The Rise of the Local

Thu 26 November, 6:30pm - 8:30pm

Venue: The Organ Grinder Pub, 4 Wood Gate

FREE

Book Tickets

Our economy is changing. We are looking for alternatives to the accepted capitalist norm. We are exploring new sustainable economic systems that have new values and behaviours. Some have argued that we are seeing the spontaneous rise of collaborative production: goods, services and organisations are appearing that no longer respond to the dictates of the market and the managerial hierarchy. The biggest information product in the world – Wikipedia – is made by volunteers for free, abolishing the encyclopedia business and depriving the advertising industry of an estimated $3bn a year in revenue. Parallel currencies, time banks, cooperatives and self-managed spaces have proliferated, barely noticed by the economics profession, and often as a direct result of the shattering of the old structures in the post-2008 crisis.  For this seminar we have invited individuals involved or interested in new sustainable economies and less recognised modes of economic co-ordination to speak about their work. The speaker at this event will be:

Naomi Diamond

Naomi works for Locality, the national network of ambitious and enterprising community-led organisations, working together to help neighbourhoods thrive. Based in Leicester, she has worked with numerous member organisations and partners in the Midlands supporting the development of viable and sustainable community enterprises, for example wind-farms, housing developments, community farms and other asset developments. For the last three years she managed the national Community Organisers Training Programme and is a strong believer in the power of people to make change happen locally. Before coming to Locality (formerly the Development Trusts Association), Naomi was involved in the local food sector and was a founder member of Leicestershire Food Links, a local food community enterprise running farmers markets and local food projects. She is a Board member of Soft Touch Arts, a  youth arts charity which has recently taken over a vacant City centre building in Leicester and created a £1m Youth Arts and Heritage Centre.

http://locality.org.uk/

David Boyle

David Boyle is the author of Broke: How to Survive the Middle Class Crisis (Foutrh Estate) published 16 Jan 2014.  He was recently the government’s independent reviewer on Barriers to Public Service Choice (the Boyle Review, 2012-13), for the Cabinet Office and Treasury. He was part of the team at the New Economics Foundation which ran the successful ‘Clone Town Britain’ campaign (2004-10), which changed the language and shifted the debate about high streets. He has been at the heart of the effort to develop co-production and introduce time banks to Britain as a critical element of public service reform.  He was co-author of three key reports for NESTA in 2009/10, The Challenge of Co-production, Public Services Inside Out and Right Here, Right Now which set out co-production as a practical way forward for UK services. David is the author of a number of books about history, social change and the future of money.  His book Authenticity: Brands, Fakes, Spin and the Lust for Real Life (Flamingo, 2003) helped put the search for authenticity on the agenda as a social phenomenon.  The Tyranny of Numbers (Flamingo, 2001) and The Sum of Our Discontent (Texere, 2001) predicted the backlash against the government’s target culture.  Funny Money: In search of alternative cash (Flamingo, 1999) launched the time banks movement in the UK.  He was a member of the federal policy committee of the Liberal Democrats (1998-2012).

http://www.david-boyle.co.uk/

Kathrin Böhm

Kathrin Böhm is an artist and founding member of the London-based art and architecture collective public works, and the pan-European artist initiative myvillages.org.  Projects are produced collaboratively and within the public realm. Kathrin is interested in the possible production of public space through art led formats of production and trade, where polarised producer and consumer roles can be interrupted and re-envisaged. She considers economy as a public realm where values are being produced and negotiated, and is particularly interested in collective processes to replace individualised ones. In the Press Release for "Trade Show"  an exhibition she recently co-curated with Gavin Wade they clearly stated their interest of entering a discussion about economics:

‘Trade Show’ is a group exhibition that exercises the function of art to exchange, present and enact different economic practices and cultures of trade. Over the last decades artists have claimed and reclaimed trade as a socio-cultural space by producing their own shops, swaps, stalls, deals, exchange centres and distribution systems.In ‘Trade Show’ art and trade exist as universal activities deeply embedded in almost everything we do. Art proposes and enacts forms of trade that remind us of the possibilities and complexities of living in a society where everything must mean something, and everything must be worth something. ‘Trade Show’ contributes to a strong trading culture where roles are changeable, economies are collaborative and the imperative of a not-only-for-profit ethos prevails."

This extends into her current project as part of Myvillages, 'Company: Movements, Deals and Drinks' which is being developed in the London Borough of Barking and Dagenham and aims to bring the many different aspects of drinks production back into a locally embedded and connected chain of production. Through her commission for Market Town Kathrin will continue to investigate the economy as a familiar and everyday realm that we are all part off, and which is not only used for commercial but also for social and cultural exchange.

http://andmillionsandmillions.net/

This is one of a number of workshops/seminars that are being organised as part of the current Market Town programme.  They are intended to further investigate the themes explored in the main commissions, and to further engage the local community in the debate about the future of Loughborough.

Installation view They bow. Curtain. No applause., 2017, Spike Island, Bristol. Photo Stuart Whipps.jpg

February 2018

Artist Talk: Giles Round

February 2018

Artist Talk: Giles Round

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Giles Round is an artist operating across a variety of disciplines including architecture, ceramics, design, print and typography. He engages with materials, processes and collaborators to address the relationship between art, design and functionality. As such the work is populated with citation and misappropriation of an extensive catalogue of collated references. Round’s recent exhibition They bow. Curtain. No applause. at Spike Island in Bristol drew on his professional experience as an exhibition designer to theatricalise the standard systems of display employed by galleries and museums. 

This talk will focus on the making of three recent exhibitions through the roles of artist, curator and designer. 

Recent exhibitions include They bow. Curtain. No applause., Spike Island, Bristol, 2017 (solo); We live in the office, RIBA, London, 2016 (solo); Design Work Leisure, part of ‘Underline’ series, Art on the Underground, London; Ljubljana, 1955, 31st Biennial of Graphic Arts, Galerija Jakopič, Ljubljana, Slovenia, 2015 (solo); AGAIN! SORRY! AGAIN! SORRY!, YOUNG TEAM, London, 2015 (solo); Commons Room, Grizedale Arts at Anyang Public Art Project Biennial, Anyang, South Korea, 2014.

Image: Installation view for They bow. Curtain. No applause., 2017, Spike Island, Bristol. Photo by Stuart Whipps.

External Link

Raúl de Nieves 2014.jpg

March 2018

Artist Talk: Kelly Large

March 2018

Artist Talk: Kelly Large

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Kelly Large’s multi-disciplinary practice engages with acts of public appearance and the agency attached to ‘being visible’; especially how different registers of visibility and public-ness are entangled with the social relations of art practice and its presentation. In both her artistic and curatorial practices she explores these ideas through producing and commissioning live work that uses forms of social choreography to reconsider the relationship between individual and collective agency. In her talk she will discuss the complexities of commissioning live and site specific works in public and private contexts.

Kelly currently works as an independent curator; and as a tutor on the Curating Contemporary Art programme at the Royal College of Art. Between 2013–2016 she was Curator: Public Programme at Zabludowicz Collection, where she produced performances by Helen Benigson, Martin Creed, Alexandre da Cunha, Andy Holden, Raúl de Nieves, Jack Tan and Katrina Palmer; and worked with Rachel Maclean, Heather Phillipson, Jon Rafman and Ryan Trecartin amongst others. Recent projects include Empathy Flows, an evening of spoken word exploring the promotion and consumption of emotion with newly commissioned work by artists and poets; and Fictions Are Realities To Come, a series of new performances intersecting real and virtual worlds.

Her work has been presented at Tate Modern, David Roberts Art Foundation, 52nd Venice Biennale, Eastside Projects, Liverpool Biennial of Contemporary Art, and MIMA.

Image: Raúl De Nieves, Los oceano son la carne, 2014. Photograph by Ollie Hammick

Mike Cooter Exhibition - Copy.jpg

March 2018

The Object is Alive Exhibition - Mike Cooter - The Mimic, the Model and the Dupe

March 2018

The Object is Alive Exhibition - Mike Cooter - The Mimic, the Model and the Dupe

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Radar has invited artist Mike Cooter to actively engage with New Walk Museum’s collection, taking inspiration from the work of Polish artist and theatre maker Tadeusz Kantor, whose work was concerned with the role and status of the object. The Mimic, the Model and the Dupe, will draw on Kantor’s Anti-Exhibition (1963) and Leicester-born naturalist Henry Walter Bates’ (1825 -92) research into a form of mimicry that would take his name. Working across holdings from fine art, natural history, industrial design, decorative arts and material cultures, the exhibition will look to explore how the objects in the collection both perform and reproduce themselves through their own agency and in symbiotic relationship with organisations that host them.

Kantor has been extensively researched by Dr Dan Watt, Senior Lecturer in Drama, Loughborough University. The exhibition is part of a wider programme, entitled ‘The Object is Alive’, that has invited artists to develop new exhibitions in response to the work of Kantor and their own interest in the agency of the object. The exhibition will be accompanied by a major symposium on the influence of Kantor taking place at Loughborough University on the 28th April 2018.

Image: Research photograph (with thanks to Michael Asher), Mike Cooter, 2017. Boiler heating the Abbey Pumping Station, home of Leicester City Council’s Industrial History Museum.

Evan Ifekoya, A Score, A Groove, a Phantom, Performance Whitstable Biennale 2016, photo by Bernard G Mills.jpg

April 2018

Music, Movement, Power: Blackness and Sonic Resistance

April 2018

Music, Movement, Power: Blackness and Sonic Resistance

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There are a myriad of forces at work that prevent, enable and force movement. Borders prevent freedom of movement between states. Police and private security regulate movement through social space. Social housing tenants are forcibly relocated as areas are gentrified. Such issues disproportionately affect black people. Yet being made to move is not always a negative phenomenon; and a number of black musicians and artists have explored the role that music can play in creating times and spaces of collective empowerment to subvert, resist and overcome these power structures.

With contributions from musicians, artists and academics, this event explores the relationships between blackness, music, and the (in)ability to move. What is the relationship between grime and social housing? What does it mean when songs can cross borders but people can’t? How might music work within, against, and beyond a world in which free movement is denied to so many?

With Evan Ifekoya, Xana, and James Esson.

Image: Evan Ifekoya, A Score, A Groove, a Phantom, Performance Whitstable Biennale 2016, photo by Bernard G Mills

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Loughborough University Arts

Martin Hall Building

Loughborough University

Loughborough LE11 3TU, UK

luarts@lboro.ac.uk

01509 222 948

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