“Historians when they come to write about New Labour, tadalafil need to look no further than our council (Brighton) to see where it all went wrong; an administration that consistently ignores core services in order to spend its money on headline-grabbing projects which benefit an elite fewâ€
Julie Burchill quoting a Brighton resident in there ,2035970, and 00.html” title=”Burchill article”>Guardian Weekend 17.03.2007
What has this got to do with Parade, the Angel Row Nottingham showcase of local artistic talent? Well everything and nothing. The title itself is an oblique reference,I presume, to the coincidental ‘parade’ of dignitaries, binge drinkers, (or are they one and the same) community groups and past their sell-by-date musical acts which are launching the opening of the new ‘city square’. By an act of stupendous largesse the Nottingham City Council have managed to spend £7 million pounds ‘renovating’ the city’s market square and as if that not enough then celebrated their municipal munificence by spending another £400,000 on opening celebrations. This in a city about to see community funding go into freefall pre-olympics and which despite multiple funding initiatives still has some of the worst crime and social problems in England to deal with. Hey ho let them eat cake …
On the opposite side of this mock-Spanish square replete with silver chairs (Café Nero not Yates is our cultural destiny) we find a rather worn Angel Row which in its heyday was something of a noise in the IAW (International Art World). Ironically that golden period was long ago and far away and after a time when local-bred initiatives such as the Playhouse and Midland Group actually gave the city some claim to ‘avant-garde’ status.
Fast-forward and although the Polytechnic has blossomed into a first-rate art-school the Angel Row seems curiously caught in its own reflection. Parade number 2 curated by Mary Doyle is the second in a series of 3 showcases promising the newly ‘Europeanised’ residents of Nottingham a taste of local artistic produce …a sort of organic vegetable box of the brightest and best from the region. Well.. Nottingham actually if the map on the wall is correct then contemporary art is alive and well only within the city and at one location in Lincoln and Northampton. How fresh and sustainable is this box of goodies?
This show using the usual curatorial ‘premise’ of a trendy title is called ‘Out of Place’ so is it and what does it have to say about this place here and now? Well first thing seen is a screen showing two of Roger Suckling (Nottingham resident – Lincoln teacher) shorts which are amusing and well made musings upon just such a notion. Train tickets flicker and hand held video jogs and yes we get the message…global/local. Short, well crafted and communicative. Hats off Roger and more like that please. The fresh carrot in the box and no wilting yet.
Open the door on the gallery space and another interesting piece – Eric Rosoman’s ‘Muckle Flugga’ lighthouse in miniature and a series of marks (in tasteful artschool tape as crosses..religious symbolism?) across the grey floor. A successful and intriguing piece especially when related to the framed ship’s names. Out of place certainly but fresh still and another carrot.
The rest of the room contains a few mouldier items. Simon Withers has managed to be featured in two shows on the basis of continually shifting his ‘practice’ to suit the prevailing winds. This particular vessel. ‘Rokeby Venus by jumping’ can be safely dropped in the ‘an idea you’d have in the pub but dismiss as too silly when you woke up’ school. Flimsy but attractive to funders and small children because it is funny even if it isn’t meant to be.
Candice Jacobs is big in an ‘a-n’ (that’s artists newletter to the unsophisticated) land sort of way apparently and boasts of having Damien Hirst ‘view’ her work which marks a new low in ‘solipism’ on art c.v.’s. On this basis expect lists of ‘Famous people what walked past my work’ soon. Her work…contemporary ironic with a capital ‘C’. Ironic references to other artists in same leaky boat and to be frank dull. Apparently her work uses ‘ everyday objects in unexpected ways’ – old vinyl records, glasses and artwork that looks faintly like photos in back issues of art magazines circa 2000. You get the picture. Kids like it when it revolves though so not all bad.
Oh there a site-specific wall-piece so bland I’d almost forgotten it which managed to make one corner of the room look like habitat across the road. So two limp lettuces and a mouldy parsnip there folks.
Second room and we into the potatoes (no meat..this is council funded remember). Paul Matosic and Roger Suckling both showing large films both of which enabled through munificent Arts Council funding. Both interesting and of a piece with their careers and as older members of show surprisingly fresh still. A couple of solid cabbages. Neither piece in my opinion as good as other work they have done. The third pillar in the room by Tomas Chaffe tells you all you need to know again kids like it because it a game working out which is the ‘false’ one. It no more an artistic revelation than the glorious reworking of an old idea (sadly not his own) by Niki Russell which proves that a good idea (Mike Nelson’s Turner Prize piece of 2001 in this case) can keep you in funding for a while. As an actual object it was built by somebody with all the building skill of a member of the Royal Family. Fabulous but not as fabulous as Mayer’s film of a woman regarding a step ladder. Maybe she waiting for Niki Russell to finish his room? Three very limp turnips.
So there you have it. Global influenced local produce. If shown at a vegetable show I’d say that Suckling and Rosoman would get rosettes for at least truly describing things that were ‘out of place’. The rest I’d maybe use in an art stew like this but a couple probably end up in bin as ideas too far gone to be edible.
Re-emerging into a beautiful European-influenced marble square with trams gliding surreally through the St.Patrick’s Day parade do I feel that Nottingham’s contemporary art has suddenly risen to such a degree that it deserves attention. Well no. Decent enough attempt but lacking that particularity and individuality that is going to storm the IAW (International Art World). No point in musing on what might have been in last ten years with real support and funding for these artists and what could have been achieved with the same old square in place and all that money. No we live in a world where initiatives replace commitment and PR has supplanted common sense. Nottingham had a very strong art history before all the art-speak and interventions got in the way of the expression of raw talent.
The Angel Row and its apparachiks are not a cause of this disease they just attempting to deal with a plot of ground infected with the symptoms. Even this small plot of ground is under threat too now. The powers that be say money is needed for athletes and sports stadia not exhibitions. Maybe this isn’t the rosy dawn of a new European era but the last ‘Hurrah’ of a New Labour dominated agenda that said let everybody eat cake and things will come right…..more parades, more bread (foccacia not hovis) more circuses, more lottery money for everyone….
They didn’t come right…….but we have some lovely fountains to piss away our sorrows in.
Enjoy…croissant with your ‘mock-belgian’ lager sir?
‘Moogee’
The tax paying general public don’t agree with your view that ‘real support and funding’ should go directly to artists. This has been one of the more surprising findings of Arts Council England’s arts debate. We’d love to hear what POSITIVELY BELCHERESQUE readers have to say about what principles should guide public funding of the arts today – the arts debate. Your views on the complex relationship between artistic quality and arts led regeneration would also be very welcome. The arts debate is Arts Council England’s first ever public value enquiry and we’ve already had lots of thoughtful contributions.
Luke Smith, Project Manager, The Arts Debate
Drumming up members for the arts debate is a noble thing Luke but I didn’t specify funding should go direct to artists …what I actually said was …and if I may quote myself…
No point in musing on what might have been in last ten years with real support and funding for these artists and what could have been achieved with the same old square in place and all that money.
I did not state give the artists the money I suggesting that greater funding in the galleries, studio structure and general environment for art would have produced better vegetables in our little garden.
In fact I actually have discussed the failure of ‘direct’ funding at length and am a firm believer that arts money ( that stuff that used to exist) is better spent on organisations such as Angel Row and Community groups than individuals who may or may not put it to good use. So good try but please do not put words in my mouth….
As for debate you are going to get plenty of that as the gravy train shudders to a halt…………mind you I’m sure a lot of artists can retrain? We still short of Olympic Volleyballers and how many sports artists we going to see crawling from the wreckage? Hundreds in training as I speak….running around tracks with canvases in hand….hmm feel another cartoon coming on…
p.s.
The tax paying general public don’t agree with your view that ‘real support and funding’ should go directly to artists.
Do we have some actual figures on this ( although Arts Council figures notoriously reliable as we know:-) Around here a straw poll would probably establish that 50% of the populace (all tax-payers) think the only current artist is Rolf Harris and would probably baulk at making him any richer!