Thanks to Emma Balkind for taking photos !
On Saturday we were treated to the ‘stand -in’ for the screening of the ‘national review of live art’ from Modern Edinburgh Film School. What we discussed as being a short 45 minute presentation and chat turned into a much longer and rich conversation about ATELIER PUBLIC#2, Modern Edinburgh Film School and the impossibilities of ideas and participation in the exhibition.
These few notes I am writing this morning will in no way do justice to the considerations that Alex presented and discussed with us on Saturday. I did record it and plan to revisit the conversation with more time. But in the absence of time here are some interim notes.
Modern Edinburgh Film School is a construct that I as an artist can disappear into and work with people who I could never have approached as an artist in my solo practice.
Tyranny of materials, film – stimulus to the space, prints – the invitation, materials in the films become materials in the gallery
reformatting the hierarchy of materials
Preservation of authorship
Collage interests me it is human nature
gallery as a stage of collusion, transmission and distribution, I have an interest in the role of Modern Edinburgh Film School in these states
absorption where the original form is gone. Opposite of editing to the point of essence or the practice of the artist as curator.
The art, the artist, the original work has now disappeared
The ventriloquisation of the stand in for the screening that was impossible
The edition is in the place of presence
Alex spoke with an incredible honesty about how challenging ATELIER PUBLIC#2 had been for Modern Edinburgh Film School and how difficult for him to work through the challenge to the aesthetic of his work and that of the school. He spoke at his surprise at being invited to be one of the artists to shape, inform and work in ATELIER PUBLIC#2 and, while at times he wondered what Modern Edinburgh Film School was doing in this exhibition, felt The Silver River was the most powerful work Modern Edinburgh Film School had done to date.
His surprise at being asked surprised me. Alex’s discussion of Modern Edinburgh Film School and how it evolves has often articulated for me, in far more eloquent ways, my thinking around ATELIER PUBLIC and my role within it. For me it was natural to invite Modern Edinburgh Film School. It would offer me the chance to challenge the premise of ATELIER PUBLIC and work with an artist whose work I greatly admired and was inspired by. His generosity* with thought, questions, materials and rethought for ATELIER PUBLIC#2 has been invaluable since we first began conversations about the conversation between the two works.
I will end these notes on the statement he put out there at this event that he was now seeing himself as “an artist in residence in Modern Edinburgh Film School in order to create my [his] own work” and the natural progression for the school, and the disappearance/absorption of him in it, is for a new artist in residence and what would that look like.
Am I as much ‘in residence’ as ‘the curator’ in ATELIER PUBLIC#2
*I am continually amazed at generosity of the invited artists, colleagues and visitors to the gallery in ATELIER PUBLIC and that generosity adds new momentum at every turn.