@walkingreading – TWRG on Care is returning this May as part of @OSRprojects You can join from anywhere! Book for a walk on 31 May 2-… https://t.co/tWhlrkMrhm
Tue 21 May 2013 6:00 – 9:00 pm. Gasworks. London
During this walk we discussed participation as a tool of democracy. We considered how this political tradition and framework makes its way into UK-based arts practices and arts institution today. We walked north from Gasworks towards Black Prince Road and then turned east, skirted through Kennington Park, turned into John Ruskin Street and then entered Burgess Park. From there we followed Southampton Way to Sceaux Gardens Estate, then walked around the back of South London Gallery and continued towards Camberwell Green. We finished with a drink at the Strombird Pub.
Steedman, M. 2012, ‘Ideas that have shaped the terrain’ in Gallery as Community: Art, Education, Politics, Whitechapel Gallery, London, pp 43-62
Beech, D. 2008, ‘Include me out! On participation in art’ in Art Monthly, 315, pp 1-4
Jackson, S. 2011, Social Works: performing art, supporting publics, Routledge, New York, pp 43-74
Mouffe, C. 2005, ‘Politics and the Political’ in On the Political, Routledge, New York, pp 8-34
Wednesday 22 May 2013 6:00 – 9:00 pm. Gasworks. London
The community arts movement, the binary approach of socially-engaged art practice as well as Latour’s critique of the ever-shrinking meaning of the ‘social’ formed the basis of our conversations whilst we walked around Oval Cricket ground. We circled the oval eight times – four clockwise and four anti-clockwise – and then continued our conversations at the Pilgrim pub on Kennington Lane.
Orr, K. 2011, ‘Even Better Together: Gasworks and ‘Community’’ in engage journal, 28, London, pp 93-103
Marcellini, A. & Rana, D. 2012, ‘Towards a Non-anthropocentric Social Practice’ in Paletten Art Journal, pp 286-287
Gielen, P. 2011, ‘Mapping Community Art’ in de Bruyne, P. & Gielen, P. (eds.), Community Art: The Politics of Trespassing, Valiz, Amsterdam, pp 15-33
Latour, B. 2005, ‘Introduction: How to Resume the Task of Tracing Associations’ in Reassembling The Social: An Introduction to Actor-Network-Theory, Oxford University Press, Oxford, pp 1-9
Tue 28 May 2013 6:00 – 9:00 pm. The Showroom. London
This week, our conversations re-visited the almost decade old debate between Claire Bishop and Grant Kester on participation in art practices, whilst considering Michael De Certeau’s perspectives around strategies and tactics. From The Showroom, we walked down Church Street and Lisson Green Estate and then followed the Regent’s Canal to Camden Town. After the walk we had a drink at the Spread Eagle pub.
Pethick, E., Shelley, L. & Smith, E. 2011, ‘Communal Knowledge’ in engage journal, 28, London, pp 9-19
Kester, G.H. 2011, ‘Autonomy, Antagonism, and the Aesthetic’ in The One and the Many: Contemporary Collaborative Art in Global Context, Duke University Press, Durham, pp 19-65
Bishop, C. 2012, ‘The Social Turn: Collaboration and Its Discontents’ in Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso Books, Brooklyn, pp 11-40
De Certeau, M. 1984, ‘Strategies and tactics’ and ‘“Spaces” and “places”’ in The Practice of Everyday Life, University of California Press, Berkeley, pp 34-39 and pp 117-118
Wed 29 May 2013 6:00 – 9:00 pm. The Showroom. London
For this evening, we used a route devised for an audio walk by Ultra-red for RE:ASSEMBLY as part of The Serpentine Gallery’s Edgware Road Project. We set off from The Showroom, and joined the route at Baker Street station. During the walk we debated documentation, dedication, location and dialogue in relation to socially engaged art practice. We completed the circular route and ended up in the Prince Regent pub for a drink to mark the end of the first edition.
Graham, J. 2012, ‘What is a Possible Study?’ in On the Edgware Road, Serpentine Gallery, London, pp 21-25
Steedman, M. 2012, ‘Inherent Tensions’ in Gallery as Community: Art, Education, Politics, Whitechapel Gallery, London, pp 197-219
Thompson, N. 2011, ‘Living as Form’ in Living as Form: Socially Engaged Art from 1991- 2011 Creative Time, New York and The MIT Press, Cambridge, Massachusetts, pp 16-33
Helguera, P. 2011, ‘Documentation’ in Education for Socially Engaged Art, Jorge Pinto, New York, pp 73-76
Gandolfi, E. 2010, ‘A dialogue between Emiliano Gandolfi and Jeanne Van Heeswijk’ in Burtscher, A. & Wielander, J. (eds.), Visible: Where Art Leaves Its Own Field and Becomes Visible as Part of Something Else, Sternberg Press, Berlin, pp 133-139
Bauman, Z. 2008. ‘We, the Artists of Life’ in The Art of Life, Polity Press, Cambridge, pp 73-92