The Project shall commence!
And the Keepers Diary is complete for this project. Please see the main page for further reference to the final live project.
Wednesday 2 January 2008
December 10th 2007
We were pleased to appear on Erdington Arts Forum blog. They highlighted our project plans and advertised the dates for the project.
Things are going very well at this point. All the equiptment is book and ready for action, so just a case of turning up!
Things are going very well at this point. All the equiptment is book and ready for action, so just a case of turning up!
December 4th 2007
Today was the opening party of the other half of our 'Curatorial Practice' classes live project.
It was called 'Hidden Quarters'. It was a a photographic exhibition on the Jewellery quarter in Birmingham.
It was called 'Hidden Quarters'. It was a a photographic exhibition on the Jewellery quarter in Birmingham.
December 3rd 2007
All of the designs were completed. We had poster with the necessary information about the event. Flyer's to distribute with directions and blog details on, so people could look the event up for more details. We also had a leaflet planned with the contextual explanation of the project on. This was only to be used at the actual event for people interested in more information at the time.
Fay and Kate distributed the flyer's around Birmingham and Erdington 1 week before the event. (Good Girls)
Fay and Kate distributed the flyer's around Birmingham and Erdington 1 week before the event. (Good Girls)
November 29th 2007
Group meeting in Erdington (Alicja, Kate & Nicola)
Having completed the test run, we we’re all a little more confident. We arranged to meet up with Simon and Ev from Erdington Arts Forum. Nothing formal, just a coffee and a chat about what our plans were and how we could work with the Art Forum to generate a little publicity and some support. The meeting was great. They had lots of ideas for contacts and they were a fountain of knowledge when it came to Erdington centre. They really liked the idea and planned to come along to the event as well as support us by writing about us on their blog site.
Nicola had the 1st batch of poster printed today to put around Erdington, in shop fronts and such. Alicja posted a poster of the event in a Polish run food shop. The owners found the idea of the installation very interesting and wanted to be informed of any other events like this one in the future.
Later that day we went back to the university to practice with all the indeed text Alicja wanted to use on the day of the project. We only spent about an hour on it. But it was again good practice to set up and get going (minus the generator).
Having completed the test run, we we’re all a little more confident. We arranged to meet up with Simon and Ev from Erdington Arts Forum. Nothing formal, just a coffee and a chat about what our plans were and how we could work with the Art Forum to generate a little publicity and some support. The meeting was great. They had lots of ideas for contacts and they were a fountain of knowledge when it came to Erdington centre. They really liked the idea and planned to come along to the event as well as support us by writing about us on their blog site.
Nicola had the 1st batch of poster printed today to put around Erdington, in shop fronts and such. Alicja posted a poster of the event in a Polish run food shop. The owners found the idea of the installation very interesting and wanted to be informed of any other events like this one in the future.
Later that day we went back to the university to practice with all the indeed text Alicja wanted to use on the day of the project. We only spent about an hour on it. But it was again good practice to set up and get going (minus the generator).
November 24th 2007
We had a test run on the 24th of November at Fay's. Alicja, myself, Fay, Kate and Rebecca Randle (photographer) were all present and freezing cold!
Initially it was to see that the all the equipment worked together. The generator, laptop and projector. Then to test run the projection itself. To test whether it worked and was visible on people in the dark. I think it actually look great, it was a good idea to have a variation of size and direction with projected text. The effect to witness captured your attention, without a doubt. To actually have the text projected onto you was a weird feeling. It made you feel a little like you were accommodating something living. See what you think. Obviously the imagery has been treated to get in all the action, but its suits!
Initially it was to see that the all the equipment worked together. The generator, laptop and projector. Then to test run the projection itself. To test whether it worked and was visible on people in the dark. I think it actually look great, it was a good idea to have a variation of size and direction with projected text. The effect to witness captured your attention, without a doubt. To actually have the text projected onto you was a weird feeling. It made you feel a little like you were accommodating something living. See what you think. Obviously the imagery has been treated to get in all the action, but its suits!
November 2007 (still)
Kate and Fay worked on the final press release and publications with Alicja’s help in translating. While Nicola produced the design work and the Keepers blog.
We concluded an equipment list with Alicja.
We concluded an equipment list with Alicja.
- Laptop & publishing software
- 2-4k lumen projector
- Generator
- Safety tape
- Spare fuses
November 2007
A lot of this time was spent working on the poster and flyer designs. It was imperative they we're correct. The posters and the flyer's where produced in both English and Polish, so it took a great amount of careful communication to assure everything was correctly spelt and all the accents were in the right places.
The generation of of the designs took some time.
These are the initial designs, by Ben Scarborough:
The group made a decision that the designs needed to be softer. Less military looking. Its was imperative that the designs didn't speak for the project. We wanted a design we could use throughout all of our publications, but only as a style. The first designs had to many connotations to subjects we had no intention of covering, so after deciding what text was important and what was to be said on each publication, we came up with these:
The generation of of the designs took some time.
These are the initial designs, by Ben Scarborough:
The group made a decision that the designs needed to be softer. Less military looking. Its was imperative that the designs didn't speak for the project. We wanted a design we could use throughout all of our publications, but only as a style. The first designs had to many connotations to subjects we had no intention of covering, so after deciding what text was important and what was to be said on each publication, we came up with these:
November 5th 2007
*Read through text to be used on leaflets, flyer's and handouts, next step to redraft it.
*Discussed a checklist: By next meeting plan to have the text finalised, the designs for adverting finalised, projector and generator booked.
*Discussed a checklist: By next meeting plan to have the text finalised, the designs for adverting finalised, projector and generator booked.
November 1st 2007
Group meeting all present.
*Looked over the first versions of flyer designs, discussed amendments, minimal text based deigns seemed more appropriate with bold colours such as red and white (polish flag).
* We discussed contextualizing the project and our reasons for doing it, extensive research needed at this stage to create accurate design and text for marketing proposed.
*Looked over the first versions of flyer designs, discussed amendments, minimal text based deigns seemed more appropriate with bold colours such as red and white (polish flag).
* We discussed contextualizing the project and our reasons for doing it, extensive research needed at this stage to create accurate design and text for marketing proposed.
October 20th 2007
Project Meeting and Site Visit to Erdington High Street. (Artist Alicja Rogalska, Kate and Fay present.)
Discussed possible locations to house the project, the location in mind at this stage being disused shop fronts.
After tutorials on the project with our peers, the group decided to concentrate on the projected intervention in an outdoor space. Discarding the second part of the project 'Polish Specimens'.
Discussed possible locations to house the project, the location in mind at this stage being disused shop fronts.
After tutorials on the project with our peers, the group decided to concentrate on the projected intervention in an outdoor space. Discarding the second part of the project 'Polish Specimens'.
October 15th 2007
Group meeting, all present.
Concerns with original idea are laid down and the group decided by majority that the initial idea of a multimedia instillation was too reliant on technology. It may cause issues with safety of equipment and didn’t have a specific enough subject matter or specific artist to contextualise.
The plan to join forces with Alicja was agreed.
Alicja Rogalska’s intervention project meant a change of original location for the event to Erdington due to the large polish community there.
Via e-mail Alicia proposed ideas to the group (found on keepers blog)
Concerns with original idea are laid down and the group decided by majority that the initial idea of a multimedia instillation was too reliant on technology. It may cause issues with safety of equipment and didn’t have a specific enough subject matter or specific artist to contextualise.
The plan to join forces with Alicja was agreed.
Alicja Rogalska’s intervention project meant a change of original location for the event to Erdington due to the large polish community there.
Via e-mail Alicia proposed ideas to the group (found on keepers blog)
October 14th 2007
Meeting with Alicja Rogalska. (Fay)
Basic discussion of ideas, concepts, realisation. Alicja planned to e-mail a proposal with all here ideas on for the rest of the group to discuss.
Basic discussion of ideas, concepts, realisation. Alicja planned to e-mail a proposal with all here ideas on for the rest of the group to discuss.
October 11th 2007
Project meeting.
Site visit to Custard Factory and Rainbow pub. (Kate and Fay present.)
Discussed potential location:
Issues with the rainbow pub, could be problematic in relation to safe guarding equipment.
Continuing the event in this location could be viewed as an excuse for a party.
A visual and sound event at the rainbow and an outdoor site orientated intervention seem like to separate ideas.
Discussed potential artist Alicja Rogalska: Fay had contacted through myspace and has been waiting for a reply.
Alicja Rogalska – Polish artist
*Wishes to produce an intervention questioning current media hype concerning immigration, particularly of polish migrants.
*Project will be realised through the projection of ‘I’m Polish’ onto the public in a busy pedestrianised area and a spot the pole window display.
Both agree this concept is an interesting one, relevant to current social issues and debate and can be realised on our limited budget.
Site visit to Custard Factory and Rainbow pub. (Kate and Fay present.)
Discussed potential location:
Issues with the rainbow pub, could be problematic in relation to safe guarding equipment.
Continuing the event in this location could be viewed as an excuse for a party.
A visual and sound event at the rainbow and an outdoor site orientated intervention seem like to separate ideas.
Discussed potential artist Alicja Rogalska: Fay had contacted through myspace and has been waiting for a reply.
Alicja Rogalska – Polish artist
*Wishes to produce an intervention questioning current media hype concerning immigration, particularly of polish migrants.
*Project will be realised through the projection of ‘I’m Polish’ onto the public in a busy pedestrianised area and a spot the pole window display.
Both agree this concept is an interesting one, relevant to current social issues and debate and can be realised on our limited budget.
October 8th 2007
Session on issues in Off-site Curating by Helen Legg.
This session covered information on, who makes Off-Site work, examples of Biennials, Commissioning agencies, Residency Programmes and galleries with Off-Site programmes. This session paid reference to IKON's Off-Sites projects 2002-2004
This session covered information on, who makes Off-Site work, examples of Biennials, Commissioning agencies, Residency Programmes and galleries with Off-Site programmes. This session paid reference to IKON's Off-Sites projects 2002-2004
Proposal for curatorial project - Final
We will commission a moving image artist to create visual representation of light. The artist will be working with ideas of movement, colour spectrum's and abstraction. Not working to any specific genre, the artist can decide the pace, style and ambiance of the piece. Once the visual imagery is complete, we will commission a sound artist to create a sound-space for the visual imagery. The sound artist must consider the four dimensions of sound in relation to the installation the four dimensions of consideration are rhythm, fidelity, temporal and special. Concluding that the sound artist must be aware of the installation space and how we plan to platform the visuals and the sound together.
Currently the plan for this is to hold three different installations over the period of a day. The first being at the custard factory flee market. This stand will host a visual and auditory installation whereby the visual piece will be displayed on monitors or TV screens and the sound will be accessible by head phones attached to the screens, playing the appropriate sound-space for the display. The audience has the choice to interact with this installation by watching the screen and listening to the sound-space. So the affect on the audience begins with the choice to participate in the audiovisual journey the artist have created.
The second installation is the concept of working with sound and the projection of light. This would be ideal for an archway or beneath a bridge or walkway space. Fundamentally the visuals would work alongside the sound-space; however the choice of interaction with the installation isn’t the audience’s decision. The position of the installation would be situated in an area where people walk through regularly, thus imposing the installation as more of an intervention piece. The choice of interaction would be available for the audience if they chose to stand and take in the installation in its entirety.
The third idea would be for a completely audience interactive piece. This would be held at a social venue, such as the ‘Rainbow’ in Digbeth. In a club/pub environment where the audience would be naturally be socializing and having fun. This particular installation would therefore need the audience’s particular environment. This part of the installation would comprise of a big screen projection and sound system, whereby the sound space would be adapted to fit the environment and the visuals would be at the command of the sound. It could also be a consideration that the audience can dictate the pace and movement of the visuals by interacting with the software. This would then make the installation interactive and flexible to the audience rather than directional.
These particular methods of installation both impose/intervene and include the audience dependent on the environment. So using the same sound and visuals in different circumstances, we are able to produce a wider range of interaction and audience response.
Currently the plan for this is to hold three different installations over the period of a day. The first being at the custard factory flee market. This stand will host a visual and auditory installation whereby the visual piece will be displayed on monitors or TV screens and the sound will be accessible by head phones attached to the screens, playing the appropriate sound-space for the display. The audience has the choice to interact with this installation by watching the screen and listening to the sound-space. So the affect on the audience begins with the choice to participate in the audiovisual journey the artist have created.
The second installation is the concept of working with sound and the projection of light. This would be ideal for an archway or beneath a bridge or walkway space. Fundamentally the visuals would work alongside the sound-space; however the choice of interaction with the installation isn’t the audience’s decision. The position of the installation would be situated in an area where people walk through regularly, thus imposing the installation as more of an intervention piece. The choice of interaction would be available for the audience if they chose to stand and take in the installation in its entirety.
The third idea would be for a completely audience interactive piece. This would be held at a social venue, such as the ‘Rainbow’ in Digbeth. In a club/pub environment where the audience would be naturally be socializing and having fun. This particular installation would therefore need the audience’s particular environment. This part of the installation would comprise of a big screen projection and sound system, whereby the sound space would be adapted to fit the environment and the visuals would be at the command of the sound. It could also be a consideration that the audience can dictate the pace and movement of the visuals by interacting with the software. This would then make the installation interactive and flexible to the audience rather than directional.
These particular methods of installation both impose/intervene and include the audience dependent on the environment. So using the same sound and visuals in different circumstances, we are able to produce a wider range of interaction and audience response.
Proposal by Nicola Paton
Proposal for curatorial project – Idea 1
Having recently finished a documentary on the Bauhaus, I have at my disposal reams of footage from New York, Berlin and Chicago. This footage contains a vast mixture of scenic photographic documentation, including the journey to the countries and other locations along the route. It also has a well of interview footage from members of the Bauhaus, MIT and the Chicago Institute. The footage could be broken down into abstract sound bites that could trigger imagery of things such as light and colour as it is played. It’s also a major topic of interest within some of the interviews. Visually that is a lot to play with and it would take a small amount of time to edit. It could be commissioned to a video artist and that could utilize new media platforms to work with.
Using a variation of visual media platforms this could become both a video and sound installation. The sound bites could be edited or modified in some way to produce an interesting accompaniment to the visuals. So thought would have to be applied to the aesthetics display of the installation. We will need a lot of consideration paid to deciding on what type of space we use, as it needs to become a vehicle, which affects the audience. So it may pay to consider using numerous amounts of spaces in order to achieve a variation of sight and sound achievements.
Proposal for curatorial project - Idea 2
For this idea I would like to produce a visual and auditory sound installation. Using newly produced visuals that play with the movement and fluctuations of lights, with the intention of creating an abstract and incoherent sequence of images. We will use one of the four dimensions of sound (temporal, rhythm, fidelity, spatial.) ‘Fidelity’ to show the contrast sound-spaces that will be applied to the visuals, thus creating a mental flux between what the audience mentally attaches to the visuals and what is actually being played.
With the involvement of existing artists from the surrounding area we can create a new piece of art, by simply introducing a sound artist with a visual artist and coordinating their response. The platform being a live visual sound mixes. This could be formulated with the participation of the audience, by the use of technology and software or in a visual response to a digital imagery with music in a performance situation. This installation would be better suited to an evening, however it could be demonstrated throughout the day before hand and celebrated throughout the evening.
Having recently finished a documentary on the Bauhaus, I have at my disposal reams of footage from New York, Berlin and Chicago. This footage contains a vast mixture of scenic photographic documentation, including the journey to the countries and other locations along the route. It also has a well of interview footage from members of the Bauhaus, MIT and the Chicago Institute. The footage could be broken down into abstract sound bites that could trigger imagery of things such as light and colour as it is played. It’s also a major topic of interest within some of the interviews. Visually that is a lot to play with and it would take a small amount of time to edit. It could be commissioned to a video artist and that could utilize new media platforms to work with.
Using a variation of visual media platforms this could become both a video and sound installation. The sound bites could be edited or modified in some way to produce an interesting accompaniment to the visuals. So thought would have to be applied to the aesthetics display of the installation. We will need a lot of consideration paid to deciding on what type of space we use, as it needs to become a vehicle, which affects the audience. So it may pay to consider using numerous amounts of spaces in order to achieve a variation of sight and sound achievements.
Proposal for curatorial project - Idea 2
For this idea I would like to produce a visual and auditory sound installation. Using newly produced visuals that play with the movement and fluctuations of lights, with the intention of creating an abstract and incoherent sequence of images. We will use one of the four dimensions of sound (temporal, rhythm, fidelity, spatial.) ‘Fidelity’ to show the contrast sound-spaces that will be applied to the visuals, thus creating a mental flux between what the audience mentally attaches to the visuals and what is actually being played.
With the involvement of existing artists from the surrounding area we can create a new piece of art, by simply introducing a sound artist with a visual artist and coordinating their response. The platform being a live visual sound mixes. This could be formulated with the participation of the audience, by the use of technology and software or in a visual response to a digital imagery with music in a performance situation. This installation would be better suited to an evening, however it could be demonstrated throughout the day before hand and celebrated throughout the evening.
Proposal by Kate Pennington-Wilson
Proposal for curatorial project
As a joint curatorial project we intend to organize a one-day visual and sound based event in the eastside/digbeth area of Birmingham. Taking place during one of the busy Sunday flea markets at the custard factory (in order to maximize exposure) the event will begin with a series of sound and simple visual based projections, which will continue into the evening, ending with a live DJ and VJ set at the rainbow pub around the corner.
These works will be the result of collaboration between Birmingham and Bristol based visual and sound artist. The intention of this project is to strengthen relationships and promote collaboration between artists (and curators) from these regions and expose visitors to newly emerging artists, as well as concepts of artistic space and place within the city centre.
In relation to the unconventional use of the custard factory’s market place as an artistic avenue we believe sound is particularly well suited. Sound can portray an idea, provoke thought and be challenging, it can stop shoppers in their tracks if considered out of place. Perhaps the use of simple lights as well as sound can grab the attention of passers by and force them to reconsider their surroundings, under a bridge, projected onto buildings, on billboards or road signs. In comparison to this, the visual works shown at the rainbow on the other hand will be of a more complex nature rather then purely minimal tone.
Second proposal for curatorial project
The second proposal is the same as the first in many ways the only difference will be the projection of more complex moving images onto a surface (wall, interior of bridge etc) within or around the market space. This would involve selecting a variety of video works to project onto such a space along with sound. It would be ideal to produce a show real in such a case. The dilemma here is that there needs to be a larger body of imagery then for the previous idea of projecting lights, as well as the already large body of visuals needed to be set aside for the VJ element of the later part of the event at the rainbow. In this case perhaps sound is too much to consider (with outdoor work) and visuals alone are enough here. The only other solution would be to play a relatively long but simple (maybe on a loop) video projection along with sound specifically intended for it, therefore in keeping with the collaborative element intended for the project in it original state. With the outside element of the event simple is best.
As a joint curatorial project we intend to organize a one-day visual and sound based event in the eastside/digbeth area of Birmingham. Taking place during one of the busy Sunday flea markets at the custard factory (in order to maximize exposure) the event will begin with a series of sound and simple visual based projections, which will continue into the evening, ending with a live DJ and VJ set at the rainbow pub around the corner.
These works will be the result of collaboration between Birmingham and Bristol based visual and sound artist. The intention of this project is to strengthen relationships and promote collaboration between artists (and curators) from these regions and expose visitors to newly emerging artists, as well as concepts of artistic space and place within the city centre.
In relation to the unconventional use of the custard factory’s market place as an artistic avenue we believe sound is particularly well suited. Sound can portray an idea, provoke thought and be challenging, it can stop shoppers in their tracks if considered out of place. Perhaps the use of simple lights as well as sound can grab the attention of passers by and force them to reconsider their surroundings, under a bridge, projected onto buildings, on billboards or road signs. In comparison to this, the visual works shown at the rainbow on the other hand will be of a more complex nature rather then purely minimal tone.
Second proposal for curatorial project
The second proposal is the same as the first in many ways the only difference will be the projection of more complex moving images onto a surface (wall, interior of bridge etc) within or around the market space. This would involve selecting a variety of video works to project onto such a space along with sound. It would be ideal to produce a show real in such a case. The dilemma here is that there needs to be a larger body of imagery then for the previous idea of projecting lights, as well as the already large body of visuals needed to be set aside for the VJ element of the later part of the event at the rainbow. In this case perhaps sound is too much to consider (with outdoor work) and visuals alone are enough here. The only other solution would be to play a relatively long but simple (maybe on a loop) video projection along with sound specifically intended for it, therefore in keeping with the collaborative element intended for the project in it original state. With the outside element of the event simple is best.
October 4th 2007
Project meeting. Lots of ideas were bought to the table, such as the possibility of organising an outdoor intervention of some kind, using projected visuals or sound.
Potential locations for this could be the Custard factory flea market and surrounding area, or the Rainbow pub.
Next step to draw up about 200 words for individual proposals that consider artists for the project.
At this point the suggestion of an installation using the theme of light and sound was a high consideration.
Potential locations for this could be the Custard factory flea market and surrounding area, or the Rainbow pub.
Next step to draw up about 200 words for individual proposals that consider artists for the project.
At this point the suggestion of an installation using the theme of light and sound was a high consideration.
October 1st 2007
Session on Marketing with Melissa Nisbett
This session covered marketing technique and advice for advertising events. Covering topics such as Publicity material, Audience, Text, Images, Graphic Design, Print Specification & Distribution.
Subjects covered in this session were E-Marketing, E-News letter & Websites.
Melissa advised us on Marketing strategy. How to analyse or project, setting aims, objectives, considering target audience, messages, tactics, timescale, resources and evaluation for the project.
This session covered marketing technique and advice for advertising events. Covering topics such as Publicity material, Audience, Text, Images, Graphic Design, Print Specification & Distribution.
Subjects covered in this session were E-Marketing, E-News letter & Websites.
Melissa advised us on Marketing strategy. How to analyse or project, setting aims, objectives, considering target audience, messages, tactics, timescale, resources and evaluation for the project.
September 24th 2007
Project Introduction and allocation of groups with in the session.
The Brief:
Around & About - Collaborative Live Project
Our first brief to be worked on is a collaborative LIVE project called ‘Out & About’.
It’s a project to be held in Birmingham city. We have to organise, fund, advertise and curate an off-site exhibition or event, within a time scale of 10 weeks.
We can use as many or as few artworks/ artists as we like. We can commission new work from artists or create our own.
We can use any space within an agreed reception area and we must disseminate the project to a wider audience than our comfortable existing MA group.
Introduction to Curatorial Practice: Assessment Requirements.
What you must produce for assessment:
Completed collaborative live project
3000 word evaluation that:
- Analyses your role within the project management
- Critically evaluates the project as a whole, from practical, historical, ideological and
theoretical viewpoints.
- Gives a rationale for choice of location and artist/s
- Demonstrates evidence of your knowledge of issues and context
Supporting material generated during the project. This must include: organised and clearly presented individual research & planning notes; photographic documentation of final show; press release and other marketing materials (poster, preview invites etc)
Context and History:
The artist/artists that you have chosen to work with will be dealing with specific themes or issues in their work. You need to show:
That you have researched why the artist is preoccupied with them and the reasons behind the strategies they have developed to represent them.
An understanding of why these themes and issues have a purchase in contemporary culture and how they are relevant to the context in which you have decided to show the work.
The group worked on initial research and idea generation. Group pays attention to individual skills and contacts as a consideration. Enabling us to gauge strengths within the group.
The Brief:
Around & About - Collaborative Live Project
Our first brief to be worked on is a collaborative LIVE project called ‘Out & About’.
It’s a project to be held in Birmingham city. We have to organise, fund, advertise and curate an off-site exhibition or event, within a time scale of 10 weeks.
We can use as many or as few artworks/ artists as we like. We can commission new work from artists or create our own.
We can use any space within an agreed reception area and we must disseminate the project to a wider audience than our comfortable existing MA group.
Introduction to Curatorial Practice: Assessment Requirements.
What you must produce for assessment:
Completed collaborative live project
3000 word evaluation that:
- Analyses your role within the project management
- Critically evaluates the project as a whole, from practical, historical, ideological and
theoretical viewpoints.
- Gives a rationale for choice of location and artist/s
- Demonstrates evidence of your knowledge of issues and context
Supporting material generated during the project. This must include: organised and clearly presented individual research & planning notes; photographic documentation of final show; press release and other marketing materials (poster, preview invites etc)
Context and History:
The artist/artists that you have chosen to work with will be dealing with specific themes or issues in their work. You need to show:
That you have researched why the artist is preoccupied with them and the reasons behind the strategies they have developed to represent them.
An understanding of why these themes and issues have a purchase in contemporary culture and how they are relevant to the context in which you have decided to show the work.
The group worked on initial research and idea generation. Group pays attention to individual skills and contacts as a consideration. Enabling us to gauge strengths within the group.
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