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An opportunity to think about/discuss further things that have come up so far eg hide/expose care/cure....

what you’d like your /UB relationship to be like with the cabinet

what we should do with our cabinet in storiel in August (inc ideas for what to signpost)

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Aim

This Collaboratory is the first in a series of ‘Curious Conversations’ with Carreg Creative in which we’ll explore [how to get] into and out of the cabinet.

This ‘curious conversation’ will of itself be part of, and will lead into the creation of work for and beyond the cabinet in Storiel. Part of our collective activity will involve various forms of documentation to [collect? Represent? Make visual?] and reflect on the nature and location of the engaged art – how is it manifest?

Programme

11.00 Welcome and introduction to the commission and what we’ll be doing today

11.20 Discussion/individual mapping to explore ‘flow’: how do you [or we as Utopias Bach] make ‘engaged’ art/get it into or beyond a ‘cabinet’?  How do we feel our flow is around institutions: What’s supporting it and what challenges us -which places feel dead-ended, which open doors?

11.45 Break

12.00 Show and discussion

12.45 Reflection and what next

13.00 Close

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from Celf ar y Cyd Collection

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© Paul Davies/Amgueddfa Cymru - Museum Wales

In this drawing, Paul Davies brings together representations of his major land art works. He worked with local communities on proposals to create giant maps in the landscape constructed from earthworks and planting. This drawing includes designs for a Map of Wales in Ynys Môn (1987) and an unrealised World Map for Merthyr Tydfil (1989).

We have a duty of care to all our audiences. This website draws on legacy collections data. We recognise that some of this information may be outdated or discriminatory and we're currently working to review our records. If you have any questions or comments on an artwork, please contact us.

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In this drawing, Paul Davies brings together representations of his major land art works. He worked ...

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from Storiel Collection.

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Micheal Iwanowski's invitation to create The World Map According to You. 

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Micheal Iwanowski's invitation to create The World Map According to You. 

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click the image to visit the page*

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LEARN

Michal Iwanowski
27 September 2023

The World Map According to You

Michal Iwanowski

27 September 2023 | Minute read

For this activity, I invite you to make a map of the world according to you.

First, take a moment to think about the world you live in, or a world that you would like to live in. How do you see the world? What matters in it the most?

Next, think about a map of your world. What would it contain? Would it have the same continents as the existing ones, or would it perhaps have just one big continent? Would there be continents at all, or just a vast ocean? Where would you be on the map?

And finally, think about the materials and the workspace where you will make your map. Will it be a small map you can make out of plants on a sheet of paper on your desk? Will it be a massive map drawn in the sand? Or perhaps a colourful map made out of pieces of plastic you have collected for recycling? The possibilities are endless!

In the example above, I wanted my world to be completely covered with plants, recovering from traffic and busy cities. I collected a few fern leaves, a couple of daffodils, and used a blue pillowcase for the background - it was just the perfect colour to represent the oceans. I used a real map of the world for reference when making the shape of the continents, and then used the leaves and flowers to construct my map. Scissors came in handy when trimming some of the leaves and fine-tuning the contours. This is the world map according to me.

The World Map According to You

Now it's your turn.

You can make your map as large or as small as you wish. You can sculpt it out of sticks, construct it out of pebbles, weave it with string, or grow it out of seeds in the garden - whichever method you feel represents your world the best. Use your imagination; the sky is the limit!

Follow these steps:

1. Think of an idea for your map. What is the world map according to you?

2. Once that is settled, think about the materials to make the map. You might want your friends to help you if you're making a very big map.

3. Find a good location to make the map - flat surfaces are the easiest to work with. You can build your map outdoors, or collect materials and bring them home to create your map on your desk

4. Collect the necessary materials, and, when you're ready, start making your map!

5. Once finished, you will need a camera (you can use your phone of course) to photograph your map. It is worth thinking about the photograph before you start making the map - what will be the easiest way to photograph it straight on, from above? If you need help, make sure to ask. Adults are usually quite helpful, especially the tall ones.

6. The final step is to send us your photograph. We are very curious to see it, and to learn what the world map according to you is!

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Mappa Mundi DAVIES, Paul © Paul Davies/Amgueddfa Cymru - Museum Wales ...

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Sgwrs Chwilgar Tân a Llif Collaboratory Curious Conversation 21.3.24

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Sgwrs Chwilgar Tân a Llif Collaboratory Curious Conversation 21.3.24

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Sgwrs Chwilgar Tân a Llif Collaboratory Curious Conversation 21.3

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How do we flow into and out of the cabinet 

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How do we flow into and out of the cabinet 

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What can we see through the cabinet (the gold frame) of a complex, messy, place based practice?

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This is a space for sharing thoughts and images relating to: [Sut i fynd] i mewn ac allan o'r gabinet? Sut gallai arfer creadigol ‘ymgysylltiol’  fod yn berthnasol i oriel gelf gyfoes genedlaethol Cymru (gwefan Celf ar y Cyd) a chasgliad Storiel?            [how to get] into and out of the cabinet: How could our engaged practice relate to the national contemporary art gallery for Wales (Celf ar y Cyd website) and Storiel’s collection?

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This is a space for sharing thoughts and images relating to: [Sut i fynd] i mewn ac allan o'r gabinet? Sut gallai arfer creadigol ‘ymgysylltiol’  fod yn berthnasol i oriel gelf gyfoes genedlaethol Cymru (gwefan Celf ar y Cyd) a chasgliad Storiel?            [how to get] into and out of the cabinet: How could our engaged practice relate to the national contemporary art gallery for Wales (Celf ar y Cyd website) and Storiel’s collection?

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Carreg Creative (Lisa Hudson and Lindsey Colbourne with Wanda Zyborska) are inviting creatives whose practice focuses on collaboration, process and engagement to take part in a ‘curious conversation’.

Sgwrs Chwilgar 1 - Utopias Bach Collaboratory (zoom) 21.3.24

Sgwrs Chwilgar 2 - Utopias Bach Collaboratory (zoom) 18.4.24

Sgwrs Chwilgar 3 - Y Padlet (yma! Here!)

Sgwrs Chwilgar 4 - Storiel/Zoom 27.4.24

Sgwrs Chwilgar 5 - Cabinet yn Storiel/Website (Sept - Oct 24)

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 Gwahoddiad 1 - creu eich map eich hun! Invitation - creating your own map!

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 Gwahoddiad 1 - creu eich map eich hun! Invitation - creating your own map!

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Cabinets - exhibiting and non exhibiting, the ethics of hiding - exhibiting by Sarah Pogoda

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Cabinets - exhibiting and non exhibiting, the ethics of hiding - exhibiting by Sarah Pogoda

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Thank you for sharing the 21 March collaboratory - such a beautiful conversation.

I want to pick up a couple of threads.

As you have said in your voice note Sarah, there are such subtle questions about the ethics of visibility & hiding - as that relates to the word cabin, and to the function of shelter.

To me, those ethical questions extend to visibility & hiding as that relates to what feels like related but separate questions - the matters of care and of cure.

The cabinet for a dispersed contemporary art museum is such a clear illustration of the difficulties that we are in the thickets of - in “the art world” and all of the arguments about what we are actually seeking to do in our work. I especially think that now that I see a photo of it. What I see immediately is that a box made of glass, situated inside the doors of an institution. Which of course is the essence of a museum - objects behind glass, inside prestigious & most lockable doors. Visibility, curation and terms of access are at the core of the whole set of ideas and practices, to good and to ill.

I thought a lot in the last few years about curation, and what that might mean or be, and how it relates to the work I am doing, or think I am doing. This conversation is very much related to the questions that I have. My questions feel a bit naive, a bit unsophisticated. This is not an apology, but an observation. Probably the work of Joseph Beuys is relevant to a lot of my questions.

Some questions :

In what way is curation related to curing? To the work, for example, of a curate? Can curing, and tentatively curation, be equated with healing? Are we therefore speaking about facilitating bodily encounters or creating places or moments where healing could potentially occur?

What is healing? Can we understand healing as repair of the universal by way of repair of the local, so for example a person becoming or being made more whole - as a being who is woven in, a part of a wider wholeness?

When a bodily wound heals, there is scar tissue, which is thinner, tougher, more flexible. What is the significance of this to the cabinet?

Don’t we tend to hide our scars? What about our wounds? Why? It feels generally right that we would do so, but is it always right? What happens when the scars are revealed in the correct moment or in the correct way? (For example, Odysseus is recognised by his nurse by the scar on his thigh & this seems necessary in the story. Or again, the Fisher King has his mysterious wound and suffering, and Parsifal fails to ask him the question that needs to be asked about the suffering - and this failure to ask is disastrous.)

In the narrative of the poem I made, for example, the transformation (if there is one), necessarily happens invisibly, and inside what might be imagined as a small dark place, obscured, and far away from the glass cabinet. I would find it difficult to imagine how a transformation of that kind could be accomplished in full view in a glass box. This goes very deep. If it is an allowable word in this context, I would like to say this kind of hiding seems to be a matter of soul.

And there is a converse and equally difficult question, in matters of care at least , if not of cure - which is the question of invisibility. The work (and it is gendered work) of care : this work is and historically has been invisible. (Cure tends to be a bit more glamorous. Eg doctors get paid a great deal more than nurses.) One of our most painful experiences is the experience of being invisible. I’ve been an independent advocate for many family or “informal” carers over the years. There is a side of it that must be spoken - the invisibility & lack of recognition of the work of care , it just hurts. It is an open wound.

So there seems to be a responsibility - to not look at certain moments, to not put them on view.

And there seems to be another responsibility, to be at the very least asking good questions about some of the things we are not seeing.

I thought of bandaging it, swaddling or shrouding it. The cabinet. Maybe.

There is no conclusion to this note, I just wanted to put these thoughts down, 💛.

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This is a continuation of the many comment-responses I posted earlier, before realising it might be easier to read when posting a proper post.

Sian, I can´t wait to talk to you in person. The references to Beuys resonate to me, however in the past year I have engaged with Beuys more critically and developed an affirmative scepticism towards Beuys . I appreciate his campaign for challenging the heroic society of post war Germany, however that society fell in love with him as it allowed them to perceive themselves as victims (and not perpetrators). Instead of facing the atrocotoes committed by Germans, Beuys' art philosophy invited Germans to deviate from the historic dimension of there past into a metaphysical spirituality and receiving healing from there - rather problematic, I feel. For me, this results in the urge to test his concepts, rhetorics and aesthetics by confronting it with material realities (and avoiding simply reproducing the concept or discourse). I have to admit, that I have not yet succeeding in doing so.

You are very right when linking Beuys' dada-blabla (he could speak for three hours and afterwards no one could have said, what he was all about) with the material and strucutral reality of/for care and cure in the UK (and beyond) today. And maybe this might be a pathway to continue beyond the cabinet-destination?

I feel, the cabinet conversation allows us to immediately challenge structures that are at risk to disenable an ethics of visibility (as the glass cabinet suggests a regime of visibility) - challenge the structures but not on a meta-level but in practice - and considering time, money and space only, a practice on a very small scale terrain. Often practice proves our conceptual wander/wondering wrong (or better: not quite right). Very exciting.

I wonder whether we might see that within the given material situation (glass cabinet, concrete stone museum, corridor = transitional location), we can use all these factors not for presenting a "new ethic of exhibiting in the museum cabinet" but for showcasing (haha, what a word: showcasing!) techniques/tactics/strategies/aesthetics towards an ethic of "hide and seek"?

Maybe Wanda or Anna Powell might have some ideas as they are familiar with Deluze/Guattari? But I think also in feminist thinking we will find such tactics?

I would like to close my post - similar to Sian - with questions:

Why do we feel we need to cure vulnerability?

Why do we associate glass with transparency (and not - remember the circus/fairground links) with a "Spiegelkabinett" and illusion - things always appear larger/smaller thanks to looking through glass?

Where is the limit of transparency?

Are secrets a good thing?

What does the carer know about the cared for?

What does the cared for know about the carer?

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I was captivated by your curious conversations which I watched on the Zoom recording soon afterwards.

I've since read more of your compelling posts and insights here which have prompted much deeper thoughts around secrets, pain, invisibility - and at this time following Easter about living with wounds - but perhaps more of this for another thread or conversation.

In the meantime I'll leave my initial response to the recording here just now ...

I loved their meanderings, igniting the imagination and animation of time, objects and place.  I wanted to unmute and join in! Here are just a few thoughts and ramblings.

Wanda's evocative grounding of being in the museum for me evoked dust and glass, whispering, echoes, domes and the opening and closing of doors.  I took part in Suzanne Lacy's Cleaning Conditions, a live performance in 2013 at Manchester Art Gallery. Lacy's homage was to Allan Kaprow as we swept the gallery floors,

Sweeping the dust from the floor of a room. Spreading the dust in another room. So it won't be noticed. Continuing daily.

- there were discussions raising awareness of domestic and immigrant labour, minimum wage and feminism.

The invitation to bring small things and to place them in a space of choosing wherever that might be, rather than handing them over, giving them up to a curator was an early thought that resonated.

Joseph Cornell's boxed assemblages prompted me to create memory boxes made of glass and wood for my parents, part of a span of each life, some years ago - and they were much smaller than I'd imagined when I saw them in real life in Wanderlust (2015) at the RA filled with all kinds of curiosities.  He collected what he chose to find significant, the every day, the extraordinary from his dreams and imagination and ephemera from within the boundaries of his life in New York, sealed in as visual artefacts, perhaps perceived as precious; capsules of time and memory a century later.

The items and objects we choose and collect or make or deem precious are multi-dimensional in time and space.  What is the longevity of the cabinet and its contents physically and virtually? Who are the likely visitors, viewers, audiences in the museum - and in the wild?

Mark Dion and his Tate Thames Dig (1999) was another artist who came to mind - and mention of the original word Wunderkammer for Cabinets of Curiosity - Sarah will know, the idea of wonder, wondrousness, wonder-filled objects, words, images and ideas - wondering about the contents and how to get them and us in and out of the cabinet, dispersed as we already are by our locations.

I love the idea of blurring boundaries.  Setting the objects free, however contained they or we might be - unsealing them from the cabinets, unlocking the doors, taking out the glass, letting them fly, run wild, hide in other secret places.

Exhibitions are of fixed duration in galleries; temporary, fleeting, soon forgotten and not always accessible to all - so an unleashing of constraints through the website is also invaluable - to hold the conversations, objects, images and other documentation, as already so wondrously made and held for Utopias Bach.

I would love to be involved as other ideas are rising like sound recordings of voices whispering clues and directions around the gallery to outlying places and spaces.

I look forward to coming to Storiel on 27 April and to more curious conversations.

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cysgod, eg. ll.-ion, -au. lle go dywyll neu o olwg yr haul, clydwch, cysgodfa, diddosfa, noddfa, darn tywyll a wneur gan rhywbeth yn sefyll yn y golau. SHADE, SHELTER, SHADOW.

cysgodi, be. bod mewn cysgod, tywyllu, gwasgodi, noddi, amddiffyn, ymochel. TO SHADE, TO SHELTER, TO SCREEN.

( Y Geiriadur Mawr)

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Gwahoddiad - Invitation: Sgwrs Chwilgar Storiel Curious Conversation. Bangor/zoom 27.4.24

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Gwahoddiad - Invitation: Sgwrs Chwilgar Storiel Curious Conversation. Bangor/zoom 27.4.24

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Mae Carreg Creative (Lisa Santana a Lindsey Colbourne gyda Wanda Zyborska) ac Utopias Bach yn gwahodd pobl greadigol lle mae eu hymarfer yn canolbwyntio ar gydweithio, proses ac ymgysylltu, i gymryd rhan mewn ‘sgwrs chwilgar’ (ar-lein/yn Storiel), ar rhan ein comisiwn gan Storiel/Oriel Celf Gyfoes Genedlaethol i Gymru.

Carreg Creative (Lisa Hudson and Lindsey Colbourne with Wanda Zyborska) and Utopias Bach are inviting creative people whose practice focuses on collaboration and engaged practice to take part in a ‘curious conversation’, as part of our commission by the new Wales Contemporary Art Gallery and Storiel.

Dydd Sadwrn 27.4.24 Saturday

Ymuno â ni! Join us!

Am ddim! FREE! Mwy o wybodaeth - more information click on the image

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[English below]
[Sgroliwch i lawr ar gyfer y rhaglen ~ Scroll down for the agenda] Cynhelir y digwyddiad hwn gan Carreg Creative,, mewn partneriaeth ag Utopias Bach ac mae'n rhan o gomisiwn gan Storiel, Bangor ac Oriel Celf Gyfoes Genedlaethol i Gymru. This event is hosted by Carreg Creative, in partnership with Utopias Bach[*The 'outside the gallery' nature of engaged contemporary practice often results in artefacts/art works as a parallel strand of collaborative, embodied activity which encompasses conversation, performance, film, sound and installation. These are difficult to 'contain' or represent within a 'cabinet', whether the cabinet of a website (Celf ar y Cyd) or a physical cabinet (at Storiel) and even within the 'cabinet' of the art world as a whole.] Rhaglen/Agenda and is part of a commission by Storiel, Bangor and the National Contemporary Art Gallery for Wales.
Mae'n ddyddiau cynnar i'r fenter oriel celf gyfoes genedlaethol i Gymru. Fel menter genedlaethol, mae'r oriel celf gyfoes genedlaethol i Gymru yn anelu at eirioli dros bractisiau creadigol cyfoes a thyfu cynulleidfaoedd a chyfleoedd i ryngweithio, yn lleol ac yn rhyngwladol. Yn seiliedig ar fodel gwasgaredig, mae'r oriel celf gyfoes genedlaethol i Gymru yn bartneriaeth rhwng Amgueddfa Cymru, y Llyfrgell Genedlaethol, Cyngor Celfyddydau Cymru, Oriel Myrddin yng Nghaerfyrddin, Oriel Canolfan y Celfyddydau yn Aberystwyth, Oriel Davies yn y Drenewydd, Storiel ym Mangor, Plas Glyn-y-Weddw yn Llanbedrog, Canolfan Grefft Rhuthun, Oriel Mostyn yn Llandudno, Amgueddfa ac Oriel Gelf Casnewydd ac Oriel Gelf Glynn Vivian yn Abertawe. Mae'r model gwasgaredig hwn yn ddull uchelgeisiol sy'n ceisio ymateb i ddiddordebau cymunedau ac adeiladu cefnogaeth gydlynol a hyrwyddo celf gyfoes yng Nghymru ac o Gymru.
The day will combine bilingual discussion and creative activity, with plenty of time for breaks and individual reflection. The venue is wheelchair accessible.
Ar gyfer ein comisiwn, mae Carreg Creative yn gwahodd pobl greadigol lle mae eu hymarfer yn canolbwyntio ar gydweithio, proses ac ymgysylltu, i gymryd rhan mewn 'sgwrs chwilgar' (ar-lein/yn Storiel), 27.4.24 11yb - 4yh

Bydd y 'sgwrs chwilgar' yn archwilio [sut i fynd] i mewn ac allan o'r cabinet. Sut gallai ein harfer ymgysylltiol fod yn berthnasol i oriel gelf gyfoes genedlaethol Cymru (gwefan Celf ar y Cyd) a chasgliad Storiel?

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It's early days for the national contemporary art gallery Wales initiative. As a national initiative, the national contemporary art gallery for Wales aspires to advocate for contemporary creative practice and to grow audiences and interaction, locally and internationally. Based on a dispersed model, the national contemporary art gallery for Wales is a partnership between Amgueddfa Cymru, National Library of Wales, the Arts Council of Wales, Oriel Myrddin in Carmarthen, Aberystwyth Arts Centre Gallery, Oriel Davies in Newtown, Storiel in Bangor, Plas Glyn y Weddw in Llanbedrog, Ruthin Craft Centre, Mostyn in Llandudno, Newport Museum and Art Gallery and the Glynn Vivian Art Gallery in Swansea. This dispersed model is an ambitious approach that seeks to respond to communities' interests and to build cohesive support and promotion of contemporary art in and of Wales.

For our commission, Carreg Creative are inviting creatives whose practice focuses on collaboration, process and engagement* to take part in a 'curious conversation' (online/in Storiel) on 27.4.24 11am - 4pm

Our 'Curious Conversation' will explore [how to get] into and out of the cabinet. How could our engaged practice relate to the national contemporary art gallery for Wales (Celf ar y Cyd website) and Storiel's collection?

The starting point for our 'curious conversation' will be:

This 'curious conversation' will of itself be part of, and will lead into the creation of work for and beyond a 'cabinet of curiosities' that will be on display at Storiel for a month between May and September 2024. Part of our collective activity will involve various forms of documentation to [collect? represent? make visual?] and reflect on the nature and location of the engaged art - how is it manifest?

1100 Arrivals and panad, welcome and introduction including exploring Tan a Llif poster Beca, Mappa Mundi by Paul Davies and Michael Iwanowski's 'Map according to You', and the 'cabinet of curiosities'
When you book your free place, please let us know any access needs (including whether you want to attend in person at Storiel or online)....
1200 Llif - Flow - exploring how do we make 'engaged art' and get into/beyond a cabinet

1300 Cinio/Lunch break

1400 Tân - Fire - exploring polarities, power dynamics and norms

1500 Break

1515 How does all this relate to what we do in, out of and beyond the Cabinet at Storiel?

1600 Cau/Close

Tea and coffee will be provided - please bring your own lunch

Please join our curious conversation!

More information and results of previous curious conversations see here: https://www.utopiasbach.org/tan-a-llif

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sgwrs chwilgar ~ curious conversation tickets

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sgwrs chwilgar ~ curious conversation bangor

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sgwrs chwilgar ~ curious conversation bangor tickets

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Eventbrite - Carreg Creative presents Sgwrs Chwilgar ~ Curious Conversation - Saturday, April 27, 2024 at Storiel, Bangor, Gwynedd. Find event and ticket information.

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All this talk of hiding/exposing/etc and being 'in' or 'out' of the cabinet (and Lisa's diagram) is making me think about how we position ourselves as Utopias Bach in relation to the art world (as a cabinet, or a series of nested cabinets). It feels like UB is a liminal space perhaps: we are trying not to be captured or to exhibit ourselves or be producing 'results' that can fit in the cabinet. This is because we are working with/exploring things like 'uncertainty and emergence' and learning about 'noticing and caring' and that doesn't fit well with requirements of funding or conforming or exhibiting. It means a lot of unpaid (unseen) labour and invisibility but also it feels safe and open and honest. If we were 'well known', if we went for funding again (with related deadlines, requirement, and inability to really sufficiently fund a collective rather than individuals etc) would we become captured by a need to 'produce', 'cure', 'exhibit' 'decide'? Or might it encourage us to reach out, engage more widely, share our vulnerability as we negotiate these things?

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This is the view of the cabinet we have for a month in Storiel, August 2024

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Careg Creative_ Celf ay y Cyd_The Framing of Liminal Space

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Gaia reading out her documentation of the Curious Conversation 2

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Gaia poem the framing of liminal space Utopias Bach Collaboratory 18.4

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A little video from our collaboratory

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From the outside looking in!

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Y cabined

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Ein perthynas efo'r cabinet: our relationship with the cabinet 

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Ein perthynas efo'r cabinet: our relationship with the cabinet 

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Please note: this video contains quite a lot of movement and unexpected sounds

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Sgwrs Chwilgar -Storiel - Ein Perthynas efo'r cabinet: Our relationship with the cabinet

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Felly.. beth i neud o fewn y cabinet, a tu allan a thu hwnt i'r Cabinet yn Storiel? So…what to do in, out of and beyond the Cabinet at Storiel?

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Felly.. beth i neud o fewn y cabinet, a tu allan a thu hwnt i'r Cabinet yn Storiel? So…what to do in, out of and beyond the Cabinet at Storiel?

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Dyma'r sgwrs olaf yn storiel - here's the last conversation in Storiel. Loads of ideas in here for what to do with our cabinets (the one at Storiel and a website)!

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What to do with our cabinets Sgwrs Chwilgar - Storiel

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a possible label for the cabinet, made in the curious conversation, 27.4.24, (Siân Barlow)

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Joining a meeting to discuss the cabinet from Brazil, a long way from the museum and friends inside and out, yet connected.

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Modreb Venodita gan Wanda Zyborska + Sarah Pogoda

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Modreb Venodita gan Wanda Zyborska + Sarah Pogoda

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Sgwrs Chwilgar Storiel Curious Conversation 27.4.24 (6 of 92)

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Lle dan ni nawr - where are we now in relation to the cabinet

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Lle dan ni nawr - where are we now in relation to the cabinet

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< ----- mewn/in allan/out ------->

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Lle dan ni isio bod - where we want to be - in relation to the cabinet

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Lle dan ni isio bod - where we want to be - in relation to the cabinet

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< ----- mewn/in allan/out ------->

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Interesting article shared by Trine Moore

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Interesting article shared by Trine Moore

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Throughout history, artistic production has been framed in opposition to productive labour. Today, creatives are still feeling the aftereffects of this. Here, anthropologist and illustrator Julien Posture unpacks why this might be and offers some potential solutions.

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Why creative labour isn't always seen as "real work" - and what that means for artists and designers

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Throughout history, artistic production has been framed in opposition to productive labour. Today, creatives are still feeling the aftereffects of this. Here, anthropologist and illustrator Julien Posture unpacks why this might be and offers some potential solutions.

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Y linell // the line...

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A link to a video of a book of my notes from the curious conversation on 27 April at Storiel. It's a bit of a thicket.

Sian Barlow

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finding our way into the cabinet ...

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Just noticed that I liked or loved or enhearted all contributions posted here so far. Trying to remember when was the lst time that I walked through an exhibition ready to like, love or enhearten all artworks in the room?

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Gwahoddiad - Sgwrs Chwilgar 5 (Cabinet Storiel) - Invitation

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Gwahoddiad - Sgwrs Chwilgar 5 (Cabinet Storiel) - Invitation

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As part of the National Contemporary Art Gallery Wales project, Storiel are excited to have commissioned five artworks that respond creatively to Storiel's collections as well as contemporary art from the national collection, many of which can be seen on the Celf ar y Cyd website. The commissioned artists are Studio Cybi, Christine Mills, Audrey West, Carreg Creative and Rachel Evans. Each artist in turn, will display their work for five weeks within a display cabinet, loaned by the artist Gareth Griffith which is located near the stairs on Storiel's ground floor.

The idea of the commissions is to explore what the national contemporary art gallery for Wales could mean for each artist and their local community, with flexibility of how this is approached and through what medium. The creative processes and outputs of which will contribute to the ongoing development of the national contemporary art gallery for Wales.

Whether the artwork is stimulated in response to an artwork or artist represented in the national collection or an item from Storiel's museum collections, or both, the artists' responses will reflect specific interest of their practice - whether relevant to the artist's community, landscape or cultural heritage.

The Cabinet Exhibition dates are:

Studio Cybi 11/05/24 - 15/06/24

Christine Mills 22/06/24 - 26/07/24

Audrey West 03/08/24 - 07/09/24

Carreg Creative 14/09/24 - 19/10/24

Rachel Evans 26/10/24 - 30/11/24

A workshop, led by Carreg Creative to begin creative conversations around this project was held 27 th April at Storiel. Further workshops with some of the artists are also planned and include;

Audrey West workshop dateTBC

Rachel Evans workshop date TBC

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More information about the National Contemporary Art Gallery Wales initiative
It's early days for the national contemporary art gallery Wales initiative. Based on a dispersed model, the national contemporary art gallery for Wales is a partnership between Amgueddfa Cymru, National Library of Wales, the Arts Council of Wales, Oriel Myrddin in Carmarthen, Aberystwyth Arts Centre Gallery, Oriel Davies in Newtown, Storiel in Bangor, Plas Glyn y Weddw in Llanbedrog, Ruthin Craft Centre, Mostyn in Llandudno, Newport Museum and Art Gallery and the Glynn Vivian Art Gallery in Swansea.

The national collections, cared for by Amgueddfa Cymru and the National Library of Wales, are central to the model. Contemporary artworks from the collections are being loaned to partner venues, for inclusion in exhibition and outreach programmes. Hand in hand with this, is the will to develop commissioning, engagement and exhibition opportunities that both draw on and support Wales' contemporary artists.

As a national initiative, the national contemporary art gallery for Wales aspires to advocate for contemporary creative practice and to grow audiences and interaction, locally and internationally. This dispersed model is an ambitious approach that seeks to respond to communities' interests and to build cohesive support and promotion of contemporary art in and of Wales.

The initiative is funded by the Welsh Government.

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As part of the National Contemporary Art Gallery Wales project, Storiel are excited to have commissioned five artworks that respond creatively to Storiel's collections as well as contemporary art from the national collection, many of which can be seen on the Celf ar y Cyd website.

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The peripatetic career of the artist, into and out of the cabinet, looking for the money, curious about the power.

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Sgwrs Chwilgar 2 Curious Conversation 18.4.24 Zoom recording

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Sgwrs Chwilgar 2 Curious Conversation 18.4.24 Zoom recording

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For some reason i can't post the recording directly, so to see the recording of the zoom meeting please go to: https://vimeo.com/937774796

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Creative pathways into and outside of the cabinet

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The connection of forest with cabinet. Where it comes from and goes to.

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Where is the energy flowing? Inside or out? Intensive or extensive? Where is the money and where is the power?

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Sitting in the renowned German Academy of the Arts Library for studying some marginal German experimental film makers, I came across the women artist Chris Reinecke who worked with similar methods, philosophies and approaches as does Utopias Bach,s tarting from the mid-1960s to just 1971 – when she decided to leave the sphere of art and instead engage in political action/work. At the high point of post-Fluxus institutionalization (her then partner Jörg Immendorf was co-opted by museums and galleries and dived into a global career). Reinecke quickly understood that only working within the field of art would always end in not bringing change, as the mechanism which should become predominant in neo-liberal post-Thatcherism (but were already in place in the world of art) do unarm the artist by bringing them into the institution, focusing the force of practice and movements onto one artist personality (a man of course) and then selling these artists as one of their own.

We already discussed that, but I also want to share the conclusion of one scholar about the invisibility of Reinecke’s artistic ideas in the world of art (because she opted to not be part of it): ‘Reinecke's career has shown that the consistent step out of the art system leads to an almost traceless disappearance. The comparable approaches of the 1990s, however, remain linked back to the system insofar as they utilise a double strategy. Here, the exit from the system is simultaneously a message to the system and is reflected in concept books or international exhibition contributions. In this respect, Reinecke's demand KUNST MUSS SEIN is still up for discussion.’ (original in German, this quote is translated by me)

The way the (female) author of the quote concludes Reinecke’s (non-)career might sound sad, but for me, there is more to think about:

1. What does visibility/invisibility mean?

2. Who is the author of visibility (who sees who?)

3. Are forces of influence, learning, continuing that come with process-oriented art always invisible if they are embodied (and thus un-authored/un-signed)?

4. Do we have to re-think the concept / practice /value / benchmark /criteria of (in-) visibility for acknowledging practices, movements, learning outside of the museum/gallery/theatre/film/ etc. – as institutions of visibility?

5. Is keeping the cabinet completely empty a possibility for addressing the regime of visibility and invisibility?

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if you click on the box, it'll take you to the film

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I've had a quick play - sorry this isn't the individual words we talked of for writing into the whited out cabinet window!

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(In) visible

Inside out

Tu mewn allan

Come in

Dewch (i) mewn

(i) mewn a ni

Clearing (out)

Clearance

Sold out

Closed

Open

Ar gau

Ar agor

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Helo pawb, dyma chi'r cyfweliad "scores" gan Sarah (24.8.2024). Diolch i chi am gwrando arnafi ac am ymateb iddo fo efo syniadau ffantastig.

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I was thinking about “trust” - although maybe not that exact word - for the cabinet.

To me, curation seems to be tied in with questions of trust, and how we build it / how we betray it.

I looked up “trust” in the online dictionary of etymology and I found this linked page, which takes us back to the wood of the cabinet:

*deru-

also *dreu-, Proto-Indo-European root meaning "be firm, solid, steadfast," with specialized senses "wood," "tree" and derivatives referring to objects made of wood.

It forms all or part of: betroth; Dante; dendrite; dendro-; dendrochronology; dour; Druid; drupe; dryad; dura mater; durable; durance; duration; duress; during; durum; endure; hamadryad; indurate; obdurate; perdurable; philodendron; rhododendron; shelter; tar (n.1) "viscous liquid;" tray; tree; trig (adj.) "smart, trim;" trim; troth; trough; trow; truce; true; trust; truth; tryst.

It is the hypothetical source of/evidence for its existence is provided by: Sanskrit dru "tree, wood," daru "wood, log, timber;" Greek drys "oak," drymos"copse, thicket," doru "beam, shaft of a spear;" Old Church Slavonic drievo "tree, wood," Serbian drvo "tree," drva "wood," Russian drevo "tree, wood," Czech drva, Polish drwa "wood;" Lithuanian drūtas "firm," derva "pine, wood;" Welsh drud, Old Irish dron "strong," Welsh derw "true," Old Irish derb "sure," Old Irish daur, Welsh derwen"oak;" Albanian drusk "oak;" Old English treo, treow "tree," triewe "faithful, trustworthy, honest."

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time-money-value diagram, an initial (quick) response to Sarah’s writing (20mph)

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12.10.24 ?Boîte-en-valise?

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12.10.24 ?Boîte-en-valise?

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Dyma gofod am eich adlewyrchiadau - Here's a space for your reflections!

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Dyma gofod am eich adlewyrchiadau - Here's a space for your reflections!

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After Wednesday's experimentation including listening to the treesense Coedwig soundscrape, I was thinking about tree sounds and dialogue. Firstly I thought, as trees might have a different perception of time to ours, maybe their sounds are more of John Cage’s ORGAN2/ASLSP (As Slow as Possible) … and then I thought as so many trees are connected via mycelium, their sounds emerge and assemble diachronically and synchonrically as multitude. They thereby create a symphony of pasts (similar to the star sky at night: the light we see is so many billion years old, isn´t it?)

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When a political art, as Walter Benjamin stated, does not take up a position toward its own production, it is not credible. see: Benjamin, The Author as Producer

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trying to think about difference between people who are not really in art world and nature that has come in

giving voice to artists and creatures that are not in the cabinet - spread into community

ourselves as artists to investigate our problems desires

excuse to get together wellbeing enjoyed etc

we learned. some stuff

we’ve clarified things we have been interested in from the start like noticing scores, where is the art, inclusivity

clarify polarity to make objects for exhibition and desire to work in community to make a difference to the world - kindness etc

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This article is in German - scroll down for a google translate English version!

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Collaboratory 11.11.24: Mynd allan o'r Cabinet: Getting out of the Cabinet

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Collaboratory 11.11.24: Mynd allan o'r Cabinet: Getting out of the Cabinet