grant watson

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	<title>grant watson</title>
	<link>https://grantwatson.info</link>
	<description>grant watson</description>
	<pubDate>Fri, 12 Apr 2024 14:45:59 +0000</pubDate>
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		<title>title copy</title>
				
		<link>https://grantwatson.info/title-copy</link>

		<pubDate>Wed, 13 Sep 2023 23:43:33 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

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		<description>
        
        
           Grant Watson
            
                
                curator &#38;nbsp;writer &#38;nbsp;researcher&#38;nbsp;
&#38;nbsp;
        
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		<title>textile pedagogies</title>
				
		<link>https://grantwatson.info/textile-pedagogies-1</link>

		<pubDate>Fri, 12 Apr 2024 14:17:15 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

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		<description>
	

What Can Textiles Teach Us?


The Goldsmiths Textile Collection, at Goldsmiths College, London University is developing a collaborative research project led by Grant Watson and Jorella Andrews. The collection was stablished in the 1980s by the Art Department as a teaching collection and became a research centre in 2002 with a focus on radical embroidery, textile art, socially engaged practice and global textiles, including from South Asia and the Balkans. This current research departs from the question - what can textile teach us? It will look at textiles as a primary source of interdisciplinary knowledge concerning political economies, cultural identity and the aesthetics of colour, pattern and form. As this is a handling collection, it will also explore the elements of touch, making, material experimentation and a phenomenological approach to learning. 


A wider context for this research is to consider the regeneration of the teaching of art, design and the humanities, as well as curriculum development. Dating back to the 1940s, textiles at Goldsmiths developed a conceptually driven approach which challenged the boundaries of this medium. Sitting within an educational context that included fine art, music, drama, politics, sociology, anthropology and cultural studies, student work addressed textiles including in relation to identity, race, gender, the politics of cloth as well as the boundary between art and non-art.


This research began with a three month pilot internal to the college that took place between April and June 2023. It involved two open call study days in the collection, and interviews conducted with current and former members of staff including Jorella Andrews (Professor in Visual Cultures) Jane Cameron (Curator of the Goldsmiths Textile Collection) Janis Jefferies (Emeritus Professor of Visual Arts at the Department of Computing) Susan Kelly (Senior Lecturer in Fine Art Critical Studies) as well as the artist and writer Osman Yousefzada. Qualitative interviews addressed the question – what can textiles teach us? This was discussed in relation to individual&#38;nbsp; practice and selected materials from the collection.


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&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ad90f872ceccad5cb8e936b62e1dc6bf679e31d2619d5df695830924861c40fe/20230616_152907-copy.jpg" data-mid="213570331" border="0"  src="https://freight.cargo.site/w/1000/i/ad90f872ceccad5cb8e936b62e1dc6bf679e31d2619d5df695830924861c40fe/20230616_152907-copy.jpg" /&#62;&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f828d6f5aad960b829b756ff730012cb5f8ff13ca63be9b3f83ad5ddf5c3a516/20230616_153100-copy.jpg" data-mid="213570332" border="0"  src="https://freight.cargo.site/w/1000/i/f828d6f5aad960b829b756ff730012cb5f8ff13ca63be9b3f83ad5ddf5c3a516/20230616_153100-copy.jpg" /&#62;&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/235c17907568405a311768a17919f9c0c1d978ceb5486c842b0df1397830a4c3/20230616_155243-copy.jpg" data-mid="213570333" border="0"  src="https://freight.cargo.site/w/1000/i/235c17907568405a311768a17919f9c0c1d978ceb5486c842b0df1397830a4c3/20230616_155243-copy.jpg" /&#62;&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9e8f5bf682d41234fb4c2b59404ce8d070ae7d09adb91070fe6b37e9cb22560e/20230616_155822-copy.jpg" data-mid="213570334" border="0"  src="https://freight.cargo.site/w/1000/i/9e8f5bf682d41234fb4c2b59404ce8d070ae7d09adb91070fe6b37e9cb22560e/20230616_155822-copy.jpg" /&#62;&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/93d7ee2b0fce69ab0fe0103d99adf8baf61437bc0226d244ec479ef2ed24701f/20230616_160851-copy.jpg" data-mid="213570335" border="0"  src="https://freight.cargo.site/w/1000/i/93d7ee2b0fce69ab0fe0103d99adf8baf61437bc0226d244ec479ef2ed24701f/20230616_160851-copy.jpg" /&#62;Workshop documentation, 
the Goldsmiths Textile Collection, June 22, 2023
photography by Jorella Andrews


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	<item>
		<title>keywords</title>
				
		<link>https://grantwatson.info/keywords-1</link>

		<pubDate>Fri, 12 Apr 2024 14:17:31 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

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	Keywords
Art, Culture and Society in 1980s Britain


The book Keywords: A Vocabulary of Culture and Society by the writer and Marxist cultural critic Raymond Williams, is a study of words and how their meanings are contested over time. It explores how words are used to describe systemic shifts in society and how changes within language become part of what Williams called the ongoing practice of making our own language and history. Central to this are the interpretations and conflicts that reflect the interests of different groups, and the part played by culture in this process; something that he and other figures on the New Left such as Stuart Hall argued for strongly. Williams understood ‘Keywords’ as those words that repeatedly crop up in our discussion of culture and society, its institutions and practices, including terms such as: democracy, reform, consumer, ideology, industry, liberation, popular, unconscious and art. 


The exhibition Keywords: Art, Culture and Society in 1980s Britain, takes Raymond Williams’ dictionary of terms as a source to select and display works from the Tate collection. It focuses on artists from the 1980s, a time when a reappraisal was taking place on the left, with issues such as race, gender and sexuality becoming more prominent, and the politics of language being examined as an element in the fight for social justice. This takes place in the context of events including privatisation, the miners strike, Clause 28, the AIDS epidemic, and conflict in Northern Ireland which occurred during the premiership of Margaret Thatcher. Reflected in works such as Lubaina Himid’s A Fashionable Marriage, Sunil Gupta’s Gay Switchboard, Derek Jarman’s Ataxia Aids is Fun, Donald Rodney’s Visceral Canker and Rita Donagh’s H – Block painting Long Meadow. 


The presence of keywords in the exhibition comes in a commission from artist Luca Frei, and graphic designer Will Holder, who have developed a font which they use when painting keywords onto the gallery walls. These words are positioned in relation to a constellation of works, producing tensions, echoes, and illuminations, in an expanded field of interpretation. Williams said he often wished some other form of presentation could be devised for his project, a format that would reflect how words produce networks of meaning in relation to one another instead of an alphabetical list. This exhibition attempts such a format, by considering words through works of art, that come together in clusters.
 

Institute of International Visual Arts (Iniva)March 27 – May 17&#38;nbsp; 2013
Tate LiverpoolFebruary 29 – May 11&#38;nbsp; 2014
Artists in the exhibition: Sonia Boyce, Stuart Brisley, Helen Chadwick, Willie Doherty, John Dugger, Rita Donagh, Rose English, Sunil Gupta, Mona Hatoum, Lubaina Himid, Inventory, Derek Jarman, Louis Le Brocquy, Gustav Metzger, Donald Rodney, Jo Spence, Guy Tillim and Stephen Willats The extended Keywords Lecture series: speakers: Sara Ahmed, Linda Bellos, Leo Bersani, Judith Butler, T J Clark, Douglas Crimp, Sudeep Dasgupta, Coco Fusco, Peter Hallward, Geeta Kapur, Susan Kelly, Ziauddin Sardar, Isobel Whitelegg and Stephen Wright Curated by Grant Watson and Gavin Delahunty.


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	&#60;img width="4233" height="2815" width_o="4233" height_o="2815" data-src="https://freight.cargo.site/t/original/i/3bd70767c4c0b2396394082c167229e0eceac9757a0d099947cb638b3e2e38b8/Keywords-installation-view-at-Iniva--Rivington-Place-2013-Photo-Thierry-Bal-2.jpg" data-mid="210437514" border="0"  src="https://freight.cargo.site/w/1000/i/3bd70767c4c0b2396394082c167229e0eceac9757a0d099947cb638b3e2e38b8/Keywords-installation-view-at-Iniva--Rivington-Place-2013-Photo-Thierry-Bal-2.jpg" /&#62;Exhibition images, Iniva, 2013, photography by Thiery Bal


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		<title>communism</title>
				
		<link>https://grantwatson.info/communism-1</link>

		<pubDate>Fri, 12 Apr 2024 14:35:13 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

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	Communism


‘Communism’ addresses the term from the perspective of the first years of the twentieth century in an environment where it was routinely understood as defeated and caught in the negative connotations of the past. Working with artists, academics, writers and collectives this project commissions and collects a series of propositions, counter narratives, abstract ideas, engaged political analysis and satirical commentary. These were developed over the course of two years and made public in the context of an exhibition, seminar, radio programme and publication, understood as experimental platforms for a future oriented materialising of the communist imagination.

 &#60;img width="1424" height="1858" width_o="1424" height_o="1858" data-src="https://freight.cargo.site/t/original/i/60281abfc18fc77d104f6a4bc1fae0fd4a10d8a60b14b9455f6149943466498d/Screenshot-2024-04-12-at-17.56.40.png" data-mid="208830263" border="0"  src="https://freight.cargo.site/w/1000/i/60281abfc18fc77d104f6a4bc1fae0fd4a10d8a60b14b9455f6149943466498d/Screenshot-2024-04-12-at-17.56.40.png" /&#62;Radio studio, Resonance FM, Frieze Art Fair, 2006&#38;nbsp;photographer unknown


	Exhibition/seminar: Project Arts Centre, Dublin,
January 20 – February 27&#38;nbsp; 2005Curator:Grant Watson


Radio Programme: Resonance FM 104.4fm, Frieze Art Fair, London, October 12 – 15 2006


Publication: Make Everything New: a Project on Communism, Bookworks/Project Art Centre, 2006


Artists in the exhibition: 
Eva Berendes, Lali Chetwynd, Declan Clarke, Susan Kelly, Goshka Macuga, Paul McDevitt, Alexandra Mir, Seamus Nolan, Hito Steyerl, Veit Stratmann, Klaus Weber&#38;nbsp;
Seminar: 
Eric Alliez, Maurizio Lazzarato, Hito Steyerl, Alberto Toscano


Radio Programme: 
Enrico David, Shezad Dawood, Declan Clarke, Kodwo Eshun, Annie Fletcher, Karl Holmquist, Jean Matthee, Eoghan McTigue, Kerstin Mey, Garrett Phelan, Susan Phillips, Adrian Rifkin, Dieter Roelstraete, Angelika Sagar, Charity Scribner, Hito Steyerl, Terre Thaemlitz, Ultra Red (curators Grant Watson and Sarah Peirce)&#38;nbsp;


Publication: 
Ayreen Ana/Rene Gabri of 16 Beaver, Gopal Balakrishnan, Michael Blum, AA Bronson, Maria Eichhorn, Factotum, Dimitry Gutov, Aleksandra Mir, Sarah Peirce, CK Rajan, Raqs Media Collective, Dont Rhine, Martha Rosler, Rob Stone, Alberto Toscano, Wu Ming (eds Grant Watson, Gerrie van Noord, Gavin Everall)


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		<title>textiles art and the social fabric</title>
				
		<link>https://grantwatson.info/textiles-art-and-the-social-fabric-1</link>

		<pubDate>Fri, 12 Apr 2024 14:38:13 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

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	Textiles Art and the Social Fabric 


Textiles Art and the Social Fabric is a large scale exhibition of artists who use textile materials and concepts in their work. Textiles can communicate social meaning and address the political as it appears in subjects such as labour, culture, identity, protest and display. Textiles are positioned close to the body but expand outwards to occupy civic space; they connect to human subjectivity through clothing, to political ideas through flags and banners, to the built environment in relation to architecture, and to the economy through processes of production and trade. Although situated on the margins, textiles have also been linked to genealogies of art history for example through royal tapestries, feminist art movements, fibre art and modernist aesthetics. With a conceptual rather than medium specific focus, this exhibition features different kinds of work including sculpture, installation, tapestry, books, banners, photography and film. It responds to the artistic as well as economic importance of textiles in Flanders which goes back to the Middle-Ages and draws on local knowledge in the production of several new commissions. Contemporary and historical works from Belgium, Brazil, Germany, India, Mali, the Netherlands, Sweden, the United Kingdom and the United States demonstrate the international dimension of both the exhibition and the aesthetic and political questions associated with the textile medium. 

	
Museum of Contemporary Art, Antwerp (M HKA)

10 September – 3 January 2010

Artists in the exhibition:
Anni Albers, Tonico Lemos Auad, James Lee Byars, Alice Creischer, Enrico David, John Dugger (Banner Arts), Luca Frei, Goshka Macuga, Joke Robaard, Sheela Gowda, Hélio Oiticica, Bojan Sarcevic, Seth Seigelaub (Centre for Research on Old Textiles), Varvara Stepanova, Tapta, Narcisse Tordoir, Rosemarie Trockel and flags from trade union archives and documentation centres. 


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Exhibition images, Museum of Contemporary Art Antwerp (M HKA) 2010, photography by Christine Clinckx

</description>
		
	</item>
		
		
	<item>
		<title>universal allegories</title>
				
		<link>https://grantwatson.info/universal-allegories-1</link>

		<pubDate>Fri, 12 Apr 2024 14:45:59 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

		<guid isPermaLink="true">https://grantwatson.info/universal-allegories-1</guid>

		<description>
	

	Universal Allegories /
Tagore’s Post Office


Tagore’s Post Office departs from the work and the ideas of poet and polymath Rabindranath Tagore (Kolkata, 1861–1941) who was one of India’s leading figures of the early twentieth century. Tagore was the first Asian Nobel Laureate for literature and is considered to be the most influential Indian poet of the modern period, he was a pioneer in art and education, and played an important role in the country‘s freedom struggle. A popular figure in Europe and in particular in Germany during the 1920s, today Tagore is less known outside of his home country. Tagore’s Post Office looks again at Tagore’s legacy. His approach to art and culture as well as subjects including ecology, education and cosmopolitanism, his critique of nationalism and his concept of the universal. Bringing together artistic works and research, the exhibition features responses to Tagore’s ideas often from unexpected and heterodox positions.
 
The Tagore, Pedagogy 
and Contemporary Visual Cultures Network 


The Tagore, Pedagogy and Contemporary Visual Cultures Network, is a research collaboration between Goldsmiths, University of London, and Iniva, that brings together a group of international academics and visual arts practitioners to discuss and explore the legacy and continuing relevance of Indian poet and polymath Rabindranath Tagore (1861-1941) for contemporary art practice and visual culture. The group made up of artists, academics, curators and a political scientist, from Europe and India, have come together because they share an interest in exploring Tagore’s legacy and influence from different disciplinary backgrounds, often taking unorthodox approaches in order to think outside of the established conventions of Tagore scholarship. This network offers new opportunities for cross-disciplinary research and proposes an original approach to Tagore scholarship. Tagore was an educational reformist and it is this aspect of his work, particularly in the context of his development of art and pedagogy at the community and educational establishment at Santiniketan, that the network will seek to explore. It is precisely the experimental approach to the process of pedagogy, the openness to ideas of international modernism in the form of art, music and dance in relation to local and national traditions of craft and the natural environment that we seek to connect to contemporary visual culture in new ways, bringing disciplines together and connecting academic scholarship and artistic practice on Tagore to a new academic and non-academic public.
 

Exhibition
Curator:
Grant Watson
Institute of International Arts (Iniva) London

19 September – 23 November 2013


neu Gesellschaft für bildende Kunst (nGBK) Berlin

29 March - 1 June 2014Artists in the exhibition: 
Anna Boghiguian, Goshka Macuga, the Otolith Group&#38;nbsp;

	
Research Network

November 2013 - September 2014
Researchers: 
Rustom Bharucha, Anshuman Biswas, Anshuman Dasgupta, Teresa Cisneros, The Otolith Group, Shanay Jhaveri, Wendelien van Oldenborgh, Andrea Phillips, Adrian Rifkin, Shuddha Sengupta, Gabriëlle Schleijpen, Grant Watson.


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Exhibition images, nGbK, 2104

</description>
		
	</item>
		
		
	<item>
		<title>textiles open letter</title>
				
		<link>https://grantwatson.info/textiles-open-letter-1</link>

		<pubDate>Fri, 12 Apr 2024 14:18:45 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

		<guid isPermaLink="true">https://grantwatson.info/textiles-open-letter-1</guid>

		<description>
	

	Textiles: Open Letter

Based on the structure of weaving and the warp thread as an organic line (as described by Paul Klee)&#38;nbsp;TEXTILES: OPEN LETTER creates a dialogue between art and textiles through abstraction, bringing together historical works and those of a younger generation. The title which refers to a 1958 weaving by artist Anni Albers, points to the etymological link between textiles and text through the Latin word texere to weave, and it opens a discussion about a language communicated using the medium of fibres and threads. 


Through large-scale sculptures, wall hangings and fabric samples as well as works on paper, film and photography, the exhibition uncovers the potential of textile materials and structures and looks at how artists have reworked this medium through iterations that are imaginative, conceptual and poetic as well as attentive to social concerns. Especially since the Bauhaus, textile practice has been in dialogue with aesthetic and material experiments coming from the ‘fine art.’ During the 1970s, a number of women artists – including Lenore Tawney, Magdalena Abakanowicz and Sheila Hicks – pioneered the Fibre Art movement with the aim of establishing an independent status for textiles as part of a feminist practice: often in&#38;nbsp;close contact with Minimalist artists such as Agnes Martin, and in some cases on the basis of a training in the Bauhaus tradition. They designed monumental structures that moved beyond the technical limitations of the loom. A generation of artists emerging in the 1970s and 80s including&#38;nbsp;Beryl Korot, Nasreen Mohamedi, and Lygia Pape, explored textiles though a fascination with serial notation and metaphors of the social, and today artists are often drawn to this medium because of its status as a ‘difficult’ material and its unstable position between functionality and aesthetics, art and craft, the individual and the collective. 


The exhibition shows the many and varied ways in which the history of Minimal and Conceptual art movements that shaped the Museum Abteiberg collection, have been influenced by textile materials and processes and by implication the extent to which textiles have been excluded from a discussion of the canon; often because of their utilitarian, gendered and déclassé connotations.&#38;nbsp;In this sense, the title&#38;nbsp;Open Letter&#38;nbsp;can be understood as an invitation to rethink the influence of textiles on art and vice versa, as well as the key role played by textiles in the development of an abstract visual language that can communicate across disciplinary boundaries.

	
Museum Abteiberg and Generali Foundation (catalogue)

23 June – 10 November 2013Leipzig presentation:
2 February 2012 – 3 February 2013
Curated by Grant Watson and Rike Frank 


Artists in the exhibition: 
Magdalena Abakanowicz, Anni Albers, Carl Andre, Leonor Antunes, Tonico Lemos Auad, Thomas Bayrle, Jagoda Buic, Heinrich Clasing, Yael Davids, Sofie Dawo, Ria van Eyk, Hans Finsler, Elsi Giauque, Sheela Gowda, Eva Hesse, Sheila Hicks, Loes van der Horst, Johannes Itten, Elisabeth Kadow, Paul Klee, Benita Koch-Otte, Heinrich Koch, Beryl Korot, Konrad Lueg, Agnes Martin, Katrin Mayer, Cildo Meireles, Kitty van der Mijll Dekker, Nasreen Mohamedi, Walter Peterhans, Edith Post-Eberhardt, Josephine Pryde, Florian Pumhösl, Grete Reichardt, Elaine Reichek, Willem de Rooij, Desirée Scholten, Johannes Schweiger, Gunta Stölzl, Lenore Tawney, Rosemarie Trockel, Vincent Vulsma, with archival materials and samples from Bauhaus Archiv Berlin, Stiftung Bauhaus Dessau, Burg Giebichenstein, Deutsches Textilmuseum Krefeld, and Stedelijk Museum Amsterdam, Fondation Toms Pauli, with a selection of books from the Seth Siegelaub @ Stichting Egress Foundation, and Coptic Cloth from the Museum Abteiberg collectionIn cooperation with
Allianz Kulturstiftung
and funded by
Kunststiftung NRW and Mondriaan Fonds


Click to access the Leipzig presentation PDF&#38;nbsp;︎︎︎

	
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Exhibition images, Abteiberg Museum, 2013, photography by Achim Kukulies

</description>
		
	</item>
		
		
	<item>
		<title>Folded Life</title>
				
		<link>https://grantwatson.info/Folded-Life-1</link>

		<pubDate>Fri, 12 Apr 2024 14:18:28 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

		<guid isPermaLink="true">https://grantwatson.info/Folded-Life-1</guid>

		<description>
	

	Folded Life

“Folded Life: Talking Textile Politics” is a research project conceived by curator Grant Watson. It is developed in collaboration with editor Jill Winder and supported by the Johann Jacobs Museum, Zürich. It includes documentation of interviews conducted in-person and remotely by Grant Watson with a diverse group of interviewees, whose personal and political engagements with textiles are explored through a discussion of a single textile object of their choosing.


Conceptually and curatorially “Folded Life: Talking Textile Politics” starts from the understanding that textiles function as a field of social meaning, temporally and spatially ubiquitous but flexible and contingent in terms of use and setting. At the same time textiles can be alive with subjective attachments and personalized references. Often the origin of the individual textile is elsewhere. Made by unknown hands through obscured chains of production, determined by factors including race, gender, and class, through global hierarchies of exploitation, and market distribution. Even if textiles are made locally, the fibres and dyes are likely to have been harvested or extracted at a distance. And colours and patterns reflect contacts made centuries ago, implicating histories of trade and violence, cultural exchange, and appropriation that produce new readings in the present. Through this the textile object interpolates us into a relation with distant processes as well as questions of social justice and ecology, which demand an attention that goes beyond ethical consumption.


“Folded Life: Talking Textile Politics” explores this aspect of textiles and brings out the often-overlooked way that textiles position us in an intimate relation to the life world. Anchored in a particular time and place, textiles become folded into a life, as a valued possession or for daily use. As cultural artifacts textiles also have the potential to express values, to disrupt and to dissent through meaning, making, and style. This has been the case with feminist, gay liberation, and queer sensibilities. As art historian Lucy Lippard has pointed out, textiles have had an important role to play in feminist art practices, where making for pleasure (hobbies), making collectively (sewing bees), or making for politics (banners) have all been incorporated in order to upturn existing hierarchies. Likewise queer cultures have self-identified with a “feminine” perception of textiles as a way to subvert expectations about gender and have used textiles for the purpose of masquerade or to enhance sexual practices, as in the intricate bondage techniques developed from Japanese Shibari knotting. In this way, as art historian Julia Bryan-Wilson has written, a “textile politics” not only refers to “how textiles have been used to advance political agendas;” it also points to how textiles can be used to make the political “material.”


&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/ebde8b95b6433a5c45b9e6e8d428aeaeb16045fe2c9eaac2bc10ce74055e7039/CC_Christine-1-PAN_1440-BD-Ball.jpg" data-mid="210383383" border="0"  src="https://freight.cargo.site/w/1000/i/ebde8b95b6433a5c45b9e6e8d428aeaeb16045fe2c9eaac2bc10ce74055e7039/CC_Christine-1-PAN_1440-BD-Ball.jpg" /&#62; Christine Checinska

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/0e2e569706022433303d7b5ea902dfd68caf96866ceaef68383b9db7a27f74c9/Goshka-Macuga-35-cropped-PAN-111021.jpg" data-mid="210383387" border="0"  src="https://freight.cargo.site/w/1000/i/0e2e569706022433303d7b5ea902dfd68caf96866ceaef68383b9db7a27f74c9/Goshka-Macuga-35-cropped-PAN-111021.jpg" /&#62;Goshka Macuga

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/5551b1e99909b4387307b9fa35ffc4d09859da810d3ff1a3450b6df79d584bc1/SDL_Sebastian-DeLine-Agnes-Etherington-1440x960-photo-credit-Tim-Forbes-PAN_1440.jpg" data-mid="210383392" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5551b1e99909b4387307b9fa35ffc4d09859da810d3ff1a3450b6df79d584bc1/SDL_Sebastian-DeLine-Agnes-Etherington-1440x960-photo-credit-Tim-Forbes-PAN_1440.jpg" /&#62;Sebastian De Line

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/dba7cca7dbecfdf59d29b2a4aff5e91de6487612e61e44302122c7a222af3363/Pennina-1-PAN.jpg" data-mid="210383389" border="0"  src="https://freight.cargo.site/w/1000/i/dba7cca7dbecfdf59d29b2a4aff5e91de6487612e61e44302122c7a222af3363/Pennina-1-PAN.jpg" /&#62;Pennina Barnett
&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/38496408fbf7948c210bc3c2763a17358d328cc489360b00ef06430d92e5680c/CV_Cecilia-Vicuna-2646-Portrait-PAN_B_1440.jpg" data-mid="210383385" border="0"  src="https://freight.cargo.site/w/1000/i/38496408fbf7948c210bc3c2763a17358d328cc489360b00ef06430d92e5680c/CV_Cecilia-Vicuna-2646-Portrait-PAN_B_1440.jpg" /&#62;
Cecilia Vicuña


Website ︎︎︎

	=


&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/826b10e90ce631f6e012847b96cc88403eafe1deaebb1d563bd2dc052f0586eb/ELTA-2-PAN-main-portrait.jpg" data-mid="210383386" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/826b10e90ce631f6e012847b96cc88403eafe1deaebb1d563bd2dc052f0586eb/ELTA-2-PAN-main-portrait.jpg" /&#62;East London Textile Arts

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/d27819ecdaa4cc065c4659eaf7d54b83df717e4940bb77e2a977b1ecc7b6e8de/Caroline-28-cropped-PAN-FINAL-111021.jpg" data-mid="210383376" border="0"  src="https://freight.cargo.site/w/1000/i/d27819ecdaa4cc065c4659eaf7d54b83df717e4940bb77e2a977b1ecc7b6e8de/Caroline-28-cropped-PAN-FINAL-111021.jpg" /&#62;Caroline Arscott

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/4855e04fe38a55f1fc977faaa2c7ad23c6f28353fc7f9ca8e2c189627f0f438c/Rahemur-1-PAN.jpg" data-mid="210383390" border="0"  src="https://freight.cargo.site/w/1000/i/4855e04fe38a55f1fc977faaa2c7ad23c6f28353fc7f9ca8e2c189627f0f438c/Rahemur-1-PAN.jpg" /&#62;Rahemur Rahman

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/21eefad862bea535d9cb6cd3800ad4e1788b1fe9a1650afb4f39c1c51e0c9905/Raisa-10-cropped-PAN-111021.jpg" data-mid="210383391" border="0"  src="https://freight.cargo.site/w/1000/i/21eefad862bea535d9cb6cd3800ad4e1788b1fe9a1650afb4f39c1c51e0c9905/Raisa-10-cropped-PAN-111021.jpg" /&#62;Raisa Kabir

&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/3138b772bb3f0f04b3eb273b8d8ebf95f98a69e4a8731d1fc85a87d05b1cd23e/Clare-1-cropped-PAN-FINAL-111021.jpg" data-mid="210383384" border="0"  src="https://freight.cargo.site/w/1000/i/3138b772bb3f0f04b3eb273b8d8ebf95f98a69e4a8731d1fc85a87d05b1cd23e/Clare-1-cropped-PAN-FINAL-111021.jpg" /&#62;Clare Watson

Cecilia Vicuña
&#60;img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/0336168a7a12936f46b266f0c6845b99919aeac18720ad3c8a70fcffb2865d5c/Nando-4-TB-040521-BD.jpg" data-mid="210383388" border="0"  src="https://freight.cargo.site/w/1000/i/0336168a7a12936f46b266f0c6845b99919aeac18720ad3c8a70fcffb2865d5c/Nando-4-TB-040521-BD.jpg" /&#62;Nando Messias
Photographs taken by Thiery BalPhotograph of Cecilia Vicuña taken by William Jess Laird


</description>
		
	</item>
		
		
	<item>
		<title>how we behave</title>
				
		<link>https://grantwatson.info/how-we-behave-1</link>

		<pubDate>Tue, 23 Jan 2024 12:31:57 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

		<guid isPermaLink="true">https://grantwatson.info/how-we-behave-1</guid>

		<description>
	

	How We Behave
/ an Archive of Radical Practice 


How We Behave is an archive of queer, feminist, and transgender stories. Based on interviews, it is animated by the idea of non-fascist living, through experimental, countercultural, and political practice, queer study, and self-work. Brought together from conversations with over one hundred people, it is driven by curiosity, and asks what it means to have political agency in times of crisis and transformation.
How We Behave includes interviews with individuals from different backgrounds and generations, conducted by Grant Watson in Belgium, Brazil, Greece, India, the Netherlands, the United Kingdom and the United States between 2012 and 2022. The invitation to participate extending from the networks of Watson, If I Can’t Dance I Don’t Want To Be Part Of Your Revolution and through a relay of recommendations between interviewees. Topics covered include reading, note taking, art, mental health, spirituality, group work, community building, gay liberation, queer activism, race, class and migration.
The diverse, intergenerational character of these narratives encourage cross referencing, the transfer of knowledge and the potential for solidarity. They indicate how personal concerns can be deindividuated, radicalised and linked to sites of struggle. Reflected in these conversations is the need to fight emergent fascism on multiple fronts, including the fascism in our behaviours and everyday lives.
The 22 interviews which have been selected for this website appear in a number of formats. Including the original audio recordings, transcriptions, scripts, and script readings rendered as video portraits and sound works. These formats reflect different levels of editing and production. How the interviews have been ‘crafted’ and ‘performed’ with an understanding of storytelling as a bridge between public and private worlds.How We Behave was originally commissioned by If I Can’t Dance as a research project for Edition V– Appropriation and Dedication (2013-14) following which If I Can’t Dance online studio curators Anik Fournier and Megan Hoetger initiated an archival activation of the project between 2021 and 2023. Part of the project was developed during a 2019-2020 fellowship at BAK – basis voor actuele kunst, Utrecht.&#38;nbsp;


&#38;nbsp;


Exhibition: IHLIA LGTBI Heritage/OBA
Oosterdok, Amsterdam
December 11 – January 7, 2003/4Website&#38;nbsp;︎︎︎
How We Behave has 
previously been presented at:
 
IICD performance days, Amsterdam (2014) 
Nottingham Contemporary (2015) 
the Showroom, London (2015) 
State of Concept, Athens(2016) 
Pompidou, Paris (2017) 
Extra City, Antwerp (2017)


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Why We Behave 


What follows is an introduction to How We Behave written for If I Can’t Dance Studio. Because it's a studio I’m going to make it provisional, which means working on this text with the idea of adding new sections alongside future uploads, but also holding off from using it to immediately define the project. That’s not to say it won’t sharpen up. The trajectory of the project has included precise moments as well as blurry ones, periods when things come into focus and then lose it. The challenge for something that is social, interactive, and experimental is to carry it through moments of doubt. In this respect If I Can’t Dance, an organisation that provides something like an open economy for extended uncertainty, has been crucial in sustaining the How We Behave allowing it to find its coordinates, gradually accrete and go on to new phases. The online studio residency being the most recent. 


The studio invitation came in 2020 just after I had finished a three-year research project that involved significant commitments. The need to give this work my complete attention meant that I had to largely drop How We Behave, which at that point was getting shown in various exhibition spaces including Extra City in Antwerp and the Whitechapel Gallery in London. The sense of purpose that came from these commissions and presentations, which were small but important as a route map, on returning to the project several years later, has given way to a period of archiving and sifting through. I took the studio commission as an opportunity to go back and look again at what is a large but heterogenous interview archive compiled over 10 years beginning in 2012 and still growing. The first step being to gather it all onto a hard drive. &#38;nbsp;


What is How We Behave for? This question came up in a seminar as well as in a private conversation with an artist friend. This is a good question and one I hope to address over the course of this text and its various updates. What I can describe with confidence is the initial concept, with the proviso that the interviews and their storylines have exceeded the capacity for this to contain them. Hence the need for a revisit. 


It began with something in Vanity Fair from 1983. A seductive piece of high-end 1980s magazine publishing wrapped around a serious conversation between Paul Rabinow, Hubert L. Dreyfus and Michel Foucault. The topic was le souci de soi (the care of the self) from antiquity. There is a suggestion planted somewhere in that interview (and characteristically ringed around with caution) that certain questions or problematics from the past, buried in historical texts concerning self-care, ethical conduct and relations with others, might have a purchase on the present. That the practices and techniques described in these texts, could be useful in navigating the complex terrain of social relations pertaining to groups seeking emancipation from moral censure and legal discrimination, such as gay liberation and the women’s movement. One of the limits of the Vanity Fair interview is that it only haltingly looks at cultural difference, and altogether neglects the question of race. The departure for the How We Behave interviews then, was to update this conversation looking principally (but not exclusively) at queer and feminist narratives addressing these concerns in the 2010s, and going beyond the western – centric parameters of the original.


In 2014, part way through, I wrote a summary of the interviews to date for a text published by If I Can’t Dance, as part of their ‘Performance in Residence’ series. For this I drew up a list of terms relating to ‘life practice’ which were used as coordinates for the interviews. 

Terms including - note taking, reading, work, exercise, walking, experimentation, production, diet, literature, theory, fiction, sensibility, structure, improvisation, poverty, risk, pedagogy, friendship, sex, promiscuity, abstinence, speech, death, disappearance, spirituality, old age.&#38;nbsp; From this list I highlighted four terms - notes, theory, friendship and death - when I edited the transcriptions.


Reading this list again today I had almost forgotten how these terms were used to orient a discussion about life practice. And in the meantime, another question had come to the fore do with a lived politics. Here the focus was away from the ‘self’ and towards the transformation of social conditions and relations bound up with how we formulate our lives. This idea comes across in many of the interviews as a complex entanglement between the micro and the macro political that transgresses a strict division between the public and the private and goes beyond ethical consumption. One interviewee expressed this well when she said, that for her – ‘It’s about getting politically conscious and understanding how this relates to my life. But then also figuring how do you be in the world in a way that matters, and in a way where you understand your politics as not only an abstract thing, but how it relates to how I go about my daily life. How all of this is part of politics.’ These concerns prompted a different emphasis as well as the subtitle ‘An Archive of Radical Practice.’ 


The particularity of people’s lives and how these intersects with larger structures is a question I wish to unpack, using the interviews as source material. But first, following the decision to track the various steps taken in How We Behave - from recorded interviews, to the transcriptions, to the edited texts to mediations using sound and moving image - I want to go through these stages one by one and try to grasp a methodology. Even if after the event. &#38;nbsp;


Starting with the interview. In my experience this is a scenario which is both interactive and contained. It is modest, requiring little infrastructure beyond a space, two or more people, their willingness to communicate, and if you want to document the interview, a notebook or some recording equipment, a phone will do. Jonathan Skinner describes the interview as able to generate ‘descriptions of the life world of the interviewee’ and as ‘a craft technique’ which can be used to ‘unfold the subject’s life story.’ In his book ‘The Interview, an Ethnographic Approach’ he explains this from the perspective of Anthropology giving an account of the terms and techniques used in that discipline. 


In Skinner’s terms How We Behave interviews would be described as thematic and semi structured. That is not working from a questionnaire on the one hand or going in unprepared and allowing for free association on the other. We start the interview with a brief explanation of the project and how the material might be used and then begin the conversation by asking if the person takes notes. This is a question most interviewees can relate to, as almost everyone we spoke to takes notes of some sort. It has the added benefit of being simultaneously detailed and open ended. After this we allow for improvisation, reaction, and creative choices to happen along the way, but always with the list of terms up our sleeves. 


The questions in Skinner’s book about the ability of interviews to gather accurate data were of less interest for the project. If it was going to be an invented type of anthropological field work, it would be one open to all kinds of fictions and self-representations. To be fair, Skinner’s ideas about the ethnographic interview, as well as those of his sources such as Steiner Kvale (who provided the quotes above) hold open questions of veracity and truth telling. In what I assume to be a break with earlier approaches in anthropology, at another point in the book the interview is described as a dynamic ‘meaning making’ event and a collaboration between two people that builds on memories to produce stories that are both improvised and rehearsed, although rarely outright fiction. Skinner calls the interview a ‘ritualised performance space’ and for my project with its habitus in an institution dedicated to exploring typologies of performance’ they inevitably sit within this typology. Something brought to the fore in the video portraits where interviewees perform their own transcripts. 


In How We Behave some interviewees might use the space to experiment with a fictional self with the idea that fiction means inventing a new personality - which is fine. More compelling though are conversations addressing what is already there. What is there, is mostly a complicated scenario with lots of moving parts, but here storytelling and narrative links can potentially bring new ‘forms of life’ into focus. It could be that the interviewee has told their life story many times, or maybe it crystalises in the telling, either way the interview dialogue can involve an aesthetic dimension, the use of dramaturgy or fine description, the ‘craft’ referred to by Skinner, that takes us to the idea of the ‘bios as the material for a work of art.’ 


For reasons that are too obvious to recount, these interviews though concerned with people’s lives are very far from psychoanalysis. Indeed, the focus on practice rather than interiority could almost seem like a rejection of it. However, I live with a psychotherapist, and hear about case studies all the time (with, I stress confidentially being observed) and I can’t help making comparisons. In the interviews, it’s impossible not to recognise that there is unspoken communication going on. In some schools this would be considered part of the transference and countertransference process that is a key to the psychoanalytic relation, according to ideas developed in the 1950s by Melanie Klein amongst others. In psychoanalysis an understanding of transference and countertransference is developed across multiple sessions and becomes central to a layered reading of what is going on in the room. 


For me by contrast, in one or two meetings the attempt is made to collaborate on producing an account that will potentially go on to have an audience of readers, listeners, or viewers. But nevertheless, what the interviewee chooses to talk about, how their idea of who I am affects this, what preconceptions determine my line of questioning, and how all of this gets communicated between us, remains open. 


One to one conversation with a psychoanalyst take place in a clinical setting and this already sets the terms and conditions. How We Behave interviews happen all over the place, although I try to establish in advance that the setting will be suitably contained. This is itself a development. At the beginning we toyed with the idea of going out on the street and doing sort of vox pop interviews with passers-by, before deciding on a set up where a group including the interviewee sat around a table while a stenographer recorded the conversation. It was both informal and staged and we met like this in various institutional settings, such as The USC Roski School of Fine Arts in LA, Casa do Povo in Sao Paulo and the Showroom in London. 


It felt like an integral part of the project, and so it was a wrench to leave it behind when I conducted interviews in India where logistics would not extend to this format. Since then, the interviews have been conducted mostly one to one, and have taken place in people’s studios, their homes, in empty workspaces, staff rooms, though zoom and indeed once on the street. I try to be conscious of how each setting shapes the interview, at the same time as sustaining a focussed concentration. In one instance, the conversation on the street, the setting produced an account of a homophobic attack involving the interviewee that took place nearby, as well as a performance to mark the event. In more changes, I had always ruled out online interviews until the pandemic when they became the only way to keep the project going. Post pandemic online interviews have become a way to connect internationally without excessive carbon emissions. 


Finally, to the demographic. As a short-hand I describe the interviews, rather than the interviewees themselves, as emphasising queer and feminist narratives, or at least those are the ones I privilege. The term queer, because of its slippery nature can mean anything and nothing and for this reason many have left it behind. But as Judith Butler points out in a recent interview, in the past the term queer seemed to allow for a coalition building based on multiple sites of oppression besides class. And more recently there has been an interest in how queer minoritarian positions intertwine with class and forms of economic exploitation as well as how a reading of them allows us to understand class in more complex ways. 


The class position of individuals who have taken part in How We Behave would need to be looked at in their particularities. The majority are involved in producing culture in one way or another, mostly in the fringes of the artworld, often with a foot in academia, many engaged in some kind of political activism. A privileged group to some extent, certainly in terms of access to travel, knowledge and cultural capital. But if, as Holly Lewis suggests, we avoid seeing class as a cultural category, understood as the way we speak, dress, educate ourselves, arrange knives and forks and so forth - but instead as something concrete and based on economic circumstance, we get a different picture. While the artworld is adept at supressing extreme income disparities within its ranks, most if not all the people I interview own few if any assets, and so need to stitch together a precarious life on the back of artistic and writing commissions, speaking invitations and part time teaching jobs. The price perhaps for keeping the space open for a creative practice. How We Behave interviews are interesting in particular, when we hear about how these creative practices extend to the life world, or asks questions, such as - wouldn’t it be better if insecurity and the need to compete weren’t seen as the cost of a non-alienated life.


(to be continued….)


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From top to bottom:
Selection of images from How We Behave, 
including script reading, If I Cant Dance I Dont Want To Be Part Of Your Revolution, Amsterdam, 2023, photography by Martin
 Nauw; assorted stills from How We Behave video portraits, photography by Kate McDonough; portrait of Abhina Aher,
photographer unknown; portraits of Jessica Gysel, photography by Katja Mater.


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		<title>search for the spirit</title>
				
		<link>https://grantwatson.info/search-for-the-spirit-1</link>

		<pubDate>Tue, 23 Jan 2024 13:49:32 +0000</pubDate>

		<dc:creator>grant watson</dc:creator>

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	Search for the Spirit


In the exhibition ‘Search for the Spirit’ a series of documents attempt to capture transcendent experience, through images of asceticism, bodily manipulation, magic, glamour, metaphysica labstraction, and the dissolution of the self into nature, colour and light. Proto mystical contentappears in works that are mostly serial and indexing something difficult to grasp. The title comes from an exhibition by the Canadian artist group General Idea which took place at the Galerie Gaetan in Geneva in 1976 and featured thirty six ‘show cards’ in a serial format of image, text and rubber stamps on identical mounts. These cards develop the motif of the ‘General Idea Beauty Pageant’ and explore the group’s interest in glamour as a physic force, able to move people to do unusual things, and as a metaphor for art and its power to transform. 
Starting with the show cards by General Idea, the exhibition features a range of archivalmaterials and artists’ works. This includes the Canadian artist group Image Bank’s sculpture ‘Colour Bar Research’ (1971) three thousand wooden blocks painted primary colours and greyscale, which were floated down Robert’s Creek in British Columbia, and the video ‘Light On’ (1971) showing two naked men in nature exploring each other’s bodies with the light of a handheld mirror. Company Paintings from the mid Nineteenth Century depict Sadhus performing feats of physical prowess and endurance, which reflect the British attempt to visually document the customs and traditions of colonial India. A set of gouaches and architectural plans from Eileen Gray produced mostly in Paris during the 1920s, translate the vocabulary of high modernism, reminiscent of Supremacist painting, into interiors, carpets and screens, and communicate an idea of cosmopolitan life. Stitched works by psychiatric patient Johanna Natalie Wintsch from the Prinzhorn Collection, also from the 1920s, spell out the names of the doctors inher clinic and suggest a symbolic language influenced by her interest in Theosophical ideas.
Two contemporary artists develop themes in the exhibition through commissioned works. Luis Jacob in a series on paper which reproduce paintings by Mark Rothko, using typewriter keys to simulating qualities of light and shade, depth of field and emotional intensity, and Yael Davids documentation of circus skills and magic workshops, undertaken with prisoners at the Mechelen Municipal Prison during the run up to the exhibition. Works in the exhibition, which is located in the early 20th Century theatre of a Catholic boys school, are displayed using an exhibition structure designed by the artist Luca Frei, based on drawings of angels by Paul Klee, the shape of which becomes visible when looking down on from a balcony that runs around the hall.


&#38;nbsp;Presented by the 
Museum of Contemporary Art, Antwerp (M HKA) 
as part of the exhibition 
‘Allthat is Solid Melts into Air’ 
at the Scheppersinstitutt, Mechelen
March 21 – June 6 2009
Artists in the exhibition:Image Bank
Yael Davids
Luca FreiEileen Gray
General Idea
Luis Jakob
Company PaintingsJohanna Natalie Wintsch


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Exhibition images, the Scheppersinstitutt, 2009, photography Christine Clinckx


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