Having been handed a book the other day titled: ‘a computer in the art room – the origins of british computer arts 1950 -1980’. I was pretty lukewarm about it and just about to put it back on the shelf (being slightly fed up with this subject!) when, the page I opened on contained a long description of the important contributions to this genre that my beloved tutor from Chelsea (the late Darrell Viner) has made… my eyes filled with tears.
Most of my work in the 90’s was only made possible by the persistent encouragement, assistance and donation of materials by the most generous artist I have ever known. Darrell was loved by all his students, despite his anarchistic quietly shocking comments and outrageous behavior. He would totally be fired if he were teaching today.
Darrell’s early work:
Note: this is a majorly sanitized representation of Darrell’s work, ‘the grind’ being closer to what I saw in his studio and certainly NOT in a glass case – they would have been out in the open- some of his works were even a threat to people in the space…
Here is a talk with his partner about his work which shows his studio as I remember it:
Semaphore at the Chisenhale (1990):
Art Institutions now are so over-controlled and tutors so bereft of time to ever offer the same pastoral care and freedoms we used to take for granted.
Here is my work at Chelsea and just after…
1st – Chelsea College of Art London Mid-Year Show March 1995
A Duchampian Monster
2nd – Installation – Champagne Shower – 1997
3rd – Chorus 1999
3rd – House Music- Mellow Birds London 2000
Fluxing the Manifesto! Re-working the Artist/Audience Divide. See: http://visualisecambridge.org/?p=490
In January I was very kindly asked to take part in an event called ‘Future Fluxus’, celebrating the 50th anniversary of Fluxus, by organiser, curator and director of Cambridge’s Visualise public art program Bronac Ferran.
Conducting my performance as research, I asked members of the audience to re-work and rethink George Manciuna’s fluxus manifesto. Below is my ‘instruction piece’ and the audience responses which together recreated and documented a contemporary interpretation of Fluxus:
Here is George Manciuna’s original: Here is my instruction piece for Fluxus participants:
Below (and the one displayed at the top of this post) is the body of work not only ‘completed’ as per instruction but recreated and reinterpreted by the Future Fluxus ‘audience’ –
Here is a link to the event:
Last month I visited California to speak with artists, writers, researchers and directors – working in both historic and vanguard forms of digital media – to get a bird’s eye view of the paths being forged into the past, present and future within the fields of art and technology.
The following posts will feature a series of interviews and reports on my travels from the hills of Berkeley, Stanford University in the Silicone Valley, to the Center for Research in Computing and the Arts (CRCA) in paradisal La Jolla, San Diego.