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Artists’ publications as instructions, scores and manuals — AWP Symposium 2018

Image for AWP Symposium 2018

South Bank Room
The Tetley
Hunslet Road
Leeds LS10 1JQ

Admission £5 including coffee and tea (free to students from the School of Fine Art, History or Art and Cultural Studies).

Book your place here via Eventbrite

The 2018 Artists’ Writing and Publications Research Centre (AWP) Symposium explores the role of writing and publication in the development of instructional and procedural strategies for making and curating art.

In his essay accompanying Hans Ulrich Obrist’s instructional project do it! (1993-), Bruce Altschuler suggests that the early conceptual avant-garde were united by two strategies employed at key moments … the generation of a work by following written instructions, and the insertion of chance in the realization of an artwork. The adoption of instructional strategies generated a wealth of subsequent practices which entwine ideas, forms and contexts in a variety of experimental ways. It is the rich history of Instructional and Procedural art, as manifested in print, that we will celebrate in a day of presentation, performance and discussion.

Our guest speakers are:

Ami Clarke, an artist whose practice is informed by, investigates, and is produced through emergent behaviours developing from the interdependencies between language, code and the economy, that necessarily include consideration of the socio-political and economic circumstances underpinning these. She is also founder of Banner Repeater; a reading room with a public Archive of Artists’ Publishing and project space, opening up an experimental space for others, on a working train station platform, London.

Her work and writing has recently been included in ‘Information’ Whitechapel Documents of Contemporary Art and MIT press, edited by Sarah Cook, August 2016, Artists Re-Thinking The Blockchain, published by Liverpool University Press, and the Journal of Visual Art Practice, Volume 15, 2017. She has recently exhibited/curated works at Xero Kline and Coma, Centrespace gallery Dundee, ICA, London, Wysing Arts Centre, Museo Del Chopo – Mexico City, Hayward Gallery, collaborated with Cuss Group SA – Ithuba Gallery (British Council connect_ZA), David Roberts Arts Foundation, Camden Arts Centre, The Container, Japan.

Chris McCabe’s cross-genre work includes poetry, collage, fiction, non-fiction, poetry objects and visual poetry. His fifth collection, The Triumph of Cancer, will be published this October by Penned in the Margins. He has recorded his work with the Poetry Archive and was shortlisted for The Ted Hughes Award in 2013. His collaborative work with Sophie Herxheimer, The Practical Visionary, a collaged response to William Blake, has just been published by Hercules Editions and forms the a forthcoming exhibition at The Poetry Cafe. His plays Shad Thames, Broken Wharf and Mudflats, which won a Northern Arts Award, have been performed in London and Liverpool.

Sarah Kate Wilson is an artist who lives and works in London. Wilson was awarded her Practice-based PhD (AHRC funded) in 2017 by the School of Fine Art, History of Art and Cultural Studies, University of Leeds.

Recent solo exhibitions include ‘Iris’ (2016) at BALTIC 39, Newcastle and ‘Projected Paintings’, (2015) at The Armory Arts Center, Pasadena, USA. In 2016 she curated ‘Painting in Time: Part Two’ at The Sullivan Galleries, School of the Art Institute Chicago. The first iteration of this curatorial project was staged at The Tetley, Leeds in 2015.

Wilson’s paper, drawing upon her own painting practice and the practices of Tino Sehgal, Felix Gonzalez-Torres and Yoko Ono will discuss the various strategies artists employ to engage people in the production and distribution of their artworks. The strategies discussed will include verbal and written instructions, legal documents such as certificates of authenticity, gift giving, as well as body-to-body transmission, a technique often employed by choreographers. Wilson will explore the often messy exchanges that these strategies trigger such as the implications of breeched contracts, the embrace of legal loopholes, custodial care, authorship and posthumous collaboration.

Alex De Little is a researcher, sound artist, and composer with bases in Leeds and London, UK. His work and collaborations have been featured at the Venice Biennale, London Contemporary Music Festival, the Tate Modern, Somerset House, Palais de Tokyo (Paris), Health Museum (Houston, TX), Den Frie Centre for Contemporary Art (Copenhagen), The National Science and Media Museum, LEGROOM Manchester, and the Hepworth Wakefield. He is completing a practice-based PhD with Scott McLaughlin and Martin Iddon at the University of Leeds and is a member of CAVE (Centre for Audiovisual Experimentation). Alex lectures in composition at the University of Leeds and Leeds Beckett University.

Alex’s practice encompasses installation, composition, performance and workshops and is concerned with how we listen and perceive our spatial environment through sound. He is interested in sound as a medium through which we can understand the world and works between disciplines to create practice which engages people with space and place sonically through play.

Spatial Listening is a collection of text scores that manifests as a workshop and performance practice in which participants explore their relationship to, and understanding of, architectural acoustic space through the creation and audition of sound. Whilst the realisation of these scores can take place in multiple contexts, fundamentally, they are human algorithms in which people play with and through the ubiquitous acoustic phenomena of echo, reverberation and resonance, in any spaces which contain these phenomena. In these scores, participants excite spaces either with the voice or using handheld percussion instruments to create impulses. After or during each excitation of a given space, participants are asked to listen closely for particular acoustic events or qualities, such as a returning echo, the end of a reverberation tail, or the modal resonance of a room. The nature of what is perceived aurally in a given situation is what informs the further process of sound creation. Through these cycles of sounding and listening, participants form sonic knowledges of architectural space.

About the Artists’ Writing and Publications Research Centre (AWP)

AWP is a research centre based in the School of Fine Art, History of Art & Cultural Studies at the University of Leeds. It consolidates and develops inter-disciplinary research on modes of critical and theoretical writing, curatorial production, editorial work and the production of text- and book-based art.

Led by Simon Lewandowski, Chris Taylor and Nick Thurston, the Centre considers artists’ publications (from ephemera, journals, ‘zines, artist’s books and websites, to artist-led book series and imprints) alongside artists’ writings (from correspondence, papers, journals, criticism, interviews and statements, to theoretical and fiction writing) as forms of creative practice that can happen in, around or as art.

AW&P’s activities bring together artists, critics, historians, archivists, editors, curators and teachers to share a sustained conversation about research directions in this sub-field of artistic practice. 
The Centre is a focus for both emerging and established artists, plus researchers and collaborative groups, engaged with or interested in producing and disseminating art in the overlaps between the cultural fields of art, literature and publishing.

© Copyright Leeds 2018