The Consultant @ Supercrawl 2013

This is the 3rd performance intervention at the arts festival in Hamilton, Ontario and perhaps my last here.

My recurring character for these enactments is the Consultant persona – a outside critical eye from an outside theoretical framework, and not always welcome. This series of my work is not meant to settle as part of a landscape (the Consultant may describe the same concern as “becoming a monument”) but a slight affront to it, and three times in the same context is probably approaching a demystified state of local cultural interpretation.

The first intervention was a interpretation of the local concerns of gentrification of an area, and took the form of evaluating the worth of gallery spaces, but outside of considering the cultural worth but the physical shape and other detached values. The second was in collaboration with a poet and performance artists and we adopted a social theory induction approach that was more aloof of our immediate surroundings, but drawing our “data” from it.

This, the third time, was based on my earlier concerns about the presentation of the role of the visual arts as a brief form of entertainment in a carnival context that would lead to expectations of public art’s function as almost purely theatrical. I reject the notion that art is entertainment, and worry about the political economy interpretations of art as function for entertainment. This is the crux of the criticism.

To enact this, I designed the performance to skirt around the edges, the fringes, of the festival as a sort of walking “Salon des Refusés” of the curatorial process for these kind of brief public constructions of precious arts funding. Being a closed ecosystem for artists outside of property owners and the jury, all others participation of serious contemporary creation are, by definition, an intervention.

I’ve been interested and incorporating elements of popular myths into my performance interventions for well over a decade now, starting with UFO mythology as embraced in the group performances of The UFO Research Group collection (Montreal, Ottawa, Toronto). The Consultant incorporates common reports of behaviour and situation as reported in Sasquatch reports.

Specifically, some of the elements I am researching through this practice are:

Frame 352 from the Patterson-Gimlin film

Frame 352 from the Patterson-Gimlin film

1. Just outside of civilization (the border of the art festival).

2. An aloofness; a sense of purpose, value and priorities unknown and unknowable to the observer (projection my own “art” onto objects that do not normally warrant close or equal scrutiny).

3. A reaction of confrontation, hiding, and moving away into darkness, i.e the bush (hiding in doorways, behind signs).

4. A reliance, a faith in, a tertiary media (social media, photos, oral retelling and interpretation) to substantiate the documentation of the event.

I am happy to report it worked – someone told me of the “creepy guy” they saw. What a great opportunity to find out why! I learned from him it was my “odd” behaviour and the confusing costume (he couldn’t see “where the face was supposed to be”) that prevented meaningful interpretations based on the immediate cultural / ceremonial context.

In other words, I was out of place and not cooperating by providing instant meaning in an entertaining, accessible way. I was creepy. Most people keep their distance. I’ve had groups follow me for awhile, almost as if they are waiting for something to happen. Sometimes I get trapped by a group of people circling around. Believe it or not, sometimes people get really mad and confrontational when I don’t acknowledge or interact with them. You’ll see an example of this in the video below.

This time, I incorporated a catcher’s mask with an iphone displaying an animated swirl (as did my papered (bureaucratic) costume). These are “null” symbols – the swirl is universal enough to be without any set cultural meaning other than usually meaning something. They broadcast an intent, but not my meaning. They aren’t meant to as tools to decode, but to establish questions in a public sphere.

I had a second iphone mounted on the frame in front of my face, but this one was with the camera facing outwards and recording whatever I was looking at. It was very shaky and poor quality – perfect media for an imperfect experience. I wanted to document the experience of being … different in a crowd. The quality of alientation and intrusion are very present, I think. I’ve included a three minute clip. It’s very shaky, grainy, inconclusive and heavily processed with anti-shake and anti-wobble algorithms – just like a number of media fragments surround the Sasquatch mythology. Thanks to my support team, Jen and Cedric.

 

“Supercrawl to be moved to Ancaster, merged with Festival of Friends”

As I attended my grad program’s orientation session, the Department Chair informed the room full of new students and new Hamilton residents of this news. To be fair, he was hesitant about it’s validity because it does seems ridiculous – and it is ridiculous because it’s actually a superb piece of parody news originating from this city’s version of The Onion – Hammer In The News.

OMG. I laughed and still chuckle thinking about it.

Luckily, I clarified that this was spoof news (which is very relevant to my communications program) and encouraged my fellow students to attend the event on James Street North in Hamilton – it’s not moving anywhere. I also found out later a couple of last year’s students have installation work happening that night and I am really excited to go see it. Hopefully no one will show up in Ancaster looking for Supercrawl, and hopefully the organizers of this event have learned a lesson about marketing and publicity.

For example, one small signal that they have become more sophisticated is that little old me has finally received a press release for the event after three silent years since asking to help promote it through some of my art news websites. Their previous approach reflected the insular and political nature that plagues much of Canadian arts marketing practices by keeping it in within the community of arts professionals and out of the larger discourse of the public realm. This is akin to a siege mentality which is of course ultimately self-defeating. It is getting better simply because it has to get better to try to keep up with the rest of the world – but this is a whole other post to composed soon.

The lessons here are three brave new forms of media born of digital culture that are crucial for art industry to embrace.

This local parody news website has tremendous value in earned media and shared media because it focuses on very relevant local attitudes and politics. Earned media because people are talking about this spoof news of their own volition – it’s what happened in my above example of a the department chair discussing this of his own volition with the new students. Shared media is passing a brand’s marketing campaign through social media and other channels – it’s what I’ve done by posting Supercrawl’s press release, which goes straight to my wordpress, facebook, tumblr and twitter accounts. Think of it as a net being cast out and capturing more relevant eyeballs, as opposed to keeping inside a sort of walled garden of content where only the same community of people are subjected to the same message over and over.

The third media form I wanted to point out is News Jacking – which Hammer In The News engages in and what I have done with this post. Simply, by posting your own relevant content that mentions, links and relates to large events before or as they happen will result in increased organic search engine results. When someone searches for Super Crawl, or about the rumour that Super Crawl is moving to Ancaster, then this blog post may very well appear. For an artist, you can post about Art Toronto a couple of weeks before it happens and include a photo of your own work. Chances are you’ll get increased traffic to your website as people search for news about Art Toronto as the date closes in, and these people will see your work when they are in a mindset to see the best in world class contemporary art. Best of all for the arts, it’s a free strategy.

Hammer In The News has caused disruption media for Supercrawl’s brand message, and I think this ultimately of great value to the festival though I hear the organizers are somewhat exasperated with the popularity of this parody news and the catalyst it provided for some negative feedback of the festival’s direction.

Speaking of negative feedback, I delivered some in an earlier post about Art Crawl and Supercrawl that I’ll again clarify, as my criticism reflects some of my points above.

First, I only am commenting on the visual arts approach of the events and is not relevant or pertinent at all to other elements present such as music, performance, food, activism, etc. Only the effect on the public’s relation to the visual arts and the compromises that the artists themselves make to their art to accommodate the nature of the festival. It is not a criticism of the artists or even their art – it is a criticism that work, even the “best” work by the “best” artists in the world, are compromised when placed in such a short, temporary location and subjected to thousand’s people shuffling by briefly. It pulls fine art out of it’s purpose of contemplation, challenge and questioning into the realm of entertainment. Fine art is not entertainment, but becomes such when competing with the overwhelming sensory experience that is the entertainment of this kind of festival. This is different than Burning Man which runs for a week and allows for time and space that is not cluttered, or Art Toronto which is only three days but the art is not competing with entertainment or performing arts.

Secondly, these concerns about such festivals are not original or new. It is simply a concern that local visual artists are there to be called upon by a tourism department to “celebrate the vibrancy” of a city’s cultural scene at such brief events and then are dismissed back into a state of toiling and scrounging in relative obscurity. There has always been a bias that visual artists need to volunteer their time and comply with presenting temporary art that is “appropriate” – which means safe, temporary, non-offensive and generally entertaining. This is not a sincere reflection of a serious contemporary artist’s motivations, in my view. My concern is this approach is putting the cart before the horse. A festival like art crawl did and should continue to be the child of a sustained contemporary art scene and not be confused as the end motivation. People should be coming to downtown Hamilton any day of the month because of the visual art, and not associating it with a once a month party.

Thirdly, it’s about ownership and control. By limiting the exposure to Hamilton’s art scene to a handful of a single location specific festivals, we are ceding ownership of our work to a select group of interests who have now taken control of who can show and how – the roots of the scene were firmly placed in a more open environment for artists and this was the engine of its initial popularity. Extended, this is the crucial problem with Toronto’s Nuit Blanche – it’s an onerous application process to be included and is virtually inaccessible by a since art-loving community as it now largely an outdoor drunk fest filled with yahoos and absolutely packed with crowds. It’s turned into a corporate advertising opportunity tightly controlled by a select group of interests. This is not about the sustained development of excellent studio work by a community of contemporary artists. It had the promise of that, but isn’t and should *not* be the measurement of the local art scene. It should be one of many supporting apparatuses of such a scene.

Fourthly, my view of the problem of juries selecting art comes into play here – any jury selecting any work of any medium tends to eliminate the best and the worst applications and you are left with a slate of programming that represents the average of the submissions. Thus, a prestigious festival such as Nuit Blanche attracts some of the best artists from around the world, and you’ll get a high caliber of art but it is still the average of the range of submissions considered. Masterwork, by definition, is the unexpected, unconsidered and unexplored that confronts and challenges us and this is what confuses a jury of experts whose job it is to compromise and select work that is recognizable as acceptable by other experts. This is not a specific criticism of any artist or curator but it is simply an observation of human behaviour and group dynamics, and I am sorry if I offended anyone by applying this concern to Supercrawl. In my opinion, the only way to truly embrace the avant garde, the experimental, the truly best of contemporary art is to open up meaningful participation beyond the specific time, location and control. In this way an art festival can grow and become remarkable and the remarkable becomes the new normal.

Fifth, to be fair, I am not a hypocrite and I do participate with my own work in both Art Crawl and Super Crawl. I have not applied to be part of Super Crawl, and I do believe there is a place for excellent and sincere contemporary visual and performance art in such a setting. Having thousands of people and open streets to work with is a fantastic opportunity, but I will not cede my own standards of a progressive contemporary art scene to a small group of community festival organizers. Myself and other artists will take part but in a real sense the participation will be intrusive, disruptive and guerrilla in nature. I won’t be measuring the success of contemporary art work by how entertaining it is or by how many people walk by it. I won’t judge a work by being on one part of the street rather than a few blocks away . This is a dangerous path to limited arts funding because corporations and local government who will put more of this precious limited funding into a two day event rather than other overall sustained efforts that are ultimately more beneficial to the creative economy. Politicians love a chance for one-off, symbolic support with high media visibility that will carry over to the next election and corporations are the same as they want to appeal to the broadest demographic, and not necessarily the worthiest.

I am concerned that, typical of Hamilton and many other smaller cities, that Supercrawl will become a white elephant project of sorts to the detriment of the health of the larger arts community and to the benefit a few business owners and the careers of a couple of curators.

I understand that the counter-argument will be that such a festival attracts interest in the arts and enhances the health and thus overall funding. I hope this is the case, but my criticism was a challenge to do better, do more and do it all the time. Galleries sit largely empty on James Street North between the art crawls – this is the crux of the problem. If you let them, those who control and dole out art funding will pay themselves to throw a big party with all the money and starve the event workers for the rest of the rest of year.

Does open public debate about these kind of issues have a place in Hamilton, or should I have submitted it to a committee first?

The Consultant will be back for Super Crawl 2013.

The Consultant will be back for Super Crawl 2013.

[Podcast #9] Interview with #hamont Heritage Activist Graham Crawford

Listen to the Audio Podcast here (also available on iTunes)

I had the honour and pleasure of interviewing Silver Jubilee Medal recipient Graham Crawford at his HIStory & HERitage Museum storefront space. Crawford is a hero to some and a thorn in the side to others with his outspoken views on city business and priorities. Retired from a very successful run in the corporate world, he perhaps is the best example of the methodical and intelligent activist who vexes the myth of the malcontent and uninformed activist that seemingly is applied to anyone who speaks out in this community.

When I first moved to Hamilton, Ontario three years ago, Graham’s storefront window full of “culture jamming” images and commentary was an intriguing and accessible point of entry to learn about this city in transition. During this interview, I try to get an overview from Crawford on what makes Hamilton architecture so special, some of the current problems with the political leadership and where Hamilton is going next.

The interview goes for an hour and a half, and could of gone on for another hour and a half. I hope you enjoy.

(Bonus: Fellow Silver Jubilee Recipient Matt Jelly art included below)

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#Hamont Art Crawl explosion: “Fuck your little art festival – I’m from New York, baby!”

The Jon Spencer Blues Explosion

The Jon Spencer Blues Explosion @ This Ain’t Hollywood

The Jon Spencer Blues Explosion played a concert here in Hamilton, Ontario on Friday and it was one of the best concerts I’ve ever attended in all of my life.

I saw these guys at the Horseshoe Tavern in Toronto and it was good, but not like this – they were giving the S’aint crowd something special that night. It was crazy. They didn’t stop playing at all, they just kept going. So much so the crowd had waves of people seeking some relief on the patio from the heat and sheer volume, and then coming back for more.

So why is this concert review on an art blog? Because this music legend mentioned Hamilton’s monthly “Art Crawl” taking place that same night on James Street North, right beside the concert venue. And he told the Hamilton arts community exactly what they needed to hear.

“I took a little walk through your art festival tonight – is it every Friday?” He rasped into the microphone as the band played in a holding pattern, “Well, I took a walk there around the corner and saw all the art and your stuff for sale – and it’s shitty. Fuck your little art festival, I’m from New York, baby! The center of the fucking art universe!” And then they launched back into music awesomeness.

Oh my god, I laughed and clapped. Not because I think he’s completely right, but mostly because this is rock’n’roll and this “Fuck you and whatever you do” attitude is part of the real deal.

But I also think he is right in that we needed to hear this – this art community needs to know they have a long way to go, and are not there yet. And, perhaps most profoundly at all, we need to recognize that attracting a bunch of suburbanites into the core of Hamilton for one night is not artistic success – it’s simply pandering to people who are too chicken shit to think outside their subdivision boxes otherwise. Art Crawl is like a mediocre themepark where a couple of thousand people may shuffle by some work and judge it in 1.3 seconds based on it’s mass entertainment appeal. Some buy things. Small businesses and other areas benefit.

That’s great, but at the end of the day we are still left with a shitty little art festival for a bunch of local Canadian suburbanites who don’t really give a shit about the arts (as is the way with Canadian culture. Almost the worst in the world this way).

We have long, long way to go to truly impress anybody beyond our borders, much less New York. I don’t think we ever will here as this festival is headed firmly in another direction at this point, as is the glossy brochure version of the festival “Super Crawl” which is really just a bunch of corporate sponsors, bands and average art installations*. We’ve traded that for some sort of bullshit “vibrant” metric that funding agencies like to see written about this kind of stuff.

Nope, this is not the place anymore for serious artists and serious works. Art Crawl is now just background noise for contemporary art as the gentrification cycle is now in full swing and developers are loading their families into the minivan and scouting out the area. Perhaps while enjoying an ice cream and noticing a few paintings that look like the group of seven.

Thanks for speaking the truth, Jon Spencer. It *is* a shitty little art festival in many ways. It needs to keep growing, to spill out of James Street North and for their to be a genuine art scene based on ideas and talent and hard work – not a package to sell like some t-shirt to tourists. It needs wow. It needs to leave no doubt as to it’s high caliber and it needs to be so awesome it doesn’t give a shit if you show up or not. We need to do better. The arts is not a gift shop, and I am concerned that the overwhelmingly dominant “We love art crawl don’t you?” crowd is ensuring the demise of Art Crawl before it ever truly got a chance to be something more…

…We need more art explosions, baby! And all the other kinds of art money won’t buy. That’s why many serious artists moved to Hamilton in the first place.

*I believe any programming by committee will be result in an average selection – the best and the worst submission tend to be eliminated through this process.  Like Toronto’s Nuit Blanche official programming, having an curated art project aspect to Super Crawl and not a completely open arts festival component that is still listed is criticized by some.

Pop-Up gallery exhibit one for the books

Open Book Group Exhibit at 21 Rebecca Street.

Hamilton purportedly has a DIY culture and attitude and that reputation has attracted many arty types like myself to this quirky rust belt city. Sometimes, the perception is not really the reality and many of us have been yearning for empty buildings downtown to be bought and turned into impromptu exhibit spaces – and only three years later, have I finally seen this happen the way many of us have been daydreaming it should happen.

Welcome to the neighbourhood, Book Club Gallery.

Located on Rebecca, just off of James Street North and in the shadow of the Jackson Square monstrosity, the Book Club Gallery was never a Book Store. It was a wool broker office, and a print shop, and a hair salon – it is currently a pleasant austere space with art by some of Hamilton’s best artists. At least for the next few weeks – who knows what the owner, Cameron, will do with the space next but having a pop-up exhibit is such a great way to fill the space in the meantime. There are a lot of empty storefronts in Hamilton, and their owners could learn a thing or two about fostering community from people like Cameron.

(Unfortunately, Hamilton has many empty storefronts because of their owners are slumlords who don’t want the “expense” of the space being used for anything. They just want to flip the property at some point in the future after people like us creative class types put in all the hard work to improve the community and thus the real estate value. The City councilors here are, in turn, kinda meta-slum lords because the home crowd in this small city all know each other and look out for their “buddies”. But things are changing because there are so many new people arriving , and we’ve see that things are better elsewhere and so things will change here. This is a kind of hostile cultural takeover. But enough of this issue at the moment..)

Back to the show – the participating artists in this exhibit, one of the best so far of 2013, are Donna Akrey, Sarah Beattie, Andrea Carvalho, Margaret Flood and Svava Thordis Juliusson.

There was a small amount of people who attended the opening, but it’s slightly off the Art Crawl beaten path. A couple of sandwich boards would address this problem nicely. Such a good show – Cameron, please consider keeping it open for the next art crawl!

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Donna Akrey’s work is sprawling and subtle. Go ahead and try to find this bear. You’ll be glad you did.

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Donna Akrey

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Andrea Carvalho – this work really takes advantage of the space, I think. These sculptural installations look like “Office Ghosts” to me. Love this.

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Margaret Flood is making some multiples of the HOV lane on the highway – the car pool lane. She’s communing to work in Toronto and making art about it. Like I did when I was commuting. This is a very real part of the landscape. Maybe there should be a group exhibit of commute art…

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Donna Akrey’s secret storage space…

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Donna Akrey

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Donna Akrey

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Donna Akrey

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Svava Thordis Juliusson – Toronto’s loss, Hamilton’s gain.

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Svava Thordis Juliusson

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Donna Akrey

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Andrea Carvalho, Margaret Flood and Svava Thordis Juliusson

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Svava Thordis Juliusson

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Svava Thordis Juliusson

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Donna Akrey

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Andrea Carvalho, Margaret Flood

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