Breakfast press briefings on the second morning of PRESS ROOM ranged from the UK General Election, questions on ‘the zeitgeist’ and originality and a shared concern to respond to the crisis in Nepal.
Peter Heslip (Director Visual Arts, Arts Council England), Candice Jacobs (Artist and Founder, One Thorsby Street), Stuart Cameron (Director Crescent Arts and Curator of Wales in Venice), Jane Lawson (Artist) and Christoperh Kulendran Thomas (Artist) presented the following briefs to the audience of artist-investigators and citizen journalists:
Who has voted today? @pheslip
Create the demands for #divestvenice2017 @pheslip
If the world of appearances are just a set of illusions then everything is smoke and mirrors. @Candice_Jacobs
Our subconscious mind is part of the crowd and releases a collective desire in conjunction with a desire for collectivity. @Candice_Jacobs
The ultimate human condition and its relationship to consumption, technology, power and control. @Candice_Jacobs
Collectivity as a state of hypnosis where conscious personality is lost. @Candice_Jacobs
Collectivity as a state of unconsciousness that relieves us of the fear of individuation. @Candice_Jacobs
Your existential climax is your attainment of divinity. @Candice_Jacobs
exiles from the garden explore the periphery – Stuart Cameron @crescent_arts
Christopher Kulendran Thomas
Who funds the Venice Biennale?
Break down (or estimate) the make-up of private vs public funding of the Biennalel. What is the budget of the Venice Biennale organisation itself for this year’s biennial as a proportion of the total costs of putting on the Biennale (which would include, for example, the costs borne by national pavilions through public funding as well as by commercial galleries and patrons specific to each presentation).
How does the inclusion of national pavilions over time relate to global balances of political power?
Stop playing around with art chat: pavilion, navigate, disbelieve @AkermanDaly
Write a proposal for a new kind of pavilion in 56 words @AkermanDaly
Venice is a living museum where art points at meanings @AkermanDaly
VB: vanity blossoms. Arty partays portray the indulgences of Those that Chose, How to Please, What Sells, and Vapid Betokenisms.
Event conflict: Opening week at the Venice Biennale where art and creativity are celebrated or the British General Election where the arts are not taken seriously? The creative industries bring over £76 billion per year to the UK economy. The Tory government have done all it can to undermine art education. Vote on the 7th of May to stop the systematic sidelining of the arts (do it by postal vote if you are in Venice)…. @jvoorsanger
In 2005 a controversial plan to replace the Bexhill-On-Sea crazy golf course with a Boutique Hotel led to me prudently installing my own crazy golf course into the adjacent, just refurbished, listed, modernist De La Warr Pavilion, thereby preserving the town’s cultural heritage. Here is a video and a review of the installation.
At the 2015 Venice Biennale artist Doug Fishbone is installing a crazy golf course.
My Press Room creative brief is to compare and contrast the rationales behind each work, look for clues, gather evidence, and decide if Doug’s piece is either a case of:
C) Asynchronous Co-Composition*
All reportage will be used to help contextualise my forthcoming commission – to install a Crazy Golf course in Rafael Vinoly’s landmark Firstsite building in Colchester (the town’s crazy golf course has just been demolished) which opens in June.
Thank you in advance for your help.
How can politically ambitious art escape the bounds of representation and move into real world effects? @MsJaneLawson
Mike Chavez Dawson
Venice Biennale donates to Nepalese Earth Quake disaster and encourage wealthy patrons to donate 20% of their annual netprofit! @MCD_Artist