Specification : a0.11

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George Katsiaficas suggests that art own autonomous logic might be its salvation.

Art can express its radical potential only as art, in its own language and image. The liberating message of art is likely to persist until the millennium which will never be, art must remain alienation Art cannot represent the revolution, it can only invoke it in another medium, in an aesthetic form in which the political content becomes metapolitical, governed by the internal necessity of art. Herbert Marcuse, Counterrevolution and Revolt (Boston: Beacon Press, 1972) pp. 103-4.

Katsiaficas, G. (2008) Eros and Revolution paper [online at] http://www.eroseffect.com/articles/ErosandRevolution.htm [last accessed 11th July 2016]

Day 06

11th July 2016 11.02

Reading room inserted into corridic space – Visual Arts Research Area, artists publications and research interests in textual, photographic forms.


The area below the Mezzanine. Contained indoor wall spaces


14.21 audio recorded interview with Michael Whitby in his studio space. Intention to discuss self organized education and site-based education and how this manifests itself around individual or collective learning or both. 1:08:20




The discussion Open School East

MA level or equivalent

Need BA or significant experience/or age related not from a Foundation. Entry requirements a specific project as a written proposal, (although a lot of people deviated from this) Need to consider what you will be dong for the year

To make a documentary of a community centre the community centre collaborative will existing people, then widen to include people in the local area.

Written proposal is quite limiting and is a skill in itself.

OSE as a space for critique of other institutions and approaches to education. MW suggested that OSE has the value system as seen in the Arts Council.

OSE funds available to students.

Commercial artist visited and made significant references to men, they were pulled up on this created an open space were people wanted those discussions  able to challenge then developed an alternative approach to crit from that. MW felt able to reflect on this. This became a main area of learning and discussion, around gender. Race, politics and the ability to articulate more clearly and confidently on these areas at a good level further developed from debates led by Anjalika Sagar and Kodwo Eshun.

10 years of The Retreat (2017)

Initially a proposal for an art farm, based outside a city in the commuter belt feeding off the city no structure just an idea. A group of artists, walking, discussing, engaging with the countryside. Everyone give a presentation around the evening meal. A day workshop in a printing studio. Interview each other passing the camera around. View film and publication. One off one week version in Cornwall, then Nefyn peninsula (Porth Neigwl,/Hells Mouth) North Wales Wimbledon help with funding a graduate otherwise self funded £100 for a week.

The Practice

Working something out, but not getting it down.  Building an educational practice around Retreat? More and less art without defining things as art for example the raw food cooking or breathing works but a performance and does not have to take place in an art context. Academic / writing things down.

Interview with Michael Whitby, Key Points:

Open School East structured in Terms, finite teaching input, technical skills in mould making, invited artists to come in for critics, artists talks, mentors, tour of the City of London in regard to surveillance and ring of . Jon Coaffee?

      What could be a Radical Curriculum?

      How would one create a radical curriculum?

      Discussions on Anti-University Now (legacy of Fee Paying Anti-University and research undertaken by Hackney archives and curator/activist Shiri ShalmyDoes fee Paying/self funded education assists in liberating education, giving it autonomy to make own curriculum and 2nd Wave Feminism?

      The role of Associate as opposed to student use of terminology to describe participants, why?

      How will self organised education develop

      How did group dynamics impact on the development of discussions?

     How are / where spaces created for debate?

     What was the impact of the Otilith Group?  Visited OSE – but separately, screening films and then discussion on white privilege. Further discussion on gender, age privilege.

     What is an arts practice? The work around Retreat and the work around that which is less quantifiable. How can this be extrapolated, made concrete?

Audio Memo app on phone

Michael Whitby (http://www.twopeacocks.co.uk/whitby.html)


Questions and observations

Introduced MW to Raum Labor/ Rirkrit Tiravanija

MW introduced me to Nils Norman https://wallsandspace.org


Testing Site

How can an educational experience be expanded?

What constitutes an arts practice? 

What constitutes an artistic space of/for artistic production?

What is the content of an artist practice  Proposal for Bauhaus exercises and meals matched together.

What is the social role of the artist?

What is academic writing?

How can this practice work?

Unsuccessful drawings. Films that do not answer the problems could this be investigated further?

Combining art and life a Bauhaus/KKK/Braziers/OSE philosophy

How does the social role of artist fit in to make a practice?

What are the spaces/sites for this practice to be located?

Who organises the spaces? What are the dynamics of being in these spaces?

Who participates in these spaces and in what ways? (Any selection process is excluding).

What are the hierarchies?

How can the familiarity of Education spaces be revisioned/ envisioned? How can the space be expanded to provide a different experience?

How can these specific spaces/ sites be expanded further?

*Social and political legacies, as an example The Situationists  who studied the specific effects of a geographical/physical environment as an example through triolectics – three sided football in France (Asger Oluf Jorn/COBRA).