29/12/11

23/12/11

Roots
Torn
(scared)

HUNT
I hunt

(oh god)

23/12/11 (2)

Studio update 12/12/11 (belated)

Continuing to discuss place. Remembering past places and considering and predicting future places. Present places. Where am I?

14/12/11

I took my ladies to the sea
We had just pressed the shells into our bones
And we saw the queen in the sky
Gently revealing the treasures of her crowns
We took off all of our armour
Every last single drop of gold
And we banished the land
Lifted our bodies right up into the cold
Wilderness, in the darkest light
I called out to my brothers
‘Come join me in flight’
And the tears they did roll
From the salty sea, the rainy sky,
And the wide eyes the wide eyes
My heart it did swell
As the grandest of stars burst out names in the skies
I could see but a thousand
Of families and friends I had thought been long gone
And the thunder claps hands as I embrace them
And we howled out to every single last one

-Bat For Lashes; Wilderness

Hyper-reality

What is hyper-reality?

Art dictionaries say hyper-realism, superrealism, photorealism. Too good to be true. Truer than life. "High-fidelity realism", "Minute and impersonal exactitude".

Simulation of reality, something 'too real', so it no longer is reality/ Ideal? Ideal form?

(Wiki):
"Hyperreality is used in semiotics and postmodern philosophy to describe a hypothetical inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies. Hyperreality is a way of characterising what our consciousness defines as 'real' in a world where a multitude of media can radically shape and filter an original event of experience."

Jean Baudrillard
Albert Borgmann
Daniel Boorstin
Umberto Eco

"The simulation of something which never really existed"
-Jean Baudrillard

"The authentic fake"
-Umberto Eco

"The virtual irreality"
-Pater Sparrow

-Reality
-Simulation
-Copy
-Consciousness
-'Real', defining what is 'real'.


Simulacrum
"A term from Greek Platonic philosophy that meant a copy of a copy of an ideal form. In postmodernist thought, particularly through the writings of Gilles Deleuze and Jean Baudrillard, the term has been revived in the context of arguments about the relationship between an original work of art and its replication. For Baudrillard the simulacrumm takes precedence over the origical, with the effect that the original is no longer relevant."

-(Wilson, S. Lack, J. (2008) The Tate Guide to Modern Art Terms. London: Tate Publishing)

How does hyperreality relate to my practice?

Discussing memory, places from memory in an idealistic way.
Recreating something from memory...
Romanticizing?? Making something as real that is too perfect.... Complete... to be real.
Lying. Romanticizing.
Exploring my mind... place through my mind.
Presenting something as truth that is takes from memory, or souvenirs...

Lies, makebelieve
Replaces truth.

The Big Walk

Nebula; 24 hours with 'The Clock'

The difference a day makes; 24 hours with ‘The Clock’
By Jess Young

I, like most people that have had the pleasure of visiting British Art Show 7, have been especially intrigued by Christian Marclay’s ‘Clock’; a video piece that runs for a full 24 hours. Although it basically, for all practical purposes, is a working clock, it is incredibly difficult to tear yourself away from. This film is made from several thousand film clips of varying lengths, which took Marclay 2 years to track down and put together. It also runs in real time, so whatever the time is that you’re watching it, you can guarantee it says so on the screen. If nothing else, this piece of work is a miracle of video editing, but there is more to it than that; Marclay, in building this artwork, has managed to transform a completely routine action- looking at the clock- into something spectacular, and at all times gripping.

A strange thing that The Clock does to you, even when just spending a few minutes with it, is that it makes you feel nervous about time. Perhaps that’s just me, but I found that on my previous visits, in the time that I was viewing this film, being constantly aware of the time made me very anxious about how long I was spending in there watching it. It’s an odd thing, being directly confronted by time as you are living it, and being sat in a room actively and intentionally watching the minutes of your pass on by. I had to limit myself, on my visits, to a set period of time that I would leave after so as not to waste my life in front of the television, as it were. Is Christian Marclay deliberately commenting on these anxieties that come with being constantly made aware of the time? There’s a lot of pressure put on being somewhere, being on time, keeping busy; time is money after all, as Benjamin Franklin so famously observed.

So, I decided to do the only reasonable thing that I could, and go to the full screening on October 22nd and view the whole 24 hours, every minute- perhaps to find out exactly why this piece is so mesmerising; to explore my own feelings about time, and to experiment with my perceptions of what time means exactly; as an abstract concept, but also its role within my own life.

I went to view this piece with my friend and colleague Didge Dowley, and we arrived at the Slaughterhouse-One of the five BAS7 venues in Plymouth- as prepared as we could be for what we were about to put ourselves through. I had also done my best the day before to ready myself for this event, so determined was I to last the full 24 hours; I took the afternoon off and tried to relax as much as I could. I didn’t eat or drink- one of the practical considerations that has to be put in place when preparing to enter a room at noon one day, and not leave until noon the next- and despite being slightly nervous and apprehensive I was actually very excited to just get started.

The first eight hours or so rolled by very quickly and steadily for me, and time flowed in a way that it never can in the ‘outside world’- thoughts about what I would usually be doing at this time, or about how long exactly an hour is, started to melt away. In fact, despite the focus of this film being time and the theme of time being entirely inescapable while watching it, time actually lost a lot of its meaning. It became irrelevant in a way, because I knew very well that for 24 hours I had nothing to do and nowhere to be, except right there watching this film. I’ve had to consider the possibility that time is only relevant when you are forced to actively engage with it- making it ‘on time’ to appointments or meetings- but when just spending time with yourself it actually has very little meaning at all- we rely more on our instincts, and our ‘internal clocks’. I know that I, personally, couldn’t tell you what time of day I usually eat or go to sleep, and I’ve never felt the need to know, but when involved with people outside of my small world I am (almost) always absolutely punctual. Perhaps time is only important when you have to ‘keep on top of it’, as though it’s a constant opposing force.

A very interesting thing about this film, that you don’t necessarily pick up on when you just see a few minutes at a time, is that not only do the clips selected reference time with the presence of a timepiece or a mention of that time of day, but they also communicate with and roll off of one another; through cross-over of audio, but also through various themes; for example the workplace, people speaking on telephones, making breakfast... The way that this has been done allows you to create new narratives within this film, so that it becomes not only about following time, but also about witnessing and becoming involved in these stories and alternative realities.

Actually, there’s really no getting away from it; this is an absolutely outstanding film and artwork. Not only is it thoroughly enjoyable, but it is totally accessible and has something that everyone can relate to- time is a universal theme, and it means something to all of us. I think, aside from the fact that it is faultlessly executed, this is why it has been such a popular piece of art, both on its own and within the British Art Show.

One thing about watching ‘The Clock’ for 24 hours, and actually a big thing, was that it was hard. I could lie and say that the brilliance of this film- and it is brilliant- made the hours just whizz by; indeed they did go by quickly at times, and certainly passed in an unusual way, but 24 hours is still 24 hours, and that’s a very long time to do just one thing for. There were points during the night where I actually really wrestled with the decision of whether or not to stay for the films entirety, and I think that what really kept me there was the knowledge, not only that it would definitely end at 12 noon- time is reliable like that- but also that if I left, I probably wouldn’t get another opportunity to watch the whole thing. It’s a peculiar thing to consider that the majority of this fantastic film will only ever be seen by a small handful of people; but then, I suppose it is in that way like 24 hours in the real world where the twilight hours are missed by most.

The physical discomfort that came with viewing this film in its entirety was more frustrating though than it was anything else, because it’s very difficult to separate yourself from. You can restrict your bodily functions and sit down on a hard floor for 24 hours, and it’s very do-able, but it’s far from pleasant. When you’re concerned with your own body, and with feeling uncomfortable, it’s very hard to commit entirely to anything else. When I wanted to be completely devoted to watching this film, especially in the last few hours, I too often felt distracted and detached. There were times when I began to wonder whether Marclay had even intended for his film to be watched from beginning to end, because it certainly wasn’t an easy experience, and it’s far from a natural thing to do. I certainly found myself for a short time, ridiculously, wishing that the film could just be just 12 instead of 24 hours; this being no comment on the artwork of course, because it never stopped being engaging or fascinating, only on how much your body can happily endure in a day.

That being said however, despite the unpleasant aspects of this experience, it was incredible, and given the opportunity to do it again (and I hope that one day I am), I would. I think there’s something strange that happens when you challenge your mind and body, even if it is just for one day, which allows you so much more lucidity about what it is that you’re experiencing. After all of this, even if nothing else, I certainly feel that I have a stronger grasp of what 24 hours actually means- in terms of bodily requirements (or in this case, refusing them), in terms of discomfort and how that’s something we’ll usually go out of our way to avoid, and especially with regards to how much can happen; how many actions can be carried out within the stretch of 24 hours. But there is also more to it than that. Marclay has made a beautiful film here, and even just viewing it for a few minutes at a time is a beautiful experience, and one that I hope will be witnessed by as many as possible, even if not for hours on end.

The Clock, with the rest of British Art Show 7, remains in Plymouth until December 4th 2011. Find it at the Slaughterhouse, Royal William Yard.

Nebula 3

Well, it's been several months of not always good times (mostly not), but now I can finally say that the Nebula project is definitely over, and not a day too soon.
The third and final issue of the Nebula series came out this week, and focuses on feedback from and reflecting on the experience of being a British Art Show 7 host city. This issue was a collaboration between us, the CURA200 PCA team who created the second newspaper, and YPAC who worked on the first and included many interviews and comments from people that have visited, been a part of or worked with BAS7.
You'll be able to pick up this final Nebula all over Plymouth I'm sure within a few days.
For now I'm just going to celebrate it finally being over, and reflect for myself on BAS7 and these crazy past few months before it closes tomorrow for another 5 years, when it will return, reborn once again.

10/12/11

From: Jess Young
Sent: 10 December 2011 07:56:01
To: didge


Good morning!

I imagine you will already be on your way to me as I write this, but I am awake, and excited, so I am emailing!
I think I have everything packed- there seems to be quite a lot, and I did try only to pack the essentials!
As far as art stuff goes I only have three kinds of paper, pens and pencils and masking tape. Again, I thought those were the basics. I also have two cameras- the beast if the weather's nice, the waterproof camera if it's not!
Still undecided on my coat/jacket as it's v dark out there, but I'll bring both, because my fleecey one is so warm and cosy + will do for camping/the next day as well. I've also packed a pair of soft jeans and my ugly jumper to get changed into, as well as cooling leg gel and foot cream!

Gosh, I hope I've remembered everything!

I only have two pairs of spare walking socks.. I think the rest must be in the wash because I've been wearing my doc martens all week... but I'm sure that'll be fine anyway. And then a nice cosy pair for after the walk I'm so looking forward to camping! The last tiem I went camping was when I was 12 with Jen, and it was that week that we became really good friends. We had an awful time though! This will be supremely better. Still don't have tissues, mustn't forget tissues.
I'm also trying hard to think of myself, ourselves, going out into the depths of Cornwall not just as prepared walkers, but as working artists.
What I need to take from this walk. What I want to document, but also feel and experience. I'm so terrified of missing anything!

I've just checked the weather again, and it's a little windier and cloudier, but still no rain, and about 10 degrees, so we can't complain at that. I have faith that we'll still be able to enjoy the moon- the wind will blow all of those clouds away. And we will be pagans and travellers dancing under the sky and exploring our excellent country.

Right. You will be here in half an hour or so, so I will use my last few minutes to make sure all is well and I'm ready to gogogo.

See you soon for our magnificent adventure!

Jessxxxxx


> From: didge
> Subject: packing oh gawd packing
> Date: Fri, 9 Dec 2011 23:47:07 +0000
> To: Jess Young
>
> Hey there
> I am still gathering stuff and I want to go to bed.
> I got a lighter, pencil sharpener, plastic bags lots, art gear,
>
> Going to get changed at Kensa's for the walk. Pj's pillow. Tattys, organic squash, tinfoil waterproofs, two pairs of boots, Alcohol, 20 socks, coconut body cream, dove soap, soft warm hanging out clothes, hula reminder (have to dance for the full moon).etc etc
>
> Right going to finish tomorrow
> Night, night.
> xx

Studio update 09/12/11

Printing today.
Celesteal and soft against the earthbound, dusty, green, solid.
The spirit and the sky.
A shared sky.
Images more delicate than I had expected. Newsprint.
Paste into dioramas?
Layers. Layers and layers of so many things and thoughts and memories.
It can often be anti-climatic, printing. But not today.
Images, ambiguous, palimpsest. Place over place over place.
YES!
Bringing all of these places together in a safe and sad and comforting way, and making imagery.
And I am happy, because I can do this, and it makes it all a little easier to understand- one shred at a time.

Studio update 07/12/11

Bring all of these places of significance together to create something that can be held and explored, and that isn't so fragmented.
Horizon/sky/journey
Shared space
Collective landscape

Space walk with dice

My City

Task for Time [Space] + the Everyday:

My city:
On a postcard- found, bought or made- please decribe 'your city'.
This could be a real or imagined city, the place you are happiest, a place you cannot stand, the place where you feel most at home. It could be the place you inhabit in cyberspace, the place you desire to be in. It could be your flat. It could be your village.

You could:
Describe it. Or draw it.
Describe your feelings about it.
What is it that makes this city your city?
What is a city?


"Don't be too hasty in trying to find a definition of the town; it's far too big and there's every chance of getting it wrong."
-Georges Perec

City isn't defined by size or population or how urban a place is. That I know- What is isn't. But how can you decide what it is? It could be all of these things as well.

My city is my Dad's back yard, there I spent three months in bare feet, living in the forest and loving the dust.




Dad's back yard.
I have written many postcards from here.
I remember it dry and DUSTY. My place.
Outside. Iced tea. Deer. Cats, lots of cats. Knitting. Writing. Making charcoal. Cooking. Parties. Collecting.
Bare-footed.
This is where I live.
(When I imagine myself away, this is where I go to.)
My city

Studio update 05/12/11

It's strange, but it feels as though now BAS7 has gone, I've finally got myself back. No other obligations or distractions. It's time to be an artist again.







Imaginary landscapes
-Creating a world that I can inhabit.

Working from my criteria of places of signficance- creating new places.
Simple places- a line, a feeling, a colour. But it means all of these things that I've been trying to grasp.

Exhibition: Bridgette Ashton

A show that I've been extradordinarily excited by is Bridgette Ashton at Plymouth Arts Centre- sadly ending today.
I rolled across it by accident this week and am furious with myself that I didn't go to the PV, and then go and see it every day after!
He work is a nostalgic, sensual, obsessive exploration of place and archiving. Exploring defunct places, creating new narratives within them, collecting and getting excited! Everything that I love.
The current show consists of large and small models, framed prints, found items, and zines. It's a fantastic collection that you are welcome to explore and make connections for yourself. You get a real feel for the places that she's describing, and want to know more!

A very exciting show. I will certainly be running back there today before it closes.

04/12/11

There are two things that I can talk about. Place- Specific place- Geographically. Maps, names, specific memories. I can do that and be very literal and tour-guidey... Which might be easier to understand... easier to present to other people...

Or.

I can talk about place in another way; in THE other way. Discuss the criteria of significance, and talk about dampness and the experience of travelling and trying to find places that resonate in the right way. And I think if that's intangible and woolly... Well it just has to be fine. Because I think that's the right thing to do.

Presence of a sea or otherwise; this is the bare bones of it.


Either one or two lines between where I stand, and the sky.

My week in Laugharne

I think keeping a record is important, however you do it. A souvenir that you can keep and use to preserve your memories. And invent new ones, once the old ones have died.




Learning to make books is the most useful thing I've done in ages.

Nebula; Come to Ours

Fringe event: Come to Ours
By Jess Young

Come to Ours is a series of artist-led fringe events and activities, run by and comprising of Neil Rose, Rachel Dobbs, Hannah Jones, Mark James, Chris Green, Bryony Gillard and Beth Richards. There have been six strands of Come to Ours running alongside British Art Show 7; A Circle (Now finished), The Library of Independent Exchange (Now finished, but returning to Plymouth College of Art Viewpoint Gallery in February 2012), Plymouth Aural Survey, Video Takeaway, Would You Like This Badge?, and The Fireplace Gallery. Having spoken with Neil Rose of Come to Ours, the feeling that you get, despite each of these events being very different in content, is of the overriding desire to welcome ‘outsiders’, visitors to BAS7, into our city, and into perhaps the more intimate, friendly face of Plymouth’s art scene; as he put it, to “assist people who don’t know the city, to navigate the city... assist them in achieving those things that they need.” In many ways, from what I gather, the projects are to be viewed as an absolute beginner’s guide to Plymouth; the artists involved are confirming for you the takeaways that it’s okay to eat from, and the pubs that it’s okay to drink in, inviting you into their homes, and telling you a bit about the People of Plymouth.

My own experience of the Come to Ours program is that it offers a much more inviting, less rigid art experience- most of them giving the viewer the opportunity to also become a participant in these art activities, and actually a wholly different experience to that of the British Art Show, and the expectation of viewing art within the typical gallery space.
The Come to Ours activities have been very varied, and have included Performance art, or more accurately art with performative aspects as in A Circle, an independent arts library; L.I.E, and a tongue-in-cheek take on the classic white gallery space, at the Fireplace Gallery where you can view micro-exhibitions every Sunday.

BAS7 may be drawing to a close, but have no fear, if you’re quick you can still experience a lot of what Come to Ours have to offer;
Plymouth Aural Survey can be experienced online at www.PlymouthAuralSurvey.co.uk;
The Library of Independent Exchange is over for now, but will return to Plymouth at PCA Viewpoint Gallery from the beginning of February 2012;
You can catch the Video Takeaway at Ali Baba’s New York Express Mon-Thurs 7pm-close, and at Jakes Fri-Sat 7pm-close right up until December 3rd;
Would You Like This Badge? Will be running until December 4th at The Fortescue, The Seymour Arms, The Nowhere Inn, Ride Café, and B-Bar, though if you do actually want a badge, you’d better get there quick!
And finally, the Fireplace Gallery will still be putting on microcosmic exhibitions until 4th December- Every Sunday from 3-6pm. Contact the Fireplace at Fireplace-gallery@live.co.uk if you would like to visit.
More information can be found on the Come to Ours website at www.CometoOurs.co.uk