Monday, 22 June 2015

London walks, and anti-austerity-weekend musings

A collection of thoughts whilst moving around the capital on the weekend 250,000 people came out against the government’s further assaults on social welfare and social life. It is related to a large blog project called Stories From Forgotten Space (using landscape as a platform for quasi-fictional storytelling based on genuine experiences, feelings) which I am currently compiling into a book..
Friday 19 June 2015

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“Walking towards Shoreditch, nearly an hour into walking in the city. The self-conscious me is always looking for things to porcupine-myself-up with in a place of such beautiful cyber-people. Sometimes it seems like everyone looks like a more toned, more Photoshopped edit of a pop-culture figure from yesteryear. I pass somebody who looks like a ‘better model’ of The La’s’ frontman Lee Mavers; more like Lee Mavers than Lee Mavers.”

“The proximity of the DLR train to the crucible-cluster of deemed-important buildings in Canary Wharf forces their importance on you as you begin to instinctively stare up at them in wonder (only to refrain from doing so to hide from public their impact on you). I look up at 1 Canada Square (HSBC building). I give a powerless, punchdrunk smile as my eyes sink from the fluffy-cloud-skyline to the gentrified docklands below. Sometimes it all makes sense to me, and I then spend my time trying to explain my reasons that respond to this sense, only that it all fucks up when things inevitably conspires to undo that sense-making. And it is at these points that ‘the idiot’ appears.”
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“Greenwich Park. Hot weather. Grass going all orangey/brown – like 95/96. Don’t think I’ve sat down on the grass since I was 12 – not properly anyway. Firestarter, The Prodigy [spring 96] is playing in my personal bubble. Feel 12 again. Want to cause shit/havoc (“Bad bad, bad bad behaviour”). All those “old school” shit-causers; they’re all knackered now, evaded swiftly by others in this anxiously aspirational age; ranting at people eating their tourist-orientated food, who no longer need headphones to be zoned-out to such a physical proximity. Head down the congested road on Blackheath; city traffic passing through summer fields. If I crop out Canary Wharf it all takes me back, somewhere. But just now I don’t need to crop it out, with rucksack on shoulder, ideas momentarily electrified, I feel Danny-Champion of Past and Present. But such a surge of self-belief is spurred on by the very thing that crushes it; the ruthlessly ambivalent city. It’ll get me, for sure it will, it always does. It doesn’t let me stand tall for too long. But right now, as I text myself these thoughts, it hasn’t.”
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Saturday 20 June 2015
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“Walking through the refuge of a wooded-park in the centre of Muswell Hill, after staring down at the horizon-reaching cityscape commenting on how only 100 years back New York was just beginning to take over London as being the biggest city the world had even seen. Still slightly drunk from the night before, and, thus, having  a slightly-guilty sensation in an age of “keep young and beautiful; it’s your duty…”. Especially in an area like this where the “everybody’s middle class now” 1990’s rhetoric doesn’t seem to have become like a cruel joke. They run for reproduction, perpetual vitality rather than exhaustion – no sunken faces around here. These woodlands look ancient, even as the noise from the continuous stream of London buses penetrates them. They may just be ancient; this land certainly hasn’t been dug up for coal at any point like most woods have nearer to home. The failure of the 90’s/00’s freshly-veneered/total immersion-capitalism seems to have never happened here. Or so it seems. London-based TV series’s from the politically-passive late 90’s/early 00’s, like Spaced, feel like they could be in their 10th series around here.”
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“The demonstration’s on The Strand now. One of those iconic London streets that I have only just located after a few years of frequenting the city more than before. This is a big demo. Surely too big to be bypassed by the media’s gaze…? It’s as big as the March 2011 one, to which it was preemptively compared. But the feeling is noticeably different. My lasting memory of March 2011 was of hearing a succession of bangs, which I initially thought were some sort of explosive, only to realise that a group named the ‘Black Block’ were smashing the windows of big banks and tax-dodging corporations 200 yards ahead of us in the march. Moments after the bangs a masked young woman cut through the march procession, only to have her arm grabbed in anger by a middle-aged woman in a Unison t-shirt, who shouted “cowards! why don’t you show yourself?”. Although I had mixed feelings on what was the correct approach to counter the much rawer anticipation of systemic wounding, in hindsight I realised the angry response from the then-seemingly-more ‘pedestrian’ protest-approach, was due to the possibility that many who said they were in the Black Block were actually Agent Provocateurs, working in order to allow an aggressive police response, and to whip up hostile sentiment towards the wider demonstrations. And it worked. Only five hours later, on the train back to Wakefield/Leeds a thuggish male, part of a group of football fans on their way back home, had his hands around the neck of a blatantly-peaceful protestor, due to an argument between them, largely sparked by the football fans accusing him of complicity in “the smashing up of the windows of Topshop”, which resulted in the police boarding the train at Doncaster. I, for one, was emotionally exhausted as the tinderstick summer of 2011 drew to a close, prepared for a new world where one would be forced to take sides. The tide of society would consequently dampen this energy, and leave many of us feeling like self-aware-zombies in 2013, 2014. But perhaps the clear lack of noticeable ‘trouble’ on this comparable 2015 march isn’t a negative? Maybe something has changed, tactically; a different collective response is afoot, more based on duration?”

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“The only negatives we receive are perhaps to be expected, due to being received as the march reaches the tourism/consumerism zenith of the capital. First off, we are subjected to a barrage of slurs from a man-woman-man-woman quartet of weekend ‘leisure-seekers’, with one of the women repeatedly shouting “get a life!” as they cut through the march to the opposite side of the road, with bottles of unopened rose wine in their hands. The fact that they clearly deemed it urgent to utter this to us seemed more telling than any general disagreement with the causes being marched for; beyond the initial feelings of “why didn’t I say something back to them?” was a realisation that the demo clearly caused them great discomfort. I think I can see why: when life is narrowed down to a singular romance focused in on the weekend ‘leisure-pursuit’ and all the promises of happiness, meaning, love it has appropriated, protests begin to be representative of possible huge ruptures to that shop-a-day reality. And I say this as somebody who has had this very anxiety about ruptures to those routines-of-least-pain we pave ourselves in the narrowness of the late capitalist world.

Further on, as we near Downing Street, we sense an hostility from groups of muscular young men in t-shirts. But their gesture (which seems to be one of showing solidarity with the coppers by standing in a line with arms folded in front of buildings in this zenith of nationalist value within the capital) looks almost comical, and the absurdity has not gone unnoticed by everybody I spoke to in the march. Everyone was just thinking ‘what the hell are they doing?”

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“My friends head back for their respective coaches back North and rooms in London. I aim for some reflective wandering of the city until my train back later this evening (bad memories of Megabus coach journeys back from my failed attempts to study in London still haunt me). After 30 minutes trying to find somewhere to piss, I end up in Waterloo Station wishing to write expletives on the toilet walls over the lack of public toilets – my biggest pet hate of life in the over-commercialised and privatised UK city. However, due to there being a fault on the pay-in barrier and the migrant-worker toilet attendant politely letting us use them for free, I would’ve have felt bad giving him any extra cleaning up work to do. I head back out into South London, and look for the river. I always feel I need to see the river. The helicopters monitoring the protest are still hovering above. The rain begins to pelt down, but it’s the first time in my life I am carrying a waterproof jacket – a sign of age maybe? If my mood sinks now, and we’ve reached the afternoon it isn’t so alarming, it’s bearable. The Thames splashes against the walls as the rain falls. At least we/I have the river, the murky holder on plenty of secrets, that can’t quite be gentrified – it’s ours whether we are from Bermondsey or Barnsley. I have swallowed the world today; it’s the comforting calm before the potential storm caused by surrender to it all.”
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“I have walked full-circle, all way down the South Bank and back toward the Bank of England from where the demo initially gathered. The rain that teemed down as the official demo petered out in Parliament Square has all but gone. Yet, this dampened, largely-depopulated area (it’s normal for it to be eerily quiet on a weekend) gives it an unwanted feeling of the aftermath of a party. After all, one common utterance the stands out about this 2015 demo is to not let it be a mere catharsis amidst the carnage. Fading momentum is a huge concern for all of us as we stare down the barrel of deterioration. However, like my weary, now semi-stumbling self, acquiring a slightly macho-self-defensive gate as I slowly begin to see the tailored shirts, suits and bow ties reemerge, as if they were hiding in burrows whilst the protest was ongoing (“it’s safe to come out and play now!”), there is no resignation, not just yet. I walk just that bit further towards the Barbican.”
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“Caledonian Street – the very name alludes to a once-felt physical connection of London to the rest of this Land-mass. Unlike today, where by crossing the M25 you almost feel that you’re in a different reality where everything you’ve come to know from your stunted Yorkshire towns/cities seems to has been given the green light to proliferate, uncontrollably. Which makes it all the more strange when I hear a Barnsley/Wakefield accent (very distinct the closer you get to them, very hard to differentiate the further away you are, geographically) coming from a man on a phone outside a takeaway, across the road. The utter weariness caused by the past 2 days (emotional as much as physical) means I literally stumble into the nearest bar that looks accommodating for a man who currently looks that scruffy that going into a more ‘aspirational’ bar would be to surely give my weary self a hard time. But my stumbling attracts the attention of four men with shaved heads, one of who’s glare is not friendly as I order a drink in a red t-shirt with a sketchbook in my hand. Once I sit down, unable to avoid overhearing snippets of their conversation, it is beyond a doubt that they are part of some far-right, ultra-nationalist organisation. There’s one, big hard-looking Ray-Winston-type-cockney (who evokes an image of more physically violent UK cities, the only aspect I don’t long for in the wake of gentrifying cleansing). Then I realise that two of the blokes are Barnsley lads. Oh yes, it’s beyond a doubt; that’s definitely my mother-tongue the one in the baseball cap uses as he drunkenly slides into chanting a bloody-thirsty appraisal of St George. And on a day like this!? A day when I wanted to feel comradeship with folk from my mother-terrain, and beyond, against capitalist onslaught. But I find myself hiding my face in case  it turns out they recognise it from town. As today, there was (by all accounts) a far-right demonstration planned for Barnsley town centre, preceding a town pubs-based music festival, which seems to pull together folks of left/left-of-centre sentiment in the town better than anything else since the mines closed. I wonder whether there was thus a consequential poor turn out for the far-right, and they decided to head down to London instead? Anyway, I drink up fast, as I’m reminded of how the threat of real physical violence can still quite quickly rear its head in pubs, even in an age where we are more likely to yell in solitude into our cell phones. I head back towards Kings Cross station. Bland but less chance of aggro.”

Prisoners of Reason: Game Theory and Neoliberal Political Economy by S. M. Amadae



I am very happy that my work The Logic of Neoliberalism will feature on the cover of S.M. Amadae's upcoming (Cambridge University Press) release Prisoners of Reason: Game Theory and Neoliberal Political Economy.

The book is expected to be available from November this year, but a preview is available here: http://www.amazon.com/dp/1107671191/ref=cm_sw_r_fa_dp_n-BGvb1PTGW4K

Pain is Barred an Outlet

Pain is Barred an Outlet (2015, ink on paper, A4)

This drawing is closely related to my blog ‘Share The Pain’ posted last year
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The 1990’s: they look so old, but feel like yesterday

"It [ ] can’t be old can it? surely?” – nearly everybody

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Due to the family home, a home that used to feel like the eternal return-to-base (for good and for worse), no longer being so, I have stumbled upon old photographs from the 1990’s. They are old. They’re as old as photographs of the previous generation of family members enjoying the then-blossoming popular culture of the mid 20th century looked when the 1990’s felt all new and shiny.

The 1990’s still feel new and shiny, but they aren’t. The VHS’s and TV in this photograph look archaic – they look as close to the 70’s as they were. Yet the 70’s do feel old, the 90’s don’t. 1990’s shopping centres, like the nearby Meadowhall shopping complex, still seem like intrusions of a new brash consumerism onto UK shores, but they look as knackered as cheaply-veneered 25 year old buildings should do.
I’d feel less certain that there wasn’t something unique at play here, if it was just my own attachment to that age, due to feeling like I lost an important part of myself in the last year of that decade that prevents me from developing as an adult. But even people born in the 1990’s keep on looking at me gobsmacked when I put a date on a well-known film like Jurassic Park [1993].

This photograph was taken in January 1995; 4 years before the hyperbole of the 90’s seemed to simmer into millennial malaise, a slow let down by the smoke and mirrors of Britpop, New Labour and ‘end of history’ jubilance. Two technological shifts (I think it’s disputable to see them as advances) seem to have made time feel so out of joint, not merely for their existence, but due to their creeping dominance. Digitalisation of sound and vision, and the Broadband takeover of communication.

Digitalisation seemed to creep in around 1999, to the extent that when I am subjected to music videos from that point through the ever-same visual of contemporary television [She’s The One, Robbie Williams – an unfortunate subjection to say the least) it looks like it was made yesterday. Television, before this point, seems far easier to date; it seems like there’s a difference to image quality from 1998 to 1992 for example. But thereon after it gets harder and harder to spot the difference.

I noticed the impact of Broadband in late 2004 (which seems symonious with the rise and rise of addicting social media sites). As every year passed, especially after the financial crash, social life seemed more and more orientated (and bogged-down) in cyberspace. It makes the ‘telepresent’ of the media-penetration of our lives in the late 20th century seem blissfully un-interfering.

Time no longer seems to move forward. And this is evident in our culture; nothing truly new seems imaginable and what stands as culture has become even more commercialised, consumerist in response to former counter cultural styles that no longer put up any opposition to commercial forces increasingly pulping them into a ‘shop-a-day’ reality. The market-driven imperative on ‘the new’ in a time where nothing is given enough breathing-space to create it means that we’re left scraping the barrel for novelty, dis-invested and in disbelief. Would space technologies really be harnessed merely to make the first sexual encounter in space happen for a porn movie in any other period than this one?

Time seems in a loop. For many older than I am, it seems like the 1990’s already felt like the ‘end of the future’. But growing up then, it didn’t feel that way, certainly in light what it has felt like for the last decade and half [my final true futuristic vision that springs to mind was conjured listening to ‘climatize’ by the Prodigy, from one of the last true popular-yet-landmark albums ‘The Fat of The Land’, whilst driving past the outer-high-rises of Birmingham on the Motorway in the family car in summer 1997) To quote a friend (who I’m working on projects with) the experience of Now is akin to a Tyre spinning furiously in mud, but getting nowhere. It seems likely that this experience has obliterated continuity in the past decade or so, and so the 1990’s remain as yesterday. Even as the smoke and mirrors of that naively optimist age are proven to be what they are, they remain seductive (I still smile and sing a long to moronic Britpop when drunk). I feel this ‘yesterday’ will seem more and more appealing until some sort of closure is sought on the ‘stuck record’ experience of contemporary life. Fundamentally, it requires an unanimous acceptance that the elephant smashing up the room we’re in is capitalism. I can’t see away around this elephant. We need to agree on this point before anything else.

Art Donation For Save Devonshire Street Campaign

I’ve donated a large print of my drawing ‘I Want None of This’ to ‘Going Once, Going Twice, Gone!’, a fundraising event in aid of the Save Devonshire Street Campaign.
When Sheffield Council approved demolition of 162-170 Devonshire Street, home to three of our most prized independent businesses, it didn’t follow the proper planning processes.  We’re raising funds for a judicial review which would overturn the planning decision – http://savedevstreet.org.uk/
There will be a selection of artworks from a large number of artists who wish to help the cause. The works can be bid on in aide of fundraising for the campaign. The event will be held at Moor Theatre Delicatessen, The Moor, Sheffield. Friday 26th June. 7pm. Eventbrite tickets are available here https://www.facebook.com/events/388205214700948/



I Want None of This (close up 1) (2121x3000)I Want None of This (2147x4000)

Friday, 5 June 2015

3 Days of Non-Stop Inertia: A Stuck Record in London (a Complete Summary)

I am very happy to state that myself and John Wright have now put together a comprehensive summary of the performing of our piece Non-Stop Inertia (named after an amazing book by Ivor Southwood, which examines  the “deep paralysis of thought and action” caused by the “ideologically constructed” landscape of precarity). We undertook this performance at the Espacio Gallery, in Shoreditch in January, as part of The Anti-Gallery show.
There are 3 sections to this summary:

First: the sound files and video footage of the performance, inventively merged together by John Wright; made into 3 seperate episodes.

Second: a recording of our subsequent walk around Greenwich, using  ‘Greenwich degree zero’ (what the artist Rod Dickinson called his incredibly though-provoking installation) as a cradle for reflections, not just on the performance, but extending to the entirety of contemporary life, and OUR lives.

Third: (a blog I wrote in January in response to the 3 days spent in London) Reflections gathered from our performance in the Anti-Gallery Show, weekend 16,17,18, January 2015.
We hope diagnostic and remedial value of the current cultural conditions can be found from the project we have undertaken.













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This text is a reflection on the performing of Non-Stop Inertia: A Stuck Record – inspired by Ivor Southwood’s book Non-Stop Inertia. Part of a wider collaborative project between myself and Leeds-based artist/curator John Wright, Non-Stop Inertia was played intermittently over a 3 day period as part of the Anti-Gallery Show, at The Espacio Gallery in Shoreditch, London. As this text deals purely with reflections during and after these 3 days, the explanation for the motives behind this ongoing work can be found here: https://johnledger.wordpress.com/2014/12/07/non-stop-inertia-a-stuck-record-the-anti-gallery-show/ . However, the writing uses other points within the 3 day period in London to talk about a larger project, in which Non-Stop Inertia is just one part.
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A Psychological Experiment…

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That I am in a well-and-truly-spent state the day after our Non-Stop-Inertia piece means that if it was as much a psychological experiment as it was a piece of artwork then the experiment was successful. The carefully-chosen texts we chose to read out were so fitting, but fitting within the eternal-now, ‘in the loop’ of the performance. Because the gravity of their content could as easily fall from mind as it could be put back there once there performance resumed. The content itself became looped; there was no further level of understanding. It was the poetry of a ghost trapped in the machine.

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No Evolution

And ghosts trapped in the machine we became. Neuro-psychically electrocuted by the randomly occurring door-alarm signal, I for one can testify to the physical effect (in my manic body movements) that such internalising of the constant expectation of random interruptions can have. Certain lines read out from our texts would land in unison on the pulse-line of the subjectivation, at which point we’d look to each other as if to confer “yes, that’s what this is, exactly!”, but cognitively building on what was being said/read felt impossible due to this anticipation of interruptions. How can you build on things if you are in a perpetual state of siege?

The door alarm noise signaling our ‘calling’ to disseminate emotionally-laboured welcoming-spiel (language absent of life aimed at an absent customer) was, of course, implemented in a random-fashion by our own design. But the intention was to show how this unending anticipation of unpredictable interruptions of our thoughts is a constitutive part of contemporary life, which (we believe) is intrinsic to the inability of individuals and societies alike formulate, or even imagine, a way out of the current global cultural situation that consumes the hopes, desires and visions of alternatives with the same level of ferocity that it consumes the people and resources needed to constitute a future world full stop.

We came away from this performance with no answers to this, but this was the intention: to give poetic form to the very structures preventing us from finding the answers to the current situation. We believe that if the structures permeating contemporary life are dismissed as irrelevant to the task of building towards an alternative, then any kind of positive alternative is impossible.

No Desire to Converse

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Whilst in London, myself and John Wright frequently discussed the difference between desire and drive: that, in an ‘always on’, no-future, hyper-competitive, hyper-capitalist world, desire is both short-circuited and disemboweled from drive. This leaves us trapped in a ‘nothing-left-but…’  state, where we often feel a zombie-like-entrapment to the motions of tasks, duties and habits and especially the end-game pursuit of sugary, narcotic, or sexual stimulus; that can often feel like being in a state of seizure due to inconceivability of there being anything else we can do “but pursue pleasure”. (an overly referenced section of Mark Fisher’s Capitalist Realism book, which I attempted to read out as part of the performance).

As well as the resulting post-performance-state leaving us in a state of incomprehension of what we could possibly do except going and getting alcoholically intoxicated in the city, the performance itself also functioned through pure signal-actioned drive. The words were spoken out of drive, rather than desire. This is why others who attempted to engage in the dialogue, and who weren’t used to the nature of the represented job-type to an extent that they could ‘go through the motions’ like we could, very quickly became frustrated (as was partly the intention). One of the participating artists in the Anti Gallery Show said he couldn’t see the point in trying to make conversation. What was the point of him trying to gain something from a conversation if he was to be constantly sent back to square one by the interruptions?

If we are correct in viewing this predicament as endemic in contemporary life, could it not be said that the breaking down of thought and communication to a sound bite-form isn’t merely the result of a reduction of our attention-spans caused by our immersion in cyberspace, but is actually caused by the lack of desire to engage in conversation due to the anticipation of interruptions slicing through it? We also argued that the increasingly competitive nature of contemporary life further reduces the room for conversation, because the constant sense of the self-under-siege within such a competitive world makes it seem an immediate necessity to get our point heard rather than allow the time for other points to be heard (I, for one, am very guilty of this). Indeed, what was left of our broken up conversations was used to discuss the breaking up of dialogue intrinsic to one of the largest social media platforms: Twitter.

All in all Non-Stop Inertia: A Stuck Record was successful – too successful perhaps; afterwards, the necessary walk (climb) back to Kings Cross station seemed almost daunting.

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The (Un)realised Project

This inability to transcend, to get beyond the “this is so relevant!” point whilst we were reading the texts/debating perhaps makes Non-Stop Inertia:A Stuck Record pivotal to a wider sensation myself and John Wright are investigating. That, as numerically-measured time pushes onwards, and one’s skin slowly sags downwards, somehow one hasn’t merely become ‘stuck in a moment’, but that the moment has terraformed, re-landscaped the horizon so that the next step beyond this ‘stuck moment’ seems to have never even existed, and that the places that proclaim to have movement are merely just full of frenetic ghost-like actions, speeding up but going nowhere. The unending nature of the sentence I have just written embodies a unending struggle to put to sleep the ghosts that haunt me. After countless debates around this matter, myself and John Wright began an investigation, of intertwined stories (personal to me) and wider post-millennial cultural moments, that we aim to turn into a solid body of work under the umbrella title The (Un)realised Project.

Thus far it has been agreed on that one specific work, The Mary Celeste Project (The Scene of The Crash), will take centre stage within this body of work. The Mary Celeste Project (The Scene of The crash), completed in 2014, uses my own turf (post industrial areas stretching along the foothills of the Yorkshire Pennines) to examine near pasts, lost futures and dead dreams to understand the wider contemporary social condition. Focusing on two lost futures and the un-locatable present, the condition of which is largely caused by the loss of the previous, and their haunting presence. The first lost future is that of popular modernism, which died in the latter quarter of the 20th century. The second lost future being the naively optimistic early to mid-1990’s, and its utopian gaze toward the coming new millennium. The un-locatable present here refers to a specific intensification of life under digital capitalism, looking at a severe disconnection to the passing of time since the 2008 financial crisis. The Mary Celeste Project (The Scene of The Crash) is crucially inspired by my sense of a loss of narrative and of being out of time, amidst a feverishly neoliberal reality. But certain locations I spent time in prior to the beginnings of this project were crucial to reasons behind making of it.

Ground-Zero Greenwich

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It is clear then that specific geographical spaces are very important to this whole investigation. Thus, with the rarity of two people from northern England planning to embark on the south at the same point, it was essential we had to go another very symbolically important location: Greenwich.

So what makes Greenwich so important? We’d arrived in darkness, and the specifically-threatening-looking silver Met police cars guarding the gates put us off trying to find a way in, so we circumvented Greenwich Park wall right down to the river. One point of agreement on that walk was pivotal to the whole text I’ll write thereon after: my ‘stuck in a moment’ fixation with a 3 month (yet 3 year-long-feeling) time spent in London, unsuccessfully trying to complete an MA in Cultural Studies just down the road in New Cross, prompted John Wright to say to me (in a supportive manner, of course) that I really ought to have done the MA in Leeds (I had considered doing the MA at the University of Leeds, the institution John had recently been awarded an MA qualification at), but we both instantaneously and almost simultaneously responded by agreeing that I had to go to London; that there was something much larger and important at play.


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I’ve written way too much already about the mental state I found myself in down London that forced me to leave, and the time leading up going and the time afterwards is far more crucial to the project and the reasons for the usage of my experiences within Greenwich. However, there is one crucial line explaining my state down there that activated this entire project: I believed I’d reached a total dead end, that there was nothing beyond this spell in London.

During this 3-year-disguised-as-3-month-spell, I found myself at Greenwich quite a few times (even ending up with a part time job there, just a week before finding myself back in bed in the north), finding the momentary ease under the autumnal ‘avenues all lined with trees’ an embodier of the wish for a granting of indefinite residence in a place I never really wanted to leave – “I like it here can I stay?” as the lyrics from The Smiths’ Half A Person that weaved through all other thoughts within my room in nearby New Cross.

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Something had occurred here to a degree that I was finding it incredibly hard to get out of bed in morning after 15 years of habitually getting up at 7am. The years preceding had seen a building up of both foreboding and understanding of the global cultural situation, to which 2011 felt like the zenith; a clicking into place of a new reality from which we couldn’t go back. And now I was here, in the last 3rd of 2012, and it truly felt like the eye of the storm; the “that’s exactly it!” masters course (that I wanted to last forever, not 1 year of pressurised performance); the financial epicentres seen from my windows; the potential of meeting the world in a world-city; THE HEART OF DARKNESS – as it really did feel like I’d finally found it in as if in an inversion of Joseph Conrad’s novel – because, as comical as it sounds, the plentiful Megabus trips down there looking for a home were symbolic of a wider feeling of being worn right right right down into a man in search of a resting place. And, after the year 2011, there appeared to be no way of going back. And at that initial point before it all went wrong it didn’t matter that there was no way forward.

But as the London-endeavour lead on it became unavoidably clear that there was a dead end rapidly approaching. Throughout the preceding years there had been so much effort to show how entangled my inability to perceive a future for myself was with the dead end that was the endgame of the course the world was taking, to the point where I was exhausted just as it all seemed to come to a head. But as I walked around Greenwich, a place arguably unsurpassed in symbolic importance to creation of the world as we know it, to the extent that it often feels like the meridian was the first line ever laid, it became very clear to me for the first time how our ‘always on’ global capitalist culture was trapped by the past.

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Greenwich is a place symbolically laden with traces of ghosts from other eras that refuse to die; a fusion of what-might-have-been’s (lost futures) and unshifting-has-been’s’ (archaic tombs that won’t close up). One that caught my attention was the Queen Elizabeth Oak, an important tree for the Tudor dynasty (a crucial period in the formation of Imperial expansion and modernity). Yet the tree is 100+ years-dead, and has laid on the floor like a wooden carcass for some years now too. Trapped under the weight of the past, with no future to speak of, the speed of life/the ‘always on’ endless labouring within the infinitely accelarating capitalist technosphere, traps us in a frenetic eternal-now epitomised by the Non Stop Inertia project. But in such a Stuck Record state, the present is also a void without a perceivable future in its wake, meaning the past, especially the near past, seeps into the void left by the unlocatable present (think of how traces of the optimistic 1990’s seem to cling to everything); impounding the pressure between the new reality demanded in the wake of 2011 and the lack of ability to be able to even think beyond the current moment. This is well and truly an hauntological state, and through my endeavouring after abandoning London to engage on a cognitive level with the South/West Yorkshire landscape I lapsed back into, these past 2 two years have been profoundly hauntological; all that has followed as felt unrealised…undead.

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Connections….Always Looking for Connections…

Of course if we didn’t deem all this crucial to some wider situation we wouldn’t have embarked on the (un)realised projects investigation, nor would we have bothered taking the bus to Greenwich on a cold, dark night. The very fact that I also ‘sound like a stuck record’ on this blog now is more to do with my emotional energies smashing against 4 walls, looking for a way out, than the indulgences of dwelling in the past. Or at least this is what I tell myself. I have to tell myself this, because I am profoundly sick with the way things are, and the conviction that I am not alone means that the current direction of my work is as much as political act as the works I made in my early 20’s that dealt specifically with the threat of climate change.
The closed brackets around the ‘un’ in unrealised, was John Wright’s idea, positing it as the hope that all that is hanging around in a ghostly form will one day be realised. Using Jacques Derrida’s differentiation between an Ending of something and a Closure of something, John and I discussed how this dead-end feeling doesn’t have to be (or at least shouldn’t have to be) the end in itself, but a closure of something that allows the beginnings of another. Of course, our usage of specific geographical locations was a way of simultaneously commenting on this as both a deeply personal and deeply global cultural state. Perhaps using landscape is one of the strongest methods or articulating the fusion of two issues that would appear very distinct on a surface level?
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The Utopian Never Truly Dies

As much as we felt it necessary to travel to Greenwich after our performance on the Saturday, after our final, most exhaustive, performance on the Sunday, we deemed it necessary to spend time in the Barbican complex before we set off back for the train.

There is something truly special about this place, which gets beyond the facts of why it remained like this whilst other Brutalist utopian residential schemes failed drastically; that this estate was designed for the well off, the cultural elite, and thus corners weren’t cut in its construction (nor was it fucked up socially by mass job losses), is a seperate matter to to truth of the place which is that it exists as a realisation of the utopianist society that truly could have been.  This place doesn’t even seem to have been bothered by the onslaught of Thatcherism; neoliberalism seems to have been kept at the gates of this fort-like-structure, and you can imagine the same being true in long night of fascistic, repressive governance if we don’t find a way of changing the course we are on. It may be a place of the communal/the shared for those who already have their fair share, but in that it actualises elements of the ideal, it shows that they could, and should exist elsewhere.

What I like about this place is what makes me realise that as undead as I often feel, as emotionally-turned-to-stone as I regularly feel, I am still deeply utopian. Utopian is different from a Utopia; arguably Utopia can never exist, but to be Utopian is to be an idealist in life, not to accept any given reality as ‘the way it is’ – such fatalism is dangerous, and has arguably made the situation we are in profoundly worse to deal with.
The Barbican reveals traces of the utopian in the past that was left behind when neoliberal economic theory and postmodernism galvanised the TINA (there is no alternative to capitalism) reality. We sat in the canteen (the only place I know of in contemporary life where the word canteen isn’t associated undesirable eateries), and just sat, without the need for more pleasure-seeking, drink, etc – just sat.  As we moved on toward the station, making a closure on this situation still felt as far off as it did before the performance, in the Barbican we did at least get a glimpse of elements of a place that could exist beyond this stuck point. This point has to be moved on from; personally speaking, I cannot stay here any longer.

“Hardworking Taxpayers, Inconvenienced!”

“Hardworking Taxpayers, Inconvenienced!” (2015, A4, ink on paper)


Wednesday, 3 June 2015

THE LONG NIGHT OF A NEEDLESS STORM (2015)

This is only the 2nd large scale work I’ve produced outside the Barnsley district in the 10 years I’ve been making them; the Planet’s Mental Illness (worked on intensely in a New Cross hall of residence) being the other. 6 to 7 years ago I would have felt it necessary to try explaining what this work is about. In UK2015, I don’t feel it necessary.

THE LONG NIGHT OF A NEEDLESS STORM (2015, mixed media on paper, 125x100cm)
The Long Night of a Needless Storm
Close up 1 close up 3
 
close up 6

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Sunday, 24 May 2015

5 Years of Art under ConDem Rule

I am currently working on a drawing called The long Night of a Needless Storm which I wanted to be ready to show now, but it isn’t and I don’t like showing incomplete works, so here is the rest of the psycho-bile-build-up from the past 5 years. I for one cannot endure another 5 years like this.
“…GIVE ME A BREAK!?!!..”
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A Privatised Implosion (2014, A4, Ink on paper)
A Privatised Implosion (2014)

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The Index For Child Well-being (2011, mixed media on paper, 100X100cm)
John Ledger - The Index For Child Wellbeing
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I Want None of This (2011, mixed media on paper, 180X105cm)
I Want None of This (2147x4000)
I Want None of This - Copy
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A Psychic Timebomb (2013, mixed media on paper)
A Psychic Timebomb (2013)
Achieving and getting Things Done (Installation, Sheffield 2011)
IMG_6097
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In The City… (2011, ballpoint pen on paper, 115X100cm)
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Just The Noise… (2014 exhibition flyer)
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The Planet’s Mental Illness (2012, ballpoint pen on paper, 105X150cm)
The Planet's Mental Illness (for whitewall) (1512x2000)
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…Coils Tightening (2014, mixed media on paper, 100X125cm)
...Coils Tightening (2014) (1280x1034)P1010009
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A Cognitive Austerity (2015, ink on paper, A4)
A Cognitive Austerity
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Untitled (2014, ink on paper, A4)
01.09.20142
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Mind Camp (2013, mixed media on paper, 105x155cm)
Mind Camp for prints (2061x3000)
.Mind Camp (3435x5000) (2)

Disintegration (2013, A4, mixed media on paper)
Disintegration
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Feverish (2014, ballpoint pen on paper, 135x95cm)
Feverishclose 1
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Untitled (2013, ink on paper, A4)
July 2013
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Not Humanly Possible (2015, ink on paper, A4)
IMG_20150302_0001 (978x1400)
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The Place of Dead Ends (2013, mixed media on paper, 100x125cm)
The Place of Dead Ends (2013)the (3)
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Hyper-Malaise (2014, ink on paper)
hyper_mailaise__2014__by_johnledger
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Global Ghetto, 2045, Marks The Centenary of The Defeat of Fascism (2010/11, 105X140, ballpoint pen on paper)
Global Ghetto, 2045, Marks The Centenary of The Defeat of Fascism (2000x1403)
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Whilst We Were in The Eternal Now... (2014, mixed media on paper, 95X125cm)
Whilst We Were In The Eternal Now...

The Mary Celeste Project [The Scene of The Crash] (2014, video)

The Mary Celeste Project (The Scene of The Crash) from john Ledger on Vimeo.