noone goes home whistling the lights
This is a really interesting piece, encapsulated .
- 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.
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. "
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.
This piece was so moving, having lost a parent during the pandemic aI recognised the despair of the artists narrative.
Seren Metcalfe Half Truths
Half Truths, 2020
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