I revisit the list of priorities from Spring on the network directory (adding in purple my current thoughts as of early September 2022.)
Let me try and prioritise:
a/ picking up and consolidating existing relationships across Central Scotland, DIY and artist-run; CCA, Cove Park, Rhubaba and Embassy
This hasn’t really happened: I spoke to a few of my artist friends who have been involved in the DIY spaces but all but one have now left the arts as sector, retraining in data or life science.
At the same time, most of my contacts and networking is taking place in the UK: around poetry/life writing/creative writing, at the intersection of visual poetry/asemic poetry, screenwriting and a little bit of radio art. These originate within twitter contacts but also the two Poetry School courses I took in early Spring and in July.
b/ critical friends and peer-exchange networks are, not surprisingly, the ones that interest me most; how to develop these further (notably GSARD, OCAEU, 1:1 exchanges too)
These developed most, the GSARD crit group is a constant and inspiring context for crit, reading/discussions and some first exploration of making/showing work together; the OCAEU group a second, I joined the admin team until July 2022 and took part in the wanderwideweb residency and online exhibition. In the latter, much happened in collaborative explorations, in exploring sound in my work, in curating a group show and currently in running a series of artist conversations and how to document the considerable work and exhibition beyond its online presence.
c/ what exists here between Celle, Uelzen and Gifhorn: what artists are based here; any exhibition spaces, and resources (print studio etc), and groups to connect to, any possibility to teach/facilitate?
I made a couple of enquiries and reached out re: access to workshop spaces in one of the larger towns but also local art teachers but nothing has yielded access nor working contacts so far.
d/ walking arts/ site-based work that isn’t geopoetics, place nor landscape : > methods may be a route here (which also addresses colonial legacy of geographic fieldwork)
I followed some online and met up with two artist colleagues to see the Walk! show at Schirn in Frankfurt where one of them was exhibiting, we also talked with one of the show’s curators afterwards.
e/ to write and contribute to: either blog posts or other forms; not primarily academic journals, it needs wider access; I also doubt a publisher as such would be interested
I wrote a couple of blog posts for #weareoca and have begun to investigate how to publish in visual/poetry magazines, perhaps chapbooks etc. I haven’t pursued any more academic publishing so far, remain uncertain about its relevance and/or reach but am also in discussion with academic colleagues about co-authoring more hybrid formats (one a photo essay about pandemic travel restrictions and distance/care).
f/ to circulate and locate both a/folder as free mail art object; but also: photographic prints and cyanotypes as objects for circulation through sale: where to locate them?
I continue to do so with the a/folders and have a rudimentary set up for the other objects but for the latter haven’t found a site to host/facilitate access yet (they currently live on IG).
g/ engagement as key pointer: where and how to base the work; e.g. distribution via mail drop along my commuting route; to colleagues in Glasgow Geography; etc.
These remain to be done: both for academic contexts, the site of the first iteration of Drawing/Contact but also the OCA tutors who I engaged with while at the OCA. I consider a working/viewing presence along my commuting route for the first weekend in September but couldn’t facilitate access early enough to make it viable. So, a local/site-based event/performance remains to be done too.
j/ what is my current social media use and how can I utilise that (e.g. is Facebook rather dead? what puts me off the IG influencers? and what to do with 41 followers on twitter?)
I have resorted back to FB to use it as diaristic performance, recording space; sometimes I use twitter for this too (with a doubled following by now); I am investigating if I set up a regular (monthly) newsletter via substack as a way of moving some of the performative work into a direct readership. I currently use IG as main SM handle and am in the process of building a website via Cargo to act as portfolio. I think I will include my LinkedIn profile for any of the training/facilitation and academic work (I don’t want to clutter the artist portfolio with it, and LinkedIn remains relevant for this line of work of mine.
These following points are more complex to respond to, and I will leave them here for now and return to them in the portfolio document as I look forward.
h/ what does it mean for the work if it solely animates through friendship and personal networks?
i/ what roles does archiving play in all this? does this network differently and otherwise?