC and SWV records or try to fill in that blank…

Since July 2017, the geopolitical landscape has become more grave; severe ecological disruption has clearly shown signs of coming home to roost, and the live exorcism of the toxicities hidden in Western Culture has intensified in movements such as the MeToo Campaign.

However, one issue seemed to link all of these up; mental health. But we weren’t just talking about mental health from the perspective of the rise of depression and behavioural disorders in industrialised nations, we were beginning to suggest that the entire meshing of contemporary life from top to bottom may not only the product of an unfolding of historically based trauma; but the radically new injection of ‘always on’ communicative devices into pockets of people in an already advanced consumer capitalist culture, is seemingly dredging all traumas up to the surface at a pace our current institutions cannot reckon with.

Interventive measures, of sorts, seemed necessary…

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The Retro Bar at the End of the Universe somehow found its body and organs from a rabble of preoccupations, and blunt utopian tools, within accommodating, non-judgemental conversational space.

As much as we are knee-deep in critical understanding of our present moment we are not at home in the arena of full-frontal critique. As much as we more or less agree that the current arrangement of social and political order is obsolete, we are never in unison over a singular remedy. Indeed, since the European Referendum here in the UK, I (John Ledger) as an acting member have felt internally split; not between the clumsy binaries of Remain and Leave, but in how to actively deconstructive the messy torn fabric of a contemporary place like the United Kingdom, with least possible pain.

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And so in June of this year, we embarked on The General Election of Governing Emotions (‘#GE18’). A ‘what if’ moment that tried to be somewhere between fictional and actual, #GE18 at its core was trying to circumvent the deep divisions fragmenting our shared experiences of the contemporary, in order to ask people how they would ideally like to feel and how they would like their society to feel. The chosen method of voting tried to take this beyond the realm of mere day dreams and place it in the environment of an actual voting station, which, for the majority of us, the only place we get to participate (even if tentatively) in democracy.

The Public Secret, Whitehall Road Industrial Estate, Leeds

The Public Secret, as a concept for a project, largely took its que from The Institute For Precarious Consciousness Raising’s article on the Plan C website. From here we understand the public secret to be “something that everyone knows, but nobody admits, or talks about”. And “as long as the dominant affect is a public secret, it remains effective, and strategies against it will not emerge”. And for as long as strategies do not emerge “public secrets are typically personalised”, meaning people feel personal shame and guilt for problems that they didn’t cause; big, external problems are internalized.

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An example of The Public Secret Experiment, an ongoing project set up by collective member Rebekah Whitlam asking for our ’21st century confessions’

In keeping with #GE18, it was important that our project aimed to involve others as much as possible. Shared doubt about whether anybody would attend an event 3 miles south-west of central Leeds in the unfashionable West Yorkshire hinterlands, would have to be countered by a wagering on unexpected outcomes for the project’s intent to survive.

The distance, and the ways for engaging people were points of intense debate. Many of us work in galleries with much focus on family participation. So we already had ample experience and opinions on the difficulty of up-keeping a fine line between allowing people to participate in something meaningful and turning a space designed for critical thought into an extended playground (and, cuttingly, an extension of weekend retail therapy).

How could we make a space that was both welcoming to all, but opens us to have discussions about politics and ethics in such a divisive and fraught period?

Collective member Ben Parker, with one eye on retraining as a counsellor, suggested that one of the main problems we have with listening and understanding in our culture is due to the centrality of Ego in much conversation as opposed to Empathy. My corresponding thoughts were that Ego in conversation is largely an effect of the scarcity model, which certainly doesn’t just exist as the mediator of trade, but stretches into heart of every aspect of our lives; we don’t compete in either the job market or opinionated debate out of playfulness and sheer joy, we compete because  intrinsically we understand that how we fare impacts on our social standing, which in turn impacts on our life standing/life chances.

We surmised that what is often so exhausting about customer-facing job roles is that this role places the employer in perpetual empath-mode to face the tapestry of frustrations and nuances of a public free to act out their perpetual states of mild-status panic. Most people don’t naturally gravitate towards positions of ego-dominance, but it seems that certain social conditions make it more important for many more to adopt these social strategies.

Social Scientists Kate Pickett and Richard Wilkinson’s extensive research shows that any increase in “inequality [in modern industrialised societies] creates greater social competition and divisions, which in turn foster increased social anxiety and higher stress, and thus greater incidence of mental illness, dissatisfaction and resentment. It seems we have come right back to the notion of the public secret. Ben saw the role of these ‘designated empaths’ as empathic middlemen not for the sake of the reputation of some public institution, but as employers of counselling into the public space, mitigating the moments when our opinions and sense of selves merged to form a social body armour.

Although this role wasn’t an idea all of us liked, we saw it as a necessary tactic to employ if we were to earnestly take on the contradictions of the public secret.

For the foyer of this the large warehouse I created a large map, based on a series of walks taken in and around this area of Leeds in July. Over the course of this decade I have developed ways of mapping emotional responses to being in towns, cities and their unwelcoming car-orientated hinterlands. However, with this map I tried to cut out the middleman of social and moral filtering, and write exactly what I was feeling, no matter how pathetic or inappropriate it sounded when reading it back. Ben said this emotion map was almost like a strategy map for the larger works in the main space; opening it to a safe space beyond the moral and social filters that construct the generalised public secrets.

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Templates, Sam Read

Collective members Sam Read and Rebekah Whitlam took the initiative to build new work for the central space, which was a big challenge judging on the size of the space, and the fact that it would easily swallow what seemed to be ample material supplies. However, what would be produced would be brought into correspondence through a sound installation made by Ben, which would intermittently utter some of the public secrets we had been acquiring through The Public Secret Experiment, an ongoing online project set up by Rebekah asking for our ’21st century confessions’. Ben’s work would sit in between a sporadic growth of small building settlements going around the space.

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Sam Read describes these settlements as “an assemblage of models made from paper and wire that resemble simple dwellings. Together these units make a town of indeterminate scale. Amongst the architectural models are soft forms reminiscent of turds which occasionally morph into beer mugs, ashtrays and other material culture associated with leisure and respite”.

Concentrated more in the centre of the space, and following on from “Milly-Molly-Mandy gets Loaded and Other Stories’ Rebekah Whitlam’s semi-autobiographical work MILLY-MOLLY-MANDY GETS A ZERO HOUR CONTRACT AT THE PLEASURE PALACE plays on Édouard Manet’s painting ‘The Bar at the Folies-Bergere’, 1882.”

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“…we’re meant to have so much fun but it never is what it promises to be. These new palaces of pleasure, they promise something that actually dissolves in your hand.”
– Griselda Pollock, 2018.

“Whilst Manet’s waitress looks out despondently over the bar and into 19th century middle-class leisure society, this satirical twist explores the links between 21st century city development; ‘sugar-rush’ entertainment; temporary living; commodified self-worth; and an anxiety that scaffolds it all.

The work features ephemera from over the past 20 years including FHM magazines from the 00’s and products from a recent closing down sale at Claire’s Accessories.

The aim of this work is not to criticise pleasure, but a comment on how our need for pleasure is used to manipulate our inner self, our collective psyche, and our spending habits.

It is a call for more.”

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There still remained intense discussion about the role of participation within the exhibition, and whether or not we were asking too much of visitors by structuring the show to be wholly participatory.

However, we agreed that if was to be about the Public Secret a participatory bent was mandatory.

Rebekah invited visitors to make clay and felt models of who they think would work on a zero hour contract in the ‘pleasure palace’.

In recent years our pleasure palaces of retail therapy and high culture have been exposed for their poor treatment of the staff who run the places on a day-to-day basis. However, despite this being a common experience, it remains a public secret due to zero hour jobs and minimum wage employment still being largely treat as the moral failings of people who simply aren’t pro-active and aspirational enough. As privately we admit our frailties, anxieties, and wish we could be free from the psychological rat race, our public expressions have never been so status obsessed. With the increase in zero hour work and underemployment so too has there been an increase in status cars, body-perfection obsession and niche/exclusive venues.  Like a maddening virus, increases in social status anxiety push us further towards superficial that intensifies the status anxiety cycle.

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Sam’s settlements largely took on the form of tower blocks. But we had made some more conventional dwelling-shaped templates, which were for the visitors to place where they wanted into the landscape.

We invited visitors to respond to 2 questions…

On the bottom of the templates we ask them to write about which emotions and/or parts of their personalities they tend to hide from society. Whilst on the roofs of the templates we asked them to write about what they have realised about society that they would want to tell others about.

Hanging on the back wall of the exhibition were the ‘results’ from The General Election of Governing Emotions (#GE18).

Every voter in #GE18 had 3 votes rather than one choice from 3 competing parties.

Vote 1 (pink) allowed people to think about their recurrent emotions, and consequential behavioural patterns, in which they would leave behind, if they had the choice. Vote 2, (green, but looks blue due to poor lighting!!!) asked people how they would potentially like to feel on a day-to-day basis, whilst vote 3 (yellow) asked us how we would like society to feel and behave like on a daily basis.

The results of this ‘election’ are displayed on 3 sheets. You can see faint traces of flags of identities that have been party to intensely divisive feelings, especially in recent years.

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In attempting to bridge any divisions a makeshift bar was mandatory. Due to the fact that we could only physically salvage the bare minimum (largely palettes from the industrial estate) the bar could only merely parody the aforementioned niche/exclusive venues, whose own parodies are clinical and never quite as haphazard as they seem. Our bar, however, so was haphazard it fittingly looked as much like a frontier boundary.

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Located at the bar, The Public Secret Experiment’s 21st century confessions shared beer mats with more conventional ‘self-help’ memes. There is sometimes a fine line between public secret ‘memes’ and self-help ones, the latter usually pinpointed due to their lazy reliance on the neoliberal vernacular of the self-made ‘hero’.

But this fine-line comparison wasn’t a case of point-proving. It was an exercise in trying to see if there is a lie in dominant life-style model of contemporary times, not for sake of being right, but for the sake of wondering how the challenge of the individual finding inner peace and self-worth can be part of a general and collective healing process; because the 2 are so interconnected, the former has been so successfully appropriated by the self-improving entrepreneurial speak of neoliberalism.

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But this itself opens up a dilemma the collective – as motley in its collective hearts and minds as it is – needs to interrogate. Do projects that try to create safe spaces to understand everybody’s story risk the fate of the person who drinks so much water they are destroyed due to waterlogged blood? Or likewise if we define a stance for ourselves do we run the risk of falling into an echo chamber where we never communicate with anybody we have fundamental disagreements with?

They sound like extremes, but in our ultra divided times, where people will rarely encounter those holding vastly different beliefs, it can suddenly become very hard NOT TO become classified a Lefty, and extremist, and Brexiteer, a metropolitan elitist, a hard-line feminist, a misogynist, etc etc.

Surely we should refuse to give up on the faint Utopian lining that appears within the fabric current crisis of Mental Health. How do you reverse trauma? How do you reverse misgivings, feuds, and toxic senses of entitlement? There is one certain answer to this: NOT by giving up on our fellow human.

The Public Secret exhibition was installed by collective members John Wright, Benjamin Parker, Rebekah Whitlam and Sam Read, with valuable conceptual input from Liam McCabe, and David Hooppell, who are also involved in the collective.

Dispatches on the Public Secret

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My Shadow Dispatches for ‘The Public Secret’

Punch-Drunk Utopianism

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The Public Secret is a project our artist-led collective the Retro Bar at the End of the Universe held, starting Friday 31st August, in a warehouse on the south west side of Leeds.  For this we all contributed a dispatches – which you can find here. This is my long read which I have omitted from the collective’s blog, because of its length and personal detail.

As an artist collective, something binds us. Speaking frankly, I don’t think we even share the exact same ideals, life goals, or approaches to creative practice, or even a shared understanding of what creative practice means. We really are a motley crew. But this motley crew have converged through finding one another’s company comfortable enough to have honest reflections on what seems to be the grand unspeakable.

Basically, what has brought us together is the public secret: everybody knows this thing we…

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The Public Secret (Dispatches No4)

I struggle to articulate what I mean by the ‘public secret’. Maybe that’s the problem; we all feel this pervasive, intangible ‘thing’ without the vocabulary to point and call it out. What ever we say never seems to be quite right and gets stuck in our throats. We seem to be lost in a state of frustration, confusion, and isolation.

I suppose that’s the main reason for the exhibition and the accompanying Instagram experiment. To emulate a familiar format like social media, or a bar, or a city, but also create a new space within the Neo-liberal framework that allows for honest contemplation and conversations which are met with empathy rather than embarrassment, or derision.

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An anonymous submission for ‘The Public Secret Experiment’ Instagram account.

However, there have been a  few other elements that have run through my mind over the past year whilst ‘The Public Secret’ exhibition, and my work for it, has congealed into a solid mass. I’ll try and run through some of them now.

Commodified Self Worth and Individualised Mental Health

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Passage from ‘Out of the salon: female counter-spaces, anti-colonial struggles and transversal politics’ by sophie schasiepen

The symbiosis of the internal and external; the individual and the community is complex. What I do understand is to have a healthy connection between the two there has to be mutual support and respect. Late-capitalism blocks this communication, leaving us isolated and toxically dependent on the sugar rush of commodity.

Advertising, social media, retail therapy (“retail therapy”!!!) all play on the ‘be a better version of yourself’. The feedback loop for this commercial-self relies heavily on the not-quite-good-enough. For you to buy into it, it must first make you feel shit about yourself.

 

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Advertisement from Nissan. Your basically a loser,that nobody cares about, unless you buy this car.

Self-worth comes from within, but we’re seeking it from false external springs that fail to nourish us internally – physically and mentally. We’re constantly seeking validation by comparing ourselves to others and its making us sick. How have we ended up in a time where we are having to have serious studies into ‘Facebook depression’?

Sadly, I don’t think we have found a sufficient way to talk about all this sincerely enough yet; its either too uncomfortable, or too sickly. We carry on regardless where it is familiar and safe and we can continue with our self-medicated therapy.

Gentrification

Richard Ford is a guy who came up with a way of predicting up-and-coming areas by looking at a regions current demographic – the Bohemian index and the Gay index. Two indicators that a geographic area will culturally bloom and become very lucrative to home owners,  business owners, and  property developers (think Berlin and San Francisco).

Post-industrial cities seem to becoming more notorious for cheap property development and depleting local authority budgets – making them more susceptible to gentrification.

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Billboards for redevelopment in Sheffield. The shapes, colours, and wording are very childlike and links self-worth to commerce. A lego trail, ‘Bricktopolis’, was used as a promotional campaign aimed at children and families.

Social and affordable housing are at crisis point, due to a mix of government legislation, recession, and some other stuff I don’t understand. Local budgets are desperately low, leaving authorities in a position where they have to sell assets (or in some cases, like with art galleries, rent buildings for free). With that, private ownership – typically in the shape of landlords – goes up, along with the price of rent.

Another effect from central government’s hands off approach is the prestige projects. In an effort to attract business and leasure tourism, local governments come up with multi-million projects in a bid to make some money (they tend to flop spectacularly, leaving the region with a bigger deficit, and a weirdly designed building they have to frantically think up a purpose for. I’m looking at you Sheffield Hallam University Union Bar née National Museum of Popular Music).  Also, these projects get passed with very little input from the community. Planning permission favors profit over social contribution.

Whether public or private, developments offer Utopian-like dreams – green space, blue skies, culture, fresh bread, dream jobs, unadulterated ecstasy. But its social mores are cut loose when economic value overrules social worth. It is not accessible for everyone (I’ve reminded myself of ‘city ambassadors’ shooing the homeless out of sight every time I go to The Winter Garden in Sheffield). The original occupants tend to be pushed out of the area due to raising living cost. The only jobs available are zero hour, or on a temporary basis only. The cost of living inevitably further isolates the already marginalised. And we’re back to the commodified self-worth; we are what we get paid to do.

 

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Billboard for a new development on Whitehall Road, Leeds. Again linking purpose with work.

Mark Fisher and Acid Communism

Mark Fisher weaves through almost all of the work and discussions at the Retro Bar. Acid Communism particularly strikes in us some kind of hope for the future of the people on this planet (whatever the timescale). It is an idea Fisher, sadly, never fully completed. I can only offer my interpretation. Put briefly, acid communism is the reconsiderations of 60s counter culture; the raising of the collective conciousness, and sharing of experience as a form of chipping away at the capitalist monolith. I wouldn’t necessarily say this means we all live in the woods, tripping on acid, whilst tattooing inspirational quotes to our eyelids – however appealing that may be to some. I think it just means care more. Listen. Think. Empathise. I think Fisher is so popular with us because he spoke in a way that was sincere and didn’t make you cringe.

Individual Blame and Corporate Responsibility

I also think this isn’t just applicable to the introspective individual, but applies more and more to corporate responsibility. I see so much blame, anxiety, guilt and shame being put onto individuals to take responsibility for their own actions – and yeah, sure. But compare this to the actions and the impact corporate irresponsibility has to our planet and our communities. I’m sure you recycle, and I’m sure there are times when you cant be bothered. But do you incinerate millions of pounds worth of surplus clothing to keep your brand exclusive? My point being, the sum of our individual actions can sometimes feel measly compared to the damage being done by multinational businesses – its exhausting and you shouldn’t feel guilty for just chucking everything in your black bin. But please don’t give up.

Shared experience and Intellectual Property.

I’ll tell you what I love (and i sincerely mean love) about being a member of the Retro Bar and why I want to share the work we do with you.

The way in which we work, from initial meetings to actually seeing the ideas come to fruition is based on open conversation, shared ideas, and mutual support. I love when someone suggests an idea – even if its for their individual practice –  and we all get hyper about it. I feel like I have found a place of nourishment and inspiration, of purpose, and hope for the future.

And I wish a happy and healthy future for all DIY spaces and artist led groups. We dwell in temporary and precarious places, which can be a breeding ground for competition. But, can also be a place of pulling resources and creating stronger networks of collective care.

Thanks for listening.

Bek.

More.

I’m by no means as well read as the other guys. My ideas are shaped by snippets of this and that roughly selotaped together with badly placed punctuation. But I’ll include some of my sources below if you want to check anything out.

As well as the above ideas here are some other sources of inspiration to me that have contributed to the work I have made for the ‘Public Secret’ Exhibition.

  • GRISELDA POLLOCK on Edouard Manet’s, The Bar at the Foiles Bergere, 1882. I saw this video quite late into the process, but I found Griselda (and Manet) articulated something I was trying to say far better than I ever will and she has helped me to frame my work.
  • EDWARD PAOLOZZI – I really like this artist and his critical irony through collages of mainstream media, imagined cityscapes, and bright colours.

It's a Psychological Fact Pleasure Helps your Disposition 1948 by Sir Eduardo Paolozzi 1924-2005

Its a Psychological Fact Pleasure Helps Your Disposition, 1948

Bash 1971 by Sir Eduardo Paolozzi 1924-2005

Bash, 1971

 

The Public Secret (Dispatches NO3)

”As exchange-values, all commodities are merely definite quantities of congealed labour-time” – Karl Marx, Das Kapital, 1867.

The commodification of every aspect within society is an inevitable progression of a capitalist based economy. Marx expressed the potential contraction at the heart of this mode of production. The surplus-value, which is unpaid labour through production of commodities, is taken as profit by those with the means of production. These ‘means’ (which hold power) have been enshrined within society through centuries of class development and exploitation. We are beginning to truly see these contradictions played out on a global scale because the working classes (which includes a great generalisation of the stratifications in different societies) cannot afford to purchase the goods and services which they produce. As Marx pointed out this leads to constant boom and bust. Hence, the boom in the 90s perpetrated by de-regulating markets, improving production techniques to decrease the labour required to create products; and then the subsequent global financial crash in 2007-08 perpetrated by de-regulated markets selling to people who could not afford to buy services and commodities.

What does this abstract economics have to do with The Public Secret project?

The short answer is everything! The human concept of ‘value’ is at stake within this discursive web. What value do we place in relation to art? There is a long history attached to this question from Aristotle to Hegel and Svetlana Alpers to Claire Bishop the ‘worth’ of art, and subsequently its position within the ecology of culture and society, has been debated for millennia. This is a complex question as there is an obvious set of economic values including exchange-value and labour-wage value in the art market. These values are monetary and do not necessarily correlate with use-value or moral-value i.e. ethics. This distinction is important and the blurring of such boundaries within the collective consciousness of contemporary society is central to a gross public secret. Let me explain. The semiotics at play within the current form of neo-liberal capitalism, which is packaged in a gloriously glossy cellophane and sold to us on a daily basis, are neurotic.

My reasoning for the above statement is complex, and needs further discussion and debate beyond this text, and indeed plays out in the collective space created by the Retro Bar at the End of the Universe. I would like to add a pre-requisite at this stage, that, just as Marx and others have pointed out the processes at work within capitalist accumulation are not inherently good or bad. It is an empirical system, the problem occurs with its distribution, and the hierarchical systems of deep exploitation which has only accelerated with the neo-liberal ‘branding’ of capitalism on a global scale. It is to such an effect that a form of neurosis has occurred in which ‘we’ as a society attribute the word, ‘value’ almost exclusively to signify ‘monetary’ value. Indeed our motivations are entirely governed by such significations. Whether we admit to it or not, we are constantly comparing and weighing up the monetary value of commodities. This plays out in its most distilled form on the international stock exchange, built on risk -reward scarcity. It plays out on social media, particularly through Instagram, and the rising cult of the ‘celebrity life’ story, which is rewarded with increasing monetary value. The image = value = money.

Historically, there is a discourse within art which has opposed the capitalist system. The development of Conceptual art of the 60s and 70s, which aimed to de-materialise the art object not only in an attempt to deconstruct the forces of the art market, but also to finally liberate art from its own materiality. However, the forces of capital and a market driven art world managed to circumvent such a critique and re-appropriate its resistance into the commodification of ‘ideas’. The strangest, most outrageous coupled with the most banal was the name of the game. Figures such as: Sol Lewitt, Joseph Kosuth and Marina Abramovic became prominent within the art world and beyond. It is precisely this phenomena or the ‘cult of the artist as celebrity’ which the market could sell. It did not matter how problematic the theme of the artwork was or how ‘de-materialised’ the object; the art world was dealing on reputation and on endless novelty. Of course, many artists before and since have played on these notions of the art market including, Warhol, Hirst and Duchamp to name a few. Their practice was to recognise this problematic at the centre of the art world and not to resist openly but dance on the razors edge between appropriation and co-option.

There is course a metaphysical trace in play to this narrative. Philosopher Jacques Derrida articulated this in Structure, Sign and Play (1966). Derrida suggested that, ‘the whole history of the concept of structure, before the rupture I spoke of, must be thought of as a series of substitutions of centre for centre, as a linked chain of determinations of the centre. Successively, and in a regulated fashion, the centre receives different forms or names. The history of metaphysics, like the history of the West, is the history of these metaphors and metonymies’. Derrida is referring to a history in which societies have always assigned an abstract anchor or centre for belief such as: Magic, God, Man, Science etc. in which to build their entire society. Derrida suggested that we are limited by the language of the past, of our ancestors, as we must constantly destroy and remake their systems again and again in different ways in order to create ‘new’ structures. However, the ‘event’ which Derrida is referring to is when we began to question the centre and the structure revealed itself to no longer be a structure but a system of substitutions of signs. This is particularly important to our current question of the public secret, as a growing secularity within societies across the world is resulting in religion being expelled from the centre of belief. It is for this reason that many people are simply motivated by the prospect of gaining more capital, more social power bought through the accumulation of wealth. As they are no longer subjected to the moral codes imposed by religion. This of course, is not the entire picture but nevertheless the importance of gaining wealth as a motivational factor is a vital discourse.

It is paramount that as individuals within a society we have a centre of belief, even if we know rationally it is not a ‘real structure’. This is essentially an ideology. Our collective wellbeing and mental health relies upon it, as the complete ‘free-play’ of significations, which Derrida suggested is taking place, implies possible infinities. As humans we cannot greatly conceptualise infinities, we almost gravitate to forms of structure and limitations with the goal of proposing forms of order. It is this fundamental pattern making, that is both socially and culturally ingrained within metaphysics. It is also why we accept models such as capitalism and socialism, as they impose some order which we can break and remodel to some extent without giving in to complete anarchy. Indeed the word ‘society’ implies a meta-structure to our human relations.

What is left?

In an episteme, in which time is out of joint and the past is constantly returning in ghostly and spectral forms. This state of play is both created and reinforced by the ‘consciousness’ streamed directly into our hand-held devices. We are always on and always sharing information in a never before globally connected way. Everything seems to exist simultaneously in this non- stop, neoliberal nightmare of a capitalist realism. However, just for a second, if we follow this logic then perhaps the ‘thing’, which can aid in managing this situation is already available. The key is recognising such a moment when it smacks you on the forehead.

For me, it is the collective- or, a notion of the collective. This notion of collectivism, what Gregory Sholette and Blake Stimson call ‘the new collectivism’, resists the full blown authoritarian form of state based collectivism implemented in the last century to devastating effect in both the then USSR and in Hitler’s Germany. This new collectivism, or ‘isms’, is your local ‘hacktivist’, it is your full blown terror cell and simultaneously your ‘freedom movement’- as we have witnessed across the Arab world. It forms micro community land trusts, which are fighting corporate and governmental ‘gentrification’. It also, coalesces to form activist groups, artist-led collectives, self-help groups, flash mobs and plugs the gaps in diminished welfare through charities and ‘junkyard’ initiatives. This new collectivism doesn’t identify with Marxism, Communism or Leninism. It is a product of global neoliberal capitalism, but at the same time it resists through a smorgasbord of the new and old forms of autonomy. These forms of collective activity are re-modelling a failing system- the distribution of power is beginning to see nano-shifts in its organisation. We are witnessing this shift in power through political events such as: Brexit, Trump’s America and Catalonia’s struggle for independence etc. These re-alignments appear random precisely because collective activity doesn’t have a one specific identifiable ideological basis. Each collective is different, however, they all share a trace. This trace is political, they are endeavouring to collectively change some element of the world we live in. This change is always ideological on some level, and they do it together, as a tribe. However, different they are as individuals, the collective can act as a form of catharsis against an increasingly individualised and isolationist structure of the neoliberal.

Collectivism may not be ‘the’ answer to the world’s problems, but it sure is a start. Personally, I find that the Retro Bar at the End of the Universe is increasingly becoming a support group constructed through mutual respect and collective endeavour to actively tackle social and political problems in society. It is a place, both physically and virtually, where I feel comfortable testing ideas and discussing issues. I feel my mental health is better for being a member, because I feel I belong to something greater than myself. Friendship and solidarity are loaded terms, but they belong in the Retro Bar. What is most rewarding within the Retro Bar is the unspoken role in which each of its members have undertaken. Everyone has organically taken up certain responsibilities. On a personal level, I have developed an exclusively curatorial role within the collective as I feel that is most appropriate both for the collective and also my individual practice.

Finally, the public secret is one of those oxymoron’s. It might even be the ultimate example of an oxymoron. It is through its contradictory nature that we might begin to address our collective failings and eradicate our toxic prejudices. Thus the value of art and the value of collective forms of art go beyond the fiscal. They are searching for the ethical, for a new set of parameters in which to create equilibrium. This is an unfinished project and it has a long way to go! However, the journey has begun.

John Wright

The Public Secret (Dispatches no2)

It’s hard to say this without sounding whingey, physical toil has been a common experience in this installation. Self-manufacturing my materials by shredding piles of paper “secrets” and pulping them by hand into paper and clay has been exhausting, time consuming, an act of minor industry. The same can be said for printing, cutting and assembling the paper “houses” to create a vacant cityscape. Given the setting: a warehouse on an estate at the fringes of Leeds, one of the great former industrial cities of the North, this feels totally appropriate.

Work has been on my mind; the unrecognised time spent in art production and the ambivalent “value” of artwork made with hours of toil from cheap materials, which will be seen by few and will never see the inside of a respectable white cube.

Repeated failure (shall I say, unexpected outcomes?) has haunted this production as ideas fail to take form so must radically adjust day-to-day. This is, I remind myself, necessary and the reason why art is work.

Accepting unexpected outcomes and embracing the non-value of these objects has freed me somewhat and turned the repetitive slog of (unwaged) labour back into play. This has made it possible to celebrate the grossness of this material experience (by “gross” I mean both: the grotesque associations with effluvium and the tactile qualities of material plasticity).

In other words my pulp totems look like nothing so much as grey-white shit. Decimated dog shit, like you used to see in parks and beer gardens.

Using my body’s labour to process this waste into material is what led me to think about ideas surrounding consumption, digestion, excreta.

More on the grotesque element later.

Like many “flexible” creative sector employees and self-employed artists, I have a complicated relationship with leisure. I am always working and never working, the threshold between work and downtime is very blurry indeed. This is a common source of anxiety for artists but increasingly with the casualisation of labour, it’s seeping into industries also (at least, for those like us on low pay). By extension, the relationship with leisure and self-medicating habits like smoking and drinking becomes complicated also. I have a reliance on tobacco, alcohol and caffeine which isn’t healthy but isn’t rare either. This common experience is represented in the turd-like totems which resemble mugs, beer glasses and ashtrays. A desire to connect with others through pleasurable, sensory experience and temporarily escape capitalist drudgery is what Mark Fisher called “Acid Communism”, after the drug-fuelled counter cultures of the 60s and 70s. My public secret is that whether we realise it or not, we are all looking for a form of (small “c”) communist experience when we raise a glass with strangers or share a cigarette break. These are temporary, microscopic utopias.

Soft beer glasses and ashtrays squat alongside the turds. The vessels represent a material culture I associate with pleasurable escape.

I’m not brazen enough to call my art utopian. It contains no specific political or historical points of reference. The primary experience of utopia is never escapism or nostalgia but longing. In this regard there is utopian sentiment, at least. Excited as I am by utopian theory, this is a topic that has been put through the wringer enough in recent art writing. So as not to bore I will be specific and brief.

“Utopia is not already an alternative, just as Carnival is not an alternative to work. But like many carnivals and certain so-called riots, it screams of the need for a total alternative and more dangerously still, it reveals the latency of the alternative in elements of present social life. The ‘social safety valve’ function of carnivals, utopias and riots is well known, but the effort and money spent regulating, recuperating or surpressing them betrays the authorities’ fear that too much steam might be let off, leaving a dangerous void or worse, the idea of an engine. That threat lies in a refinement of the question: no longer simply ‘why must Carnival end, why doesn’t all life look like this?’, but: “what latent power, which in Carnival/utopia we PROVE is real, is so unbearable to see shut down? And how shall we perpetuate it: how could it be switched back on and not cut off again?”

-Matthew Hyland on the utopian impulse in Carnival and riot, from Self-Insufficiency

The novels of Francois Rabellais are important expressions of the optimism, utopian longing and the most radical desires of the people. At the time of their writing any form of laughter or free spirit was not condonable by church or state and common humour was pushed out of official spheres. Therefore it coalesced in self-organised events at the market and peasant celebrations, motivated by consumption, production and community participation.

Under the theocratic rule of the Middle Ages, pleasure-seeking and jubilatiom was viewed as a dissident act unless performed in a sanctioned Festival settings.

(Above: installation shot from “Colony” at Hutt Collective)

As such, comical folk culture of the middle ages had its own self-governing territory and time, creating a second world within the official feudal order where behaviour became untethered from the confines of etiquette and where profanities and blasphemies were temporarily permissable. Festivals and the marketplaces were places of frank speech, this informality eventually extended to religious parodies in the form of passion plays. Although mocking of sacred text was not approved by most clergy it was tolerated when deemed to be instructive. This was the moral backdrop to which Rabelais wrote his five books about the giants Gargantua and Pantagruel in the early to mid 16th century. They were not considered to be preventative fables, least of all by his censors. Brant’s Ship of Fools or Lydgate’s Order of Fools are acceptable examples of Grobian cautionary tales (mockeries of the peasant caste and the mad but still significant works of early secular literature) but despite Johann Fischart’s assertion, Rabellasian fiction is actually the opposite, the singlemost comical and comprehensive celebration of the grotesque and enjoyed huge popularity with all classes.

The natural territory of the Grotesque is parody. Parody is more powerful than satire as it is an all-inclusive, all-mocking form of laughter. Satire is exclusive bourgeois rhetoric whereas parody is a social-leveller.

The culture of marketplace and carnival was impressed upon Rabellais in Fontenay le Comte where he spent his youth in a the Cistercian Abbey. A famous carnival came to Fontenay three times a year along with itinerant salesman from neigbouring nations. We know that carnivals such as this were important sites of bookselling both for “serious” publishers and hawkers of chapbooks. This concentrated availability of literature both “high” and “low” attracted students and clergy who contributed to the folk culture of carnival by (often anonymously) writing their own recreational literature. In this way, carnival became a place in which the normally stratified social classes intermingled along with foreigners and nomads in a progressive melting pot for a limited time in the yearly calendar.

This is the essence of Grotesque Realism which Mikhail Bakhtin attributes to the transformative humour of Rabelais and the anti-feudal, popular truths of carnival. To a lesser degree he applies Grotesque Realism to Cervantes and Shakespeare due to their explorations of class and madness which are secondary themes in the genre.

Wolfgang Kayser describes the grotesque as “the estranged world” and an expression of the the id essential to “invoke and subdue the demonic aspect”. To lampoon the source of fears we overcome it, even temporarily. The essential nature of laughter underlines the power of the clown and fool in grotesque culture. In carnival, the fool is an inversion of the king, madness is a gleeful parody of reason, this explains the utopian importance of The Feast of Fools and the Feast of The Ass, which are comic counters to Lent and Corpus Christi. At these specific festivals, commoners are awarded titles for a day including King of Fools, Lord of Misrule and Abbot of Unreason. In this way, jocularity and the mimicry of madness (or at least, “foolery” which in the medieval context is madness interfacing with hierarchy) muddles class and provides a pretext for liquidating the staid social order. Remember- “every joke is a tiny revolution”.

Foucault writes on the disarming power of the madman’s laughter, in a more pessimistic manner: “When the madman laughs, he already laughs with the mask of death, the lunatic, anticipating the macarbre, has disarmed it.”

I mention this because mocking death/other existential anxieties and suspension of official “reason” is vital to most of what I’ve covered in this blog and vital to what inspires me. The next voyage of research will surely have to be an exploration of the grotesque jubilence of the aforementioned counter cultures of the late 20th century (of which Foucault was an active participant to put it mildly). One of the mainsprings of which has to be Crowley, whose Church of Thelema is rooted in Rabelais’ Gargantua and Pantagruel.

The purpose this blog was to explain the carnivalesque appearance in my sculpture and provide a reason for the darker contents and also to provide a sort of roadmap.

My art ia not naturally pessimistic, I’m not depicting a dystopia either. I am attempting to reconcile Fisher’s Acid Communism with Grotesque Realism, using materials and symbols of the everyday, rather than relying on visual references to medieval Europe or Stalinist Russia or 70s psychedelia. I’m coming to terms with the fact that whatever I eventually produce may look unfinished or mid-tranformation but that’s what grotesque IS.

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The Public Secret (Dispatches no1)

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“We don’t need another Hiroshima, because it is happening in our heads”

I wrote the above sentence for the purpose of describing the ‘dark optimism’ behind my last major drawing projects. I feel I need to explain, in detail, what I mean, because I feel it is a good place to begin my understanding of the projects based on shared experiences and radical care that The Retro Bar at the End of the Universe is currently undertaking under the title of ‘The Public Secret’.

When I can’t help expressing my distress about my experience of this world, a few people have pulled me up and pointed me towards the work of the scientist/author Steven Pinker: his works on how our world is on average less violent and more safe than it has ever been. Begrudgingly accepting of this truth (although I’ve never read his book), I had to figure out why I remain loyal to my convictions.

Today, with the resurgence of the politics of rage (symbolised by one person’s name already dominating Google searches enough to be spared from this blog), it is beyond doubt that something is disturbing our experience of contemporary life. I instinctively disagree with the idea that people are never satisfied and always have to be angry about something; I argue we are in distress and that this distress is contextual, not time-immemorial.

There may be less war, death, etc, overall (as if the fact there hasn’t been killing grounds on the scale on the first half of the 20th century makes today’s blood shed fine and dandy), but I reject this opinion as a conversation closer. Additionally, we needn’t even have go into the vast studies of the social ills brought about by the slow return to vast inequalities within countries in the global North (vitally collated by Richard Wilkinson and Kate Pickett,) to get to the crux of my very own wager on a shared experience and why I feel it is so important.

An article from the Irish Times by Fintan O’Toole has been shared around social media of late. I can’t disagree with his argument that Trump’s [sorry, I did say I wouldn’t feed that word into the algorithm belly] actions, and non-actions are trial runs for fascism. This scenario is certainly looking likely. We tend to think of algorithms in regards to echo chambers of consumer tastes, without realising that consumer taste itself has long been allowed to creep into all aspects of life, averting us from anything we may or may not already like. The hyperconnected age as we know it has allowed the forcefulness of consumer choice to be in every moment of our lives (it was Mark Fisher in Capitalist Realism who said when we sleep we dream of capital), to feed us what we already know and feel comfortable with, from conversations, beliefs and adverts themselves, giving us meme-fixes in an (unsurprisingly) increasingly sad and lonely world. If it has engendered echo chambers, then intolerance and fascistic tendencies to shut down different views are, and are proving to be, the natural next step.

I felt so down after reading the article, and knew my hard-faced self-defensiveness to its likelihood would only lead to feeling tired, and thus wanting to be drunk, as I always do when I can’t affix a positive to anything tangible. Yet I have a riposte; not to O’Toole himself, but to the sense of doom that this likely scenario instils. I want to return to the above words….

‘…The Hyperconnected age as we know it…’

For this is speculatively an oxymoron, if you stick with what I’m about to suggest.

We have entered an age of information abundance through a consumer capitalist reality; despite the idealism and hopes of 21st century progress placed on this certain abundance in the final moments of the 20th century (which still haunt us), we entered the age of info-everything from within a culture dominated by the mechanisms of consumer capitalism, which are designed to maintain a reproduction of feelings of lack, inadequacy, and a unending desire to be more than what we already are. But the ‘fear of missing out’ (fomo) that has exploded with the onset of communication technology doesn’t just inform our so-called dumb and stupid needs, but also out needs to know more, to be informed, to know ‘the truth’.

All of this has propelled an entire civilisation into an ‘always on’ state of over-exposure to the ills of all-time.  In an age that we thought would be so beautiful, the hell of yesteryear manifests itself in a psychic, private trauma (“Hiroshima reoccurs in a fractalized and mental form”). The traumas and injustices of all time have all risen to the surface all at once, and no cognitive walls or levees can fully keep them all out of sight.

In cultural ecologist Joe Brewer’s viral 2016 article ‘the pain you feel is capitalism dying’ he shed light on the very public secret where the political compromises that once made capitalist society bearable for a big enough number of people still assert themselves, despite that lived experience having broken down for the vast majority. Because this experience remains a public secret it is experienced as personal failure, a daily shame millions carry around with them, and this is perhaps most painfully felt in the countries where standards of living have either stagnated or fallen over the period we most commonly know as neoliberalism (but, what I prefer to call ‘endgame capitalism’).

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The User/Addicts at the End of the Universe?

I believe the persistence of the unbearable is maintained due to its addictiveness. And one essential ingredient of the public secret of contemporary life is that most of us, not just the ‘spice’ users coiled up in city doorsteps, are engaging with life as users/addicts. This engagement with contemporary technology is a result of the continuation of consumer (‘fomo’) culture into an age where there are no gaps, no room for continuity. With continuity comes dream/desire-space; with fragmentation comes the pursuit of fixes, scores, hits. But because the addictions reproduce this fragmented life texture, it is very hard to imagine a way out.

Yet, again, it is also seen as a weakness to admit what all this does to our memory. In Mark Fisher’s Ghosts of My Life he says “the past keeps returning because we can’t remember the present”. Yet I have often been scoffed at because I can’t recall contemporary culture (whatever that is), and reference a period when my experience of life didn’t feel so fragmented. Amnesia for the present is very much an aspect of our contemporary public secrets.

I visualise the present moment as one of being crushed into a corner between the best and worst possible worlds humanity will have ever known, with our immediate reaction to this pain being to side with the worst option. We know so much, too much arguably, that it seems so logical to implement all this knowledge to make life more sustainable, fair and healthy for the majority. However, the deadlock, the locked horns, is generating an intolerable heat that is producing insane geopolitical situations and insane levels of internalised violence. Within this context, independent news sources can continue to expose the flaws and injustices of power; activists on and offline can continue to stand up to the demagogues, and preachers of hate, but they may well just be fuelling the fire out of which these figures sprung …and believe me, I say this with trepidation, and with full respect to those who do engage in the aforementioned activities…

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…After all, surely most of us would want to see a world where there is less suffering and misery…?

I don’t believe the aspects of today’s public secret that I have mentioned already are its primary features. But I do believe the aforementioned situational assessment I give is a justification to argue that working to create spaces for shared experiences and raising public secrets to the surface may actually be our only chance of collectively surviving the 21st century in any bearable and dignified way.  Because what we have at our finger tips, if only we can properly actualise it, is a new era where we aren’t just ‘aware’ of mental health, but it becomes the foundation stone for a new age which is built around structures of collective care. A beautiful future.

As a group of artists and thinkers, I feel it is time for us to give up trying to be smart, and think more about being earnest and honest.

I believe this means returning to putting our hearts on the line, being honest about our own hells within a context that doesn’t come across as simply indulgent.

When I’ve put many things onto the internet in the past, without admitting to myself that I was in need of empathic engagement, it is nearly always a regret due to interventive responses always being ego-based; either telling me I need to sort myself out, or just being angry with me.

It’s hard to find a way of talking about your own weaknesses in an age of anxious identitarianism, but if I explain that I am doing so from a place of seeing it as a necessary act of honesty for the aim of shared experiences, maybe I can be spared the aggro of unwanted respomses.

I can only reach out on the half chance that as I am finding it increasingly difficult to maintain a beneficiary mental state on a daily basis, then so too are many, or not most, others.

I have to make it explicit that my most honest reasons as to why I can’t, not only find well-being, but can’t find a self I can live with, are words expressed in the hope that others feels the same, as for that to happen it then becomes ‘political’.

Yet I don’t mean ‘political’ in the sense of one groups’ ability to gain self-determination in the face of another (oppressor) group; I mean a wager on the chances that this ‘political’ issue bleeds right through class, race, gender and geographical boundaries, whilst, still, simultaneously being a product of the reality those boundaries enable the existence of.

For the premise here is that contemporary life, with its assaulting information, competitive individualism, 24/7 security paranoia, and actually-existing climate change (delete, or add, as you see fit) is proving to be toxic to the average psyche.

We can pick and choose, and sift through who is more deserving and undeserving within this global crisis, BUT LOOK: how can anybody argue against a fundamental rupture, or break out of the current situation being the only hope for everyone in long run? I’m not going give time to the pseudo-nihilism of ‘nowt you can do-ism’, because we all use that strategy for defense from time and time, and that is all it should stand for  …..fuck: what I’m trying to say is nobody is a cunt here, unless we’re all cunts and I refuse to take that position, because I believe it is a result of an acceptance of the world existing under a depressive realism.

I believe in symbolic moments, because I believe most people do too (there wouldn’t be so much hope raised around a successful world cup run for our national team if they didn’t). But, in spite of things that should have ushered this in (Brexit, Grenfel, Trump, whatever) we haven’t seen something big enough yet, at least from the position of peace, love and all that hippy shit from the last century, that is, actually, the goal, once we manage to pull away all the dead skin of cynicism from the past few decades.

LONG LIVE ACID COMMUNISM…..And on to the next collective member for dispatches no2!

Can symbolic acts manifest themselves within lived experience?

2018 was the year when I had to ask the question the above title poses…

Neoliberal Me (An Exorcism of) and #GE18 (The General Election of Governing Emotions)

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2008 to 2009 – I learnt a harsh lesson: devoting a year to mapping one’s inner and external fortified walls into one symbolic gesture (one which was nod to Pink Floyd’s concept album The Wall) cannot wish it into a transformative moment.

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Surely only an idiot would expect such a ‘Big Other’ moment transforming their life? Surely only an emotional wreck, somebody who wasn’t thinking ‘rationally’, would expect an higher body to come down, wrest its hand on their head and suck out their demons?

Maybe, but apart from being ideologically-highly strung and being obsessed with the poetry of The Event, am I that different to everybody else? If we were fuelled by rational choices, devoid of the sense of higher powers, good and bad, fine-tuning the grand scheme of things, why did so many people reject the more sensible options offered by the Remainers and Hilary Clinton in those infamous 2016 elections?

Of course we can take the higher ground. Cathartically rage at the bigots and culturally uneducated who fucked it up for everyone else, totally ruining something that just needed ‘tweeking’ here and there… “They aren’t like us…”

But who’s side am I on? My heresy is that I was so so close to voting Leave back in June 2016, and mainly refrained from doing so due to knowing I couldn’t back up my reasons in ‘rational’ debate amongst my more educated friends. Equally, I felt hurt the next day when the supposedly most neutral news broadcaster in the UK presented people from my home town as at fault for the decision to leave the EU; clickbait for the educated to share and condemn these undeserving citizens.

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I knew my reasons for almost voting leave, for wanting to press the ‘do not touch!’ button were deeply emotional. I knew that those feelings, personal to me, were also a justifiable reaction to the experience of the texture of life in this country 16 years into the 21st century. As the country became the most passionately divided and judgemental it had been for a generation, I saw people responding emotionally to their own experiences of the past.

Why am I focussing on this? Because it forced me to revaluate what sort of language my art practice was using. My work had always been explicit in showing my ill ease with life in an advanced capitalist world. But was it the fault of ignorant ( = bad) people for climate change? Were people who voted Tory my sworn enemies? Are the people going crazy on Black Friday personally to blame for the shame upon the human race? Are the people using derogatory terms in passing conversation inherently a set of scumbags?

What I have learned is that calling them so isn’t going to change their ways anyway…

7 years ago I would have rejected such a suggestion…

…but I’ve been pretty lost in those years since any youth-based substitute for confidence kept me airborne. I’ve become more at home sustaining sad-passions, drifting into dead-end pleasure-seeking. Although I’ve maintained a practice that I believe as depicted the experience of the past 10 years pretty fucking well, I’ve also been unable to find any positive to fix my identity on; my pride and self-worth has been non-existent, allowing my work only a reactive, compulsive, and inevitably fatalist response to contemporary lived experience. It became clear that I had no right to judge others on how they should and shouldn’t think and act.

But in 2018 I decided I didn’t want to be this shadow of a human being. Yet I also recognised that my practice could work through this.

Through the violence of language on and offline during the past 2 years I began to see trauma and lived-pain as the main things all the opposing sides had in common; ego’s formed out an entrenched sense of there being a need for self-preservation; hatred formed out of slow and sustained humiliation; nobody free from anxiety or bouts of mental ill-health.

I came up with two project proposals that were fundamentally one of the same: one a symbolic point of closure in my own life, and the other, a wager on the premise that what I was wishing to put a closure upon what was, to a large extent, a shared longing: a wager on the premise that many features of contemporary life pressure us into emotional states and behaviours that feed negative and unhealthy cycles and close down our receptiveness to the possibilities around.

I can roughly describe this as an endeavour to put into practice a recognition that emotional and social/political transformation go hand in hand.

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I gave the introspective side the loaded, yet necessary name ‘Neoliberal Me (An Exorcism of)’. This work borrows from a body of work I have been developing over the past 5 years, in an attempt to but a closure on it – most notably, my work ‘the Mary Celeste Project (The Scene of The Crash), which I completed in 2014 , and ‘Stories From Forgotten Space’, a series of both psychogeographical and hauntological accounts that I made into a book.

The box in the work was ‘symbolically’ buried on the moors above where the work is largely focused (geographically-speaking), with its peaty mud it acquired giving it the look of something exhumed.

If it was a closure on a body of work which I would class as a kind of mourning process, of lost futures, both personal to me and socially felt, and greatly inspired by Mark Fisher’s works on hauntology, then the grossly oversimplified explanation of these recent projects is that were paying respect to the writers/friends who picked up the pieces of defiant optimism in Fisher’s later works before he took his own life; probably best encapsulated in the work on ‘Acid Communism’

But it was a post titled ‘A wager on a Shared Experience’ (since seemingly taken down) by an old friend who knew Fisher that gave punch-drunk emotions to a cause that was neither dogmatic or classifiable, but for something beautiful in the face of the ‘depressive realism’ Fisher critiqued so passionately.

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I was apprehensive, burnt-out by the prospect of engaging in political debates over the Internet, that I wanted to speculate that by and large the majority of us shared a common experience of trauma adjusting to the fabric of contemporary life, that outweighed political standpoints, and that here was the appropriate ground upon which to propose that my wish for a symbolic act of closure on aspects of my life was a shared experience.

This became an event held on June 21st called ‘#GE18, the General Election of Governing Emotions’.

It was premised on the idea that there had been a mental health strike earlier in the year, born from a collective agreement to mentally withdraw from our libidinal economy, because the contemporary conditions were making it all but impossible to maintain good mental health. The ‘what if’ strike was trying to reimagine the theorist Franco Berardi’s jaded belief that ‘depressive withdrawal’ may be the only way to grind the contemporary capitalist system to a halt into a proactive moment of collective consciousness.

#GE18 was motivated by a wish to build a participatory practice that makes political conversations seem like they aren’t political by holding them up in empathic structures, that not only locate commonalities but also create a real space for idealism about our life and society.
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The project was instigated by trying to put a call out for people to make cassette tapes based around their own take on a specific set of songs I held dear as ‘songs for my punch-drunk idealism’. I don’t have the most eclectic music taste, it is more one that is woven around my memories, ideals, lost futures. But I felt that others must surely have punch-drunk idealism songs; songs that [to use a line suggested by a friend] punch a hole in your heart that is both political and dogmatic/romantic; songs that put the fight back in you when life and times seem so dark. I asked participants to imagine making this cassette tape of personal moments as a gesture of good will to the nation for such an election night

 

The election night itself was held over two venues: Leeds Print Workshop and the Art Hostel, also in Leeds.
A series of prints wrangled with the difficulty of stepping into the unknown as personal and social transformation meet in political events, playing on the analogy of a cross roads point in a psychotherapy process: recognising we have the problem; that for the sake of ourselves and of others, we cannot carry on like this. However, the alternative seems far more frightening, because it is the unknown. 

 

At the voting booths, people were given 3 votes. Which asked questions both of how they, and society feels, and how they would ideally like themselves and society to feel.
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A good number of people attended, and the ‘votes’ are currently being typed up by a neutral source, to be revealed in some form in the next event to be staged by the Retro Bar at the End of the Universe, later this summer…

But what is the real result? If symbolic acts alone cannot be transformative, has anything been set in motion that is working towards empathic enabling? Both personally and politically there is a real desire to square a circle here, inside of which the symbolic moment still reigns supreme…

There is a deep struggle against waiting for the universe to align, it requires proactive development that years of aimlessness and what Fisher termed ‘reflexive impotence’ try to prevent at every move. Because we live in a neoliberal ‘ecology’, telling people to take responsibility of their own lives, and to ‘be the [fucking] change you want to see’, is received as a violent attack on ones negative ego that they’ve compromisingly had to build to survive such an hyper-individualist age. Even though such advice is delivered with empathic intent, it is received within this ecosystem as a right hook of one-upmanship.

The ghosts of yesterday’s near misses and own goals cannot be exorcised in one full swoop; the task is to challenge the stories they tell us as individuals and collectives. The symbolic exorcism was a wish to totally rid oneself of them. However, is a person banished of all ghosts nothing but a living blank?

Our ‘always on’ present relays these ghosts, even algorithmically sources the ghosts that retell the same stories. This isn’t to say there isn’t humongous transformative potential bursting at the seams in our hyperconnected age, yet the more potential the bigger the circle that needs squaring. It’s a huge task, because whilst ever the fabric of the present is so individualist, the challenge feels like a lonely one.

There isn’t a final outcome from these projects, there’s only an awareness that things (speaking more from a personal perspective here) cannot carry on like this, even as the resistance to change digs its heals further into the ground…

 

 

#GE18 (The General Election of Governing Emotions)

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#GE18 (The General Election of Governing Emotions) is an event occurring at two locations in Leeds on the Longest day of the year!
130 Vicar Lane from 5-7pm and…
Art Hostel, (83 Kirkgate) from 6:30-9pm.
Born out of intense debates around the global political crises, the mental health epidemic, and the online factionalisation of opinion, #GE18 asks to us to engage in a ‘what if’ general election where we get to vote for emotions rather than through them.

How would we ideally like to feel and behave in life? How would we really like the world to feel and behave like? Well come along to The General Election of Governing Emotion on June 21st and let us know…as well as seeing #GE18 art prints, cassette sleeves for a collaborative project called ‘Songs For My Punchdrunk Idealism’, and engaging in non-combative conversation!

The Great Emoter

An Empathic Address For [Emotional] Election Day

#GE18 -The General Election of Governing Emotions will take place on Thursday 21 June, 2018. Beginning at the Leeds Print Workshop, Vicar Lane, Leeds at 5pm, from 6:30 – 9pm you are then invited to participate in the election night, held at the Art Hostel, Kirkgate, Leeds.

Thanks to Ben Crawford for helping to make this short film.