December 17, 2014 § Leave a comment
Shadows, the open illusion of the global economy and the curtain soon to fall.
Gathered in Montreal for #SVA2014 in November through the energies of the team of Media@McGill, graduate students, Jonathan Sterne, Nicholas Mirzoeff and Tamar Tembeck. The resulting presentations and discussion have now been fully archived. Includes Natalie Bookchin, Caren Kaplan, Negar Mottahedeh, Amelia Jones, Daphne Brooks, Anette Hoffmann, Dont Rhine (Ultra-Red), Karin Bijsterveld, Nathalie Casemajor and Sumanth Gopinath (whom I shared a panel on the theme of Capitalism) amongst others.
The complete archive of presentations and discussions is available here.
November 11, 2014 § Leave a comment
puts contemporary art and scholarship in sound studies and visual culture in direct dialogue around questions of power and politics.
It is organised through Media@McGill, a hub of research, scholarship and public outreach on issues and controversies in media, technology and culture, housed within the Department of Art History and Communication Studies at McGill University.
Surveillance: Caren Kaplan, Karin Bijsterveld
Performance: Daphne Brooks, Amelia Jones
Militancy: Nathalie Casemajor, Ultra-red (Dont Rhine & Robert Sember)
Humanity: Negar Mottahedeh, Anette Hoffman
Capitalism: Mark Curran, Sumanth Gopinath
Mediation: Natalie Bookchin, Georgina Born
Mark Curran will present on the research project, THE MARKET, which focuses on the functioning and condition of the global markets. Supported by the Arts Council of Ireland, this was undertaken in collaboration with Helen Carey, Curator and Director of Firestation Artist’ Studios, the project was a central part of the visual art programme marking the centenary of the 1913 Dublin Lockout. It was installed at the Gallery of Photography, Dublin, Belfast Exposed, Limerick City Gallery of Art, CCA Derry-Londonderry and most recently at the Centre Culturel Irlandais in Paris (2014). A publication is planned for 2015.
May 31, 2014 § Leave a comment
I don’t understand people and historians who view history as something finished, something past. For me, history only has a function when it is defined from the vantage point of the present so to speak, as an essential component of the present and the future.
(Michael Schmidt 2010)
Last Saturday, May 24th, in Berlin, the exceptional Michael Schmidt passed away. Too soon. Schmidt was one of the most important German-born, post-war artists. His projects, EIN-HEIT and Waffenruhe, both as books and installations, changed everything about how I thought about and indeed used photography.
May 15, 2014 § Leave a comment
It has been some time since the last post. This followed an intensive series of events around THE MARKET , most recently being a very successful installation at the Centre Culturel Irlandais. The public and media response in Paris, further underscored the profound interest in, and indeed a need to discuss, the subject matter of the project, a subject matter that continues to grip the world.
In addition, the time away from posting has provided a chance to reflect upon where the project finds itself. The intention is to now make a further research trip later in the summer to a site in Asia that has always been viewed as a pivotal location for the project. As elsewhere, this is dependent on securing access. To date, the process of negotiation has taken almost 2 years. However, a central conceptual framing has been both how access embodies a state of relation and condition of the functioning of the markets.
In anticipation of securing access, the plan is then is for a significant publication of the complete project to appear in 2015.
In the meantime, this blog/gathering place will continue to host posts in relation to THE MARKET. Enabling a means to reflect on the research process and indeed how the mechanism/momentum of financial capitalism continues to play itself out. Perhaps to completion.
Finally, as part of this post. Here is a short video of the first installation, which includes the audio of the algorithmic soundscape, The Normalisation of Deviance as installed at the Gallery of Photography in Dublin late last year.
February 25, 2014 § Leave a comment
The image below from the installation is titled The Normalisation of Deviance II shows Spectrograms, a moving visual representation of the soundscape of the installation. The soundscape has been generated through the data collated by an algorithm to identify how often the French Minister of Finance, Pierre Moscovici used the word Market or Markets in his public speeches during the year, 2013.
Online reviews of the installation
February 17, 2014 § Leave a comment
In mid-January, I was very pleased to be invited to contribute to the 3-day Theatre of Memory Symposium at the Abbey Theatre in Dublin. Titled, The Normalisation of Deviance: constructing THE MARKET, with introduction by Fiach Mac Conghail, Director of the Abbey, my presentation on the historic stage was recorded:
The event was attended by a full-house and a review is available on the Abbey website here. The full playlist of the recorded presentations by a rich array of speakers is available here. The symposium was the first of three annual events that are planned.
January 30, 2014 § Leave a comment
…what people don’t understand… is that what happens in the market is pivotal to their lives… not on the periphery, but slap, bang, in the middle…
(from telephone conversation with Trader (name withheld), Dealing Room, Investment Bank, London, February 2013)
Mark Curran’s challenging new project THE MARKET sets out to make visible – literally and metaphorically – the sphere where our futures are speculated upon. His multi-media installation includes photographs, films, transcripts of interviews and a soundscape that investigate the functioning of the global stock and commodity markets. From Dublin to London, Frankfurt and Addis Abeba, the artist concentrates on the experience of individuals working within a supremely complex system. In the installation at the Centre Culturel Irlandais, the relationship between the individual and the abstract algorithmic systems of the market is heightened through a sound piece designed by Ken Curran that permeates the gallery space, which is generated from algorithms identifying the words market or markets from public speeches given by the French Minister of Finance, Pierre Moscovici.
Nora Hickey M’Sichili, Director of Centre Culturel Irlandais
5, rue des Irlandais
75005 – Paris
January 30 – March 2
Opening times of the exhibitions:
2pm – 6pm Tuesday to Saturday
(Late opening Wednesday until 8pm)
12.30pm – 2.30pm Sunday
Full programme contextualising the exhibition on the opening weekend includes panel discussion with David McWilliams (Writer & Economist), Alfred M’Sichili (Philosopher & Political Economist), Helen Carey, Mark Uzan (Reinventing Bretton Woods Committee) and Mark Curran, an evening with the organisers of ‘Kilkenomics’.
The installation and events in Paris are supported by the Arts Council of Ireland and Culture Ireland.
January 13, 2014 § Leave a comment
Unlocking the myths of our past to understand the present.
The symposium takes place at the Abbey Theatre, Dublin January 16-18, 2014
In this time of historical centenaries, Ireland’s national theatre presents a three-day symposium to debate the role of theatre in commemoration. Leading Irish playwrights, actors, directors and academics will come together to discuss the role of memory in making theatre and the challenges of commemorating historical events. This symposium will be a major event in Irish theatre and is an essential occasion for theatre enthusiasts and the general public. Symposium speakers:
President Michael D. Higgins
Gerard Mannix Flynn
Richard Kearney (The Charles Seelig Professor in Philosophy, Boston College)
Declan Kiberd (Donald and Marilyn Keough Professor of Irish Studies, Notre Dame University)
Dr. Cathy Leeney (Lecturer in Drama Studies, University College Dublin)
Patrick Lonergan (Professor of Drama and Theatre Studies, NUI Galway)
Dr. Fearghal McGarry (Lecturer in History and Anthropology, Queens University)
Frank McGuinness (Professor of Creative Writing, School of English, Drama and Film, University College Dublin)
Dr. Rebecca Pelan
Dr. Emilie Pine (Lecturer in Modern Drama and Irish Studies, University College Dublin)
Prof. Kevin Whelan (Director, Keough Naughton Notre Dame Centre, Dublin)
Fiach MacConghail (Director of the Abbey Theatre)
Aideen Howard (Literary Director of the Abbey Theatre)
Kelly Phelan (Convenor)
Full programme is available here.
December 20, 2013 § Leave a comment
The Irish Review has provided a forum for critical and creative writing since 1986. With an editorial policy that is pluralist and interdisciplinary we publish articles on the arts, society, philosophy, history, politics, the environment and science. Our aim is to serve a general rather than a specialist readership.
Bell, Decommissioned Trading Floor,
Irish Stock Exchange (ISE)
Dublin, Ireland, July 2012
A podcast in relation to this issue can be heard here.
December 3, 2013 § 4 Comments
In August of this year, the artist, activist, writer and educator Allan Sekula passed away following illness. The subject matter of the majority of his project work was framed by the relationship between capital and labour. The following is a reflection on his project, Freeway to China (Version 2, for Liverpool).
One thing that struck me strongly in Liverpool and it was certainly present in some of the fiction I’d read was this sense of generational rupture and continuity within working class families. That the sea itself was a kind of thread of escape and becoming.*
In May 2003 at the Generali Foundation in Vienna, Austria, an installation opened with accompanying publication of the same name, Performance Under Working Conditions. This was the first major retrospective of the work by Allan Sekula. It is a section of this exhibition titled, Freeway to China (Version 2, for Liverpool) which is the focus for my discussion to follow – embodying what I would identify as the working methods, re-presentational strategies and central themes addressed in his practice.
‘Our readings of past culture’, wrote Sekula, ‘are subject to the covert demands of the historical present’ (1978: 118). While addressing the re-invention of a documentary photographic practice which acknowledged its modernist underpinnings and role in ideological construction, Sekula was further critical of the role of art and photography in advanced capitalism and its commodification, becoming a ‘specialised colony of the monopoly of capitalist media’ (ibid.: 120). Nonetheless, having become familiar with critical documentary photographic practice, Sekula ascribed that there remained the potential, through a reflexive awareness, to usurp what he would define as the solely aesthetic distractions of modernist visual practices, thereby re-inscribing photography’s critical potentialities that remained.
In a similar vein and with reference to the agency of the image archive (which he defined as ‘elements in a unified symbolic economy’ (2003a: 450)), Sekula questioned the value of such sites due to their ‘depoliticisation of photographic meaning’ (ibid.: 444), where such meanings were ‘up for grabs’ (ibid.: 444). Significantly, these observations alert us to both the implications through the continued application of the photograph and the political potentialities within the meaning of photographs produced – potentials in specific critical contexts which produce meaning whilst simultaneously alerting us to the role of photographic representation and its functioning in the formation of ideological histories. These themes continued to define Sekula’s practice in the critical application of the still and moving image, illustrated further in relation to the archive and the function of context in the reading of the photograph. As Sekula wrote:
[It] is clear that photographic meaning depends largely on context. Despite the powerful impression of reality…photographs, in themselves, are fragmentary and incomplete utterances. Meaning is always directed by layout; captions, text, and site and mode of presentation…thus, since photographic archives tend to suspend meaning and use, within the archive meaning exists in a state that is both residual and potential. The suggestion of the past uses coexists with a plentitude of possibilities. (2003a: 445)
These defining characteristics, regarding the representation of the image archive and their construction in meaning, continued to define his representational strategies. We can now recognise such approaches as emblematic of late-modern photographic practice, ‘principally residing in its dismantling of reified, idealist conceptions enshrined in modernist aesthetics – issues devolving on presence, subjectivity, and aura’ (Solomon- Godeau 1999: 249).
With a continuing focus upon the high seas, his project, Freeway to China documented the changes resulting from globalisation in world ports and dockland areas, specifically Los Angeles, Sydney and Liverpool. While acknowledging the predatory impact of global capital,
Sekula identified the potential for solidarity between workers. As Zanny Begg observes, ‘the sea is embedded with the memory of earlier pre-industrial and industrial phases of capitalism which haunt Sekula’s critique of globalisation’ (2005). Economy had been a central theme for Sekula and in particular, the subject of the maritime, which he described as ‘an obsessive interest’ (1997: 59) since the 1980s:
First, ‘“the economy”’ is widely regarded as unrepresentable within the field of culture, its abstraction and complexity defy translation. Second, ‘“the economy”’ is not a fashionable topic, nor has it been one….[The] economy is culture’s imaginary bad object, even as culture in reality submits to market forces. (1997: 50)
Repeatedly, he addressed the seminal role of labour, proffering representational strategies primarily through the incorporation of text and image. In late 1999, Sekula was invited to participate in the Liverpool Biennale resulting in Freeway to China (Version 2, for Liverpool).
Building on existing work produced in collaboration with the longshore men and women of the port of Los Angeles, he was struck by the historic and contemporary role of unionised labour in Liverpool’s docklands. Particularly, Sekula noted the immediacy of the ‘neglected two-year struggle against a mass sacking’, which he identified as embodying, ‘many of the key issues of the battle against neoliberalism and globalisation.’ (2003b: 278). Having been introduced to the Dockers and their families, Sekula befriended them and subsequently enlisted their assistance and complicity in the formulation of this piece of work. Besides the photographs produced, he wrote an extended piece of text which was published, and for the exhibition, images were presented alongside, anecdotal and descriptive passages:
[To] insist that language is an integral element of the work itself, and not a supplement, is to hope for an end to the institutional automatism of the bureaucratic hierarchy and division of labor that leads us from the ‘“visual”’ artist to the “verbal” critic. (1997: 58)
In the image above, Mason Davis, a welder in the port of Los Angeles, stares directly into the camera, somewhat passively yet somewhere else in his engagement, out towards the viewer and then beyond, somewhere. Sekula documented this moment and recalled how it was Mason’s ‘first job in a year’ and then embellished the encounter, recalling how when he returned to give him a copy of the photograph, Mason had moved on to New York in search of work. This image formed part of the installation at the Open Eye Gallery in Liverpool. Sekula invited local photographer, Dave Sinclair, to share the exhibition space as a means for ‘dialogue between, what he decribed as ‘my more “global” take on maritime struggles and his intimate and “local” engagement with Liverpool history and the fight as it unfolded’ (2003b: 278).
Three women sit, engrossed, concerned (Image above), nails chewed – a black and white portrait. Below eye level, a glass is risen partially obscuring the right hand side near the viewer’s point of view. In the intimate and familiar surroundings of the local pub, the cultural meeting point, a place of exchange in this time of crisis – the latest news is awaited, possibly a decision that will shape futures, perhaps their own. The women portrayed display no awareness of the photographer, the image emblematic of a ‘documentary style’, their lack of awareness evidencing trust at this most pivotal of times. A counterpoint to the image of Mason, in format and style, however, struggles linked through a dependency concerning dockworker futures and how photography, critically has a role, albeit with caution, to bear witness.
‘But awareness of history’, Sekula observed, ‘as an interpretation of the past succumbs to a faith in history as a representation. The viewer is confronted, not by historical-writing, but by the appearance of history itself’ (original italics 2003a: 447). The constructed nature of such historical knowledge and photography’s role in its ideological grounding remained relevant throughout. Repeatedly, one is made aware not only of the subject matter of Sekula’s project work but of the critical reading of the media employed. Referencing the observation of Bertolt Brecht concerning the photographs of the Krupp Factory Works and how something must be ‘constructed’ (Sekula 1997), Sekula discussed its impact on the installation of his work:
In an exhibition space, of course, this requires more than the turning of pages, but an act of walking. Both allow the viewer to come to initial terms with the image without the benefit of the caption’s gesture of semantic anchorage. Thus also the overall picture sequence is afforded a certain visual autonomy. Overall my aim is to construct an open invitation for desultory movement between the photographically- produced text panels in black and white and the sequences of colour photographs: a kind of meandering voyage of reading and looking. (1997: 58)
Amidst the installation, Mickey Tighe and Marty Size gaze through upright rusting metal bars (image above), hands grasping, grasped – the images of them, the left part of a diptych. The image to the right is their view and now the viewers, looking out and beyond. Both have been replaced and so they, and the viewer look towards the site of their former employment, bars impeding, obscuring, an empty space and beyond and in the distance, the docklands of Liverpool. They note the workers presently employed, describing them as ‘scabs’ – non-unionised labour brought in to replace those who once worked there – Mickey asks, ‘Marty, isn’t that your machine?’
‘Freeway to China (Version 2, for Liverpool)’, stated the accompanying press release, ‘reminds us both of the distance and proximity of space in the globalised world…and the physical necessity of transport and therefore labour’. However, as evidenced in the aforementioned exchange between the two dockworkers and their grammatical adoption of the possessive article, the project further and critically challenged any all- encompassing assumptions concerning a uniformity of the impact of globalisation:
The Liverpool dockers and their wives, their families insist that theirs has been a very “modern struggle”, refuting the smug neoliberal dismissal of dock labor as an atavistic throwback to an earlier mercantile age. Postmodernists, who fantasize a world of purely electronic and instantaneous contacts, blind to the slow movement of heavy and necessary things, may indeed find this insistence on mere modernity quaint….[But] against the pernicious idealist abstraction termed “globalism”, dockers enact an international solidarity based on intricate physical, intellectual, and above all social relationships to the flow of material goods. (Sekula 2003b: 297)
Begg, Z. (2005) ‘Photography and the Multitude: Recasting Subjectivity in a Globalised World’, Borderlands E-Journal, Volume 14, 1, <http://www.borderlands.net.au/vol4no1_2005/begg_art.htm> [Accessed 24 June 2009].
Sekula, A. (1978) ‘Dismantling Modernism, Reinventing Documentary (notes on the Politics of Representation)’ in (1999) Dismal Science, Photo Works 1972 – 1996, University Galleries of Illinois State University, Chicago, 118–138.
–––––––– (1997) ‘On “Fish Story”: The Coffin Learns to Dance’ in Camera Austria, Camera Austria, Graz, Issue 59/60, 49–59.
–––––––– (2003a) ‘Reading the Archive: Photography Between Labour and Capital’ in Wells, L. (ed.) (2003) The Photography Reader, Routledge, London, 443–452.
–––––––– (2003b) Allan Sekula: Performance Under Working Conditions, Wien: Generali Foundation & Hatje Cantz.
Solomon-Godeau, A (1999) ‘Living with Contradictions: Critical Practices in the Age of Supply-Side Aestheticss’ in Squiers, C. (ed.) Overexposed: Essays on Contemporary Photography, The New Press, New York, pp. 247 – 268.
*From interview with Sekula on the occasion of the ‘Contemporary Documentary Exhibition’ at the Victoria & Albert Museum, London, September 2002 to January 2003.
A version of this text was included as part of my practice-led doctorate thesis, the abstract of which can be viewed here.