Wednesday, 30 May 2012
Friday, 11 May 2012
List of things for assessment.
Andrew Gannon
MFA Contemporary Art
Practice
PORTFOLIO
LIST OF THINGS FOR ASSESSMENT
1) BOLLARD WORK #2 (MARKET STREET)
2) TABLE WORK
3) FACE PAINT PERFORMANCES
Posters
See
supporting materials folder
4) PERFORMANCES FOR PASSING TRAINS
PARTICIPATION:
5) INTERMEDIA 2ND YEAR UNDERGRADUATE PROJECT SPACE
6) ATTENTION SEEKER
7) SIESTA PINWHEEL
8) FOYER
9) CASTLING
An exhibition at Hanson Street Project Space presented by Eastside Projects
& Extra Special People as part of Glasgow International Festival of Visual
Art
Press Info
Twitter
CHAIR WORK #1
This work will take place in the afternoon of Saturday 2 June and will last for one hour in total.
The work will be performed by:
Andrew Gannon
Zoe Fothergill
Kim W. Wilson
Gregor Morrison
BUCKET WORK
This work will take place in the morning of Sunday 3 June and will last
for one hour.
FACE PAINTING WORK
This work will take place in the morning of Wednesday 6 June and will last as
long as the invigilator’s shift.
The painter will be Stephanie Mann
The invigilator will be Kim W. Wilson
CHAIR WORK #2
This work will take place in the morning of Friday 8 June
and will last for one hour in total.
The work will be performed by:
Simone Pereira Hind
Zoe Fothergill
Kim W. Wilson
Lindsay Boyd
BALANCING WORK – SOLO
Oscar Laughridge will carry out the work for one hour.
The balancing blocks will be left in situ until the end of day.
UNREHEARSED ROPE ESCAPE #2
This work will take place in the afternoon of Sunday 10 June.
The work will occupy the main building lift, which will remain
functional throughout the performance.
A small number of audience members maybe present in the lift during the
work. Other audience members will be able to gather over three floors.
One other person will be present in the lift with me at all times,
equipped with scissors, in case of emergency.
This work will occupy Simone Pereira Hind’s installation in the lift, at
her invitation. This juxtaposition follows on from our first year project
space.
Thursday, 10 May 2012
Hung...
Today's meeting, early though it was, was pretty painless. Sander's billboard went up quite quickly and with the help of the brilliant Kim W. Wilson I managed to get my Faces (Elements 10) series of prints hung, all before 3pm.
It was great to have Kim's help, not only with the hang but I also with the ordering of the drawings. At first this was a suitably random affair but once we were more than half way through Kim began to make a few more selective decisions. She was eventually irritated because we ended with two similarly coloured prints next to each other... This process took the decision out of my hands, any orientation of these prints would work equally as well as the next but it was good to allow someone else to take the control.
Worries...
As the end draws near... nagging doubt... Have I been ambitious enough? Originally I conceived to have a performance everyday of the exhibition but I decided that it wasn't important to repeat these things through out. I decided that it should either be one performance that would some how last for the length of the show, or it should be a show case of the work I've produced throughout the MFA. Given that the degree show is traditionally the later I felt that this option was appropriate, and that six works was enough.
I have scaled things down though... the Bin Work from last year is repeated as Bucket Work and even though its just about as difficult it seems less spectacular... if that is a word that can even be used in this context...
The Balancing Work is repeated but instead of a number of groups of participants this incarnation is a Solo. Smaller.
These decisions are in part an attempt to have that 'just enough-ness' that I always want, they are also to do with being able to hand over control. Oscar will perform the Balancing Work Solo in my absence. Three of the six performances will happen with me absent... They are also decisions based on my wanting/needing to rely on my peers to carry out the works. While I trust the people who have agreed to participate, I was aware of there own investments in and around the degree show and therefore, with the chair works for example, opted for the simplest variants.
I am happy with each of the works and wouldn't be showing them if I wasn't. Like I say, it's a nagging doubt. Should I be taking more risks at the end? Do I need to? Handing in work that doesn't exist yet is pretty risky... as is trusting other people to make it happen... This is only the end of the MFA so I guess I'll find out after I've finished. 20:20 hindsight and all...
I have scaled things down though... the Bin Work from last year is repeated as Bucket Work and even though its just about as difficult it seems less spectacular... if that is a word that can even be used in this context...
The Balancing Work is repeated but instead of a number of groups of participants this incarnation is a Solo. Smaller.
These decisions are in part an attempt to have that 'just enough-ness' that I always want, they are also to do with being able to hand over control. Oscar will perform the Balancing Work Solo in my absence. Three of the six performances will happen with me absent... They are also decisions based on my wanting/needing to rely on my peers to carry out the works. While I trust the people who have agreed to participate, I was aware of there own investments in and around the degree show and therefore, with the chair works for example, opted for the simplest variants.
I am happy with each of the works and wouldn't be showing them if I wasn't. Like I say, it's a nagging doubt. Should I be taking more risks at the end? Do I need to? Handing in work that doesn't exist yet is pretty risky... as is trusting other people to make it happen... This is only the end of the MFA so I guess I'll find out after I've finished. 20:20 hindsight and all...
Wednesday, 9 May 2012
Spoilers, C9
I spent some time yesterday with Ian positioning his prints in C9. I think that if we leave it alone, just him and Kim in there, it'll be the best room of the show. At least, it feels like a coherent and balanced room. Ian's print look great, appearing and disappearing as you walk around Kim's great big peaty thingys. I think he's nervous about only having 5 prints in the room but I hope he can hold his nerve. I certainly believe that the work holds its own... We'll see what happens at tomorrow mornings meeting. Maybe I should keep my beak out?...
Lacking context?...
Looking back over the blog I'm aware that there are a lack of posts regarding shows I've seen recently, etc. I started to wonder whether this is a problem for assessment, (everything is about that this week I'm afraid).
I think it is in part due to the fact that I've been quite busy recently; I did get over to GI but I spent the whole time stood inside a cardboard box. But it's also in part down to the fact that I was told that I look at too much art... sounds like a excuse shrouded in a dig but it's not meant to be either. I haven't been to a lot of shows recently. The Boetti and Walther shows I saw in London were probably the last exhibitions that I deliberately went out of my way to see. As I blogged at the time, they were both great.
Having said that, I have been aware of a few things... I think enough time has passed that I can say I was utterly sick of Jeremy Deller's bouncy stonehenge after about 24hrs. It seemed like a nice thing to take your kids to jump on but was it really anything more than a big olympic friendly gimmick? The only redeeming story I heard was one of VIPs at the opening event trying to drink and smooze whilst trying to maintain steady footing, but that's not enough...
I've also been working on the Tony Swain show at The Fruitmarket Gallery. While I'm not entirely sold on Swain's paintings, I don't dislike them, they are what they are they just don't really light any fires for me, what I really like is how the show is hung. The work is unframed, hung with blu-tack and allowed a lot of space. The hang is brave for the Fruitmarket and really does it's best for the work, which on the days when I don't not like it, I quite like...
I realise that these two things aren't going to make it look like I've been pouring over exhibitions in the final weeks of my MFA but then I haven't been. I hope that's ok
I think it is in part due to the fact that I've been quite busy recently; I did get over to GI but I spent the whole time stood inside a cardboard box. But it's also in part down to the fact that I was told that I look at too much art... sounds like a excuse shrouded in a dig but it's not meant to be either. I haven't been to a lot of shows recently. The Boetti and Walther shows I saw in London were probably the last exhibitions that I deliberately went out of my way to see. As I blogged at the time, they were both great.
Having said that, I have been aware of a few things... I think enough time has passed that I can say I was utterly sick of Jeremy Deller's bouncy stonehenge after about 24hrs. It seemed like a nice thing to take your kids to jump on but was it really anything more than a big olympic friendly gimmick? The only redeeming story I heard was one of VIPs at the opening event trying to drink and smooze whilst trying to maintain steady footing, but that's not enough...
I've also been working on the Tony Swain show at The Fruitmarket Gallery. While I'm not entirely sold on Swain's paintings, I don't dislike them, they are what they are they just don't really light any fires for me, what I really like is how the show is hung. The work is unframed, hung with blu-tack and allowed a lot of space. The hang is brave for the Fruitmarket and really does it's best for the work, which on the days when I don't not like it, I quite like...
I realise that these two things aren't going to make it look like I've been pouring over exhibitions in the final weeks of my MFA but then I haven't been. I hope that's ok
Blurry Foyer
Here are handful of snaps of the Foyer show. We placed it on Monday and hung it earlier today. Hopefully somebody will go back and take better pictures...
Last weeks build
We pulled together and got things done. With regards studentship assessments and such, I don't feel that it's necessary to make an itemised list of tasks. I hope that my contributions are evident but even so, the priority has been to make the show coherent and look as good as it can with what we have. We had a time table and we pretty much stuck to it. Things could have been a lot worse.
 |
| rough plan of placement |
 |
| Timetable filling up |
David Weiss
I did not know him
I will miss him
eflux, announcement, by HUO
I will miss him
eflux, announcement, by HUO
 |
| Susie having fun with the Fischli/Weiss work in Venice last year |
 |
| Snap shot of 'Busi' shown at the International 3, Manchester, in the exhibition Bert & Ganddie – Fischli/Weiss (2002)... A proud moment! |
Tuesday, 8 May 2012
Sunday, 6 May 2012
Restless nights...
So insomnia is now taking hold... only a week left... but I've finally given up and got out of bed to write this. I've been mulling over a question I was asked earlier, a pretty standard question, "so, what is your art about?" I think I just bluffed my way out of answering as usual but I can't help feeling I should have a better answer...
The thing is, I don't set out to make work about anything, rather, I make work from a particular position, my position, my point of view, my place in the world. I have an interest in certain subjects, lightness or failure for example, but that doesn't necessarily mean that the work I produce is about those things. This doesn't mean that my work isn't about anything or doesn't mean anything but surely meaning is attributed and subjective. In hindsight works may have meaning to me but that would seem irrelevant to the work. Maybe I've mixed up meaning and what something is about, maybe it is just a question of subject, even so I have no desire to be didactic.
This still leaves me with no direct answer to this frequently asked question... Other than I don't know, which doesn't seem like a good answer to give. Is it best to avoid the question then, to quickly and subtly change the subject?
The thing is, I don't set out to make work about anything, rather, I make work from a particular position, my position, my point of view, my place in the world. I have an interest in certain subjects, lightness or failure for example, but that doesn't necessarily mean that the work I produce is about those things. This doesn't mean that my work isn't about anything or doesn't mean anything but surely meaning is attributed and subjective. In hindsight works may have meaning to me but that would seem irrelevant to the work. Maybe I've mixed up meaning and what something is about, maybe it is just a question of subject, even so I have no desire to be didactic.
This still leaves me with no direct answer to this frequently asked question... Other than I don't know, which doesn't seem like a good answer to give. Is it best to avoid the question then, to quickly and subtly change the subject?
Saturday, 5 May 2012
Some install shots...
This is the invigilation rota so far... hopefully it'll fill up soon
Here are a few shots of the install so far.
The walls are all in place and painted now. They'll never look like gallery walls but they're looking good enough. If there are any glaring problems they can be fixed after assessment. Monday brings a meeting about final placements and then hanging the Foyer show...
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