Joanna Hartle
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noone goes home whistling the lights 

New Contemporaries - notes for review

11/10/2021

 
This is a really interesting piece, encapsulated . 

​https://newcontemporaries.org.uk/2021/artists/incursions
- artist intro 
Audio : https://platform.newcontemporaries.org.uk/artists/incursions
​
​INCURSIONS is a collaborative project facilitated by Archie Smith & Kitty McKay in Newcastle-upon-Tyne, hosting radio shows and walking forums that document neoliberal cityscapes through group participation and psychogeographic practices. Drawing on archival techniques, radio and sound production, social engagement, participatory research, mapping and moving image, INCURSIONS seeks to shift dominant narratives of space and place, co-authoring ‘counter-narratives’ with others. Part walking event, part archive, part radio broadcast, INCURSIONS interweaves walking and talking with overlapping social histories and personal experiences of pop culture, friendship and community resistance, to trace the aching proximity of an absent collective subject.
Sophie Bownes: In your work, FROM HERE #3, you open the broadcast up by asking if you as hosts are “on a par”. As multidisciplinary practitioners, you wear a variety of hats – of archivists, radio hosts, walking-tour guides, to name a few. Would you say that your roles defy the idea of the expert? And if so, can you elaborate on how this DIY or discursive approach may contribute to the production of counter narratives?
INSURSIONS: We aim to challenge how the city presents itself as hyper-objective and concrete. We are interested in peeling back its layers to reveal fragmented and collective counter narratives, ones that are rhizomatic, messy and disruptive. We are and cannot be experts: our work relies on knowledges that are shared and unofficial, DIY archives of the city navigated through multidisciplinary approaches.
Being a citizen, an artist, a friend, a radio host, offering hospitality, hanging out, loitering, being present together in spaces digital and physical are not the answers or the antidote to a neoliberal present. Through levelling out authority and making space for contributions in discursive and incomplete ways, we hope to scratch away at objective and concrete narratives and begin to collectively annunciate other routes.
I A fully immersive piece which engages the viewer with place, culture and the other realities a walking through place
Interesting choice of imagery a gate padlocked of a desolate waste landA bridge that hangs in the air ever reaching the other sideAn industrial wasteland and docks
Spoken Word is the city is always shifting realigning itself it is memory.


Return to place , spoken word always returning I can detect tiny edges of time,
Interesting layers of sound and memory induced immersion. Use of music as an underlay. Spoke. Word, original works?? Drum/ bass/trance - does it eminent from the place . Create movement in the viewer that is a juxtaposition the visual component .
Interesting to be drawn in this way. To be able to link a radio show - to words and images in a way. The visual would bring more to it, capturing walks through a city is hard, how does the artist make this possible.

Listen to full piece. Link above 
FROM HERE #3, 2020
Audio / radio
1 hr. 44 min. 48 sec.
https://www.incursions.co.uk/​
Picture

​https://platform.newcontemporaries.org.uk/artists/asuf-ishaq
Picture
Picture
Aruf Ishaq
Becoming Nature, 2018
Plaster and cement
12 x 25 x 54 cm


"Asuf Ishaq’s practice is concerned with themes of embodiment, fragmentation, displacement, migration and memory, often presenting the physical diasporic body as an evolving archive that transmits experience with cultural and political meaning. "


​Black Girl Essex: Here We Come, Look We Here, 2019
Moving image
Still image
Picture
A film and appliqué flag culminating from a four-month residency at Firstsite for Super Black, an Arts Council Collection National Partners Programme exhibition.
"In the film, James wanders around the Tilbury docks wearing a dazzling carnival outfit. To me, her clothes not only reference the Caribbean carnival tradition but also the archetypal Essex girl. The visual affinity of these two cultures clashes with the overt racism experienced by some of the people in James’ discussion groups"
Chloe Austin, art historian and writer for Black Ballad ​The title of this work turns the historically 'white' stereotype of the Essex girl, which characterises women from Essex as unintelligent, promiscuous and materialistic on its head. It centres the implications of identity, place and conflict for black folks living in Essex. Specifically, it disrupts the existing narratives. By giving a platform to these black voices, the work attempts to form new understandings of blackness viewed through a contemporary Essex lens.
​

​
Elsa James : 
​Intention
Celebration of the black
Life with black skin
Aware of the "othered" nature
Artist still and contemporary
Powerful gaze captured in the screen.
Beautiful peacock and cinematography
Acceptance - black flag repositioning the narrative 
Port of tilbury
Arrival Point of the wind rush generation
Conversations about raise
Southend is our little Caribbean
Resistance from London in moving to Essex
No black people
In Southend - jo Melville
Black presence is visible and yet invisible



Elsa James: I enjoy history and storytelling, so I am fascinated by the archive and acknowledging what came before. Unfortunately, my story – the Black-British story – is entangled in one of the darkest chapters of all time, oftentimes omitted, and carries so much trauma and pain. I feel a sense of duty to contribute to the ongoing process of redressing this persistent absence, shifting the collective narrative about Black presence in Britain, and continuing the national debate around black subjectivity. It is vital that my work also offers something that uplifts to engender a sense of liberation and embrace joy.


Jukan Tateisi - To the fog 

Jukan Tateisi’s To the Fog (2020) is a requiem, farewell speech and memorial to a loss in the pandemic. As the loss of a family member becomes public tragedy when caused by Covid-19, we are facing a new reality in which a sense of direction in time and space has been lost – a seemingly unrealistic reality. Referring to Antony Gormley’s Another place and Hiroshi Sugimoto’s Seascapes, Tateisi carefully composes the image of an unrealistic reality. In To the Fog, Tateisi expresses his experience that public and private, static and dynamic, real and unreal are entangled.
​

Picture
This piece was so moving, having lost a parent during the pandemic aI recognised the despair of the artists narrative. 

Seren Metcalfe Half Truths

Picture
Half Truths, 2020
Publication
24 x 17 cm
​
Seren Metcalfe’s multidisciplinary practice spans performance, moving image, installation and text. She attempts to create honest imagery that blurs the lines between fictional narratives and the poetic reality of being human.

​In her work she combines themes of time, labour, television, fame, consumerism and class to question societal structures and the theatrics of everyday existence, using the body as a tool to question ideologies, drawing inspiration from Yorkshire landscapes, urban architecture and pop culture. Seren is the Founder of The Working Class Creatives Database and strives for art to be accessible for everyone, not just those who can afford it.

OTHER PIECES OF NOTE 

​Michael Landy : Welcome to Essex 

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    Jo Hartle
    The creative meanderings of Jo in her final year of Art and Environment BA.

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  • about
  • Creative Practice
    • Selected Artworks >
      • now is gone
      • BEYOND
      • 海の霧から : Umi no kiri kara : From the Sea fog
      • Brandyhole studio
      • Kristina Train
      • camino >
        • Camino days
      • ghost
      • Past past loves >
        • old news
        • FloTsam Operatic Salvage
        • The Royal - Christmas Styling
        • Dover Olympic Torch Relay
        • festifeel
        • Modes of Alikseer
        • Village Green
        • No one goes home whistling the lights
    • ToMA playing with time
  • contact