London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? – 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么?

City Report - 12 Jul 2018

London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now?

Along the Thames, 50 live performances, sculptures and installations explored home truths of gentrification, domesticity and colonialism

By Kadish Morris

Home no longer answers to its name. Before Grenfell, we called it a safe space that the barbarity of capitalism couldn’t access. Before the Windrush deportations, we called it a base where memories, relationships and a sense of self could be constructed. Before data protection breaches, we called it the right to privacy. So what do we call home now? This was the theme of this year’s Art Night – London’s nocturnal contemporary arts festival curated by Hayward Gallery. On 7 July, from 6pm to 6am, free events took place at galleries, new-builds, parks, and television studios along the Southbank between the Hayward Gallery, Vauxhall, Nine Elms and a scaffolded Battersea Power Station. More than 50 projects were open to the public, ranging from live performances, stand-alone sculptures and installations, many of them exploring gentrification, colonialism, domesticity, nationalism and immigration.

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London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? - 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么?

‘The Floor Is Lava’, installation view, the house of Natalia Gonzalez Martin, Bonnington Square, for Art Night 2018. Courtesy: Subsidiary Projects, London

A rapacious landlord’s ability to make a ‘home’ out of anything isn’t dissimilar to that of a cash-strapped curator’s ability to turn a bedroom, garage or unused shop into an art space. At Subsidiary Projects, an artist-led project curated by Natalia Gonzalez Martin and Georgia Stephenson – in Martin’s house on the famous Bonnington Square – was a group exhibition, ‘The Floor is Lava’, featuring work by Helenda De Pulford, Jack Evans and Oona Wilkinson. Wilkinson’s work explored the history of the street’s squatters, who in the 1980s, worked to introduce a functioning plumbing system to the surrounding houses. The other two artists further explored ideas of self-made architecture with Evan’s grey speckled plaster doric columns framing the doorway and De Pulford’s installation of two giant wax smiling faces melting outside in the humidity of the evening. While in the space it was easy to forget that it was someone’s accommodation until you turned around and caught a glimpse of the lived-in kitchen, but it was the inability to avoid encountering the unglamorous objects that spoke to our aspirations to elevate our environments beyond their modest states.

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London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? - 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么?

Larry Achiampong at StudioRCA for Art Night 2018. Courtesy: the artist and Royal College of Art, London 

A 30-minute walk away, Larry Achiampong provided an enchanting audio-visual installation at StudioRCA at Riverlight in Nine Elms. A profound and poignant exploration of otherness, particularly African diaspora otherness, it delved into colonization and displacement. At 10pm amidst a crowded near-silent room, the artist emerged in front of a set of decks, wearing a white hoodie stitched with a black mesh that covered his face. The hour-long hip-hop, video game and science-fiction-inspired set was interjected with emotive soundbites. One of them was instantly identifiable; an infamous BBC interview with West Indian writer and broadcaster Darcus Howe during the 2010 UK riots in which a reporter ignorantly asks whether he too, has rioted. Achiampong’s use of prose, film, music and text to discuss displacement, rejection and racism was both up-to-the-minute and the same old story.

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London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? - 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么?

Halil Altındere, Space Refugee (2016–18), multimedia installation at British Interplanetary Society, London. Curated by Hayward Gallery for Art Night 2018. Courtesy: the artist and Art Night; photograph: Jonnie Bassett

Belonging was also explored in Halil Altındere’s multi-media installation Space Refugee (2016–18) at The British Interplanetary Society. Based on Muhammed Ahmed Faris, the first Syrian cosmonaut to travel into space in 1987, the exhibition featured faux commemorative artefacts, portraits and a film where Faris talks among other refugees about the hardships related to leaving and returning to Syria. At one point in the film, Faris says, ‘I hope we can rebuild cities for them in space, where there is freedom and dignity and where there is no tyranny, no injustice.’ Despite a transient ‘what if?’ moment, a future where refugees desperately ‘occupy Mars’ in a bid to find a place to inhabit without opposition is symptomatic of our paranoid investment in sustaining perimeters. It is the plot-line to the ultimate dystopia. Futuristic ideas were also explored in Queertopia (2018), screened in the foyer of the BFI. The film is a collection of work about queer communities in their spaces and also looks at building environments and landscapes that ‘nurture new radical possibilities.’

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London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? - 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么?

Cécile B. Evans, Amos World is Live, 2018, performance at Spectrecom Studios, London. Curated by Hayward Gallery for Art Night 2018. Courtesy: the artist and Art Night; photograph: Jonnie Bassett

In Vauxhall Park, Prem Sahib’s sculpture 500 sq ft (2018) replicated a new-build one-bedroom apartment, emphasizing the perpetually changing landscape of the local area, as well as its contemporary gay nightlife scene. The black-walled installation felt like a maze or the corridors of a nightclub. Gentrification often feels like it happens overnight and the constructed-then-deconstructed nature of Sahib’s work embodied that same hurried sense of timescale. Cécile B. Evans performance Amos’ World is Live (2018), at production house Spectrecom Studio, also dissected the relationship between public and proprietor. Developed around a fictional TV show about a ‘socially progressive housing estate’ Evans directed a cast and crew before a live audience, with a plot centring around tenants who become increasingly alienated from the empty promises of the architect.

The more playful works of the festival included Lendable Mendable Vendable (2018), an interactive performance installation by Harriet Fleuriot and Sarah Cockings which explored the dissatisfaction or unfulfillment owners have with the objects that they own. These unwanted items were put through ‘a series of physical and virtual transformations using a custom-built, human-controlled machine.’ The elaborate set, replete with green screen and obstacle course, felt like a rejection of domesticity, or perhaps a rejection of the kind of futile domesticity that consumerism has fabricated. Another light-hearted work, Marinella Senatore’s The London Procession (2018), began at Battersea Power Station and made its way towards the Hayward Gallery, featuring singers, dancers and cheerleaders. The procession which often felt like a dislocated but endearing carnival explored the emancipatory power of ‘communal creative processes’ in an environment where urban landscaping is increasingly prioritized over community cohesiveness.

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London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? - 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么?

Marinella Senatore, The London Procession, 2018, participatory performance; Art Night 2018 trail, London. Curated by Hayward Gallery for Art Night 2018. Courtesy: the artist and Art Night; photograph: Rachel Cherry

Overall, Art Night 2018 was a trail of timely works that couldn’t have come on a more fitting night considering UK Pride was simultaneously taking place and celebratory chants of ‘It’s coming home’ from World Cup watchers filled every other road. But in a climate of high rents, work and living space merging into one, aggressive borders and deportation, is the idea of home now defunct? Being a resident holds little resonance when so few can attain it physically, legally, even emotionally. Perhaps it isn’t art’s role to remedy these issues in one night, but it should open up the floor for discussion, while also acknowledging art’s own unfortunate role in social cleansing. There is something restorative about seeing streets busy with people seeking out art on foot in the the early hours of the morning, but free accessible art in areas of affluence and vast investment can’t be considered a middle ground until we discern who, when populating these spaces, is at home and who outstays their welcome when the show is over.

Art Night 2018 took place across various venues in South Bank, Vauxhall and Nine Elms, London, on 7 July.

Main image: Lara Favaretto, I poveri sono matti (The poor are mad), 2005–18, installation view, Nine Elms Lane, London. Curated by Hayward Gallery for Art Night 2018. Courtesy: the artist and Art Night; photograph: Thierry Bal

Kadish Morris

Kadish Morris is Digital Assistant at frieze, a writer and contributor to AnOther, Twin, Huck and Dazed and the founder of long-form interview series g-irl.com. 

City Report
Art Night
London
Kadish Morris
Lara Favaretto
Cécile B. Evans
Prem Sahib
Larry Achiampong
Hayward Gallery


城市报道12伦敦2018夜艺术节艺术夜2018问:我们现在把家叫做什么?沿着泰晤士河,50场现场表演、雕塑和装置探索了凯迪什莫里斯家的绅士化、家庭化和殖民主义的真理。在格陵兰之前,我们称之为一个安全的空间,资本主义的野蛮无法进入。在Windrush驱逐出境之前,我们称之为建立记忆、人际关系和自我意识的基础。在数据保护违规之前,我们称之为隐私权。那么我们现在把家叫做什么?这是今年艺术夜的主题——伦敦的夏威夷当代艺术节,由海沃德画廊策划。7月7日,从下午6点到6点,在海沃德画廊、沃克斯豪尔、九榆树和脚手架巴特西发电站之间的南岸画廊、新建筑、公园和电视演播室举行了免费活动。超过50个项目向公众开放,包括现场表演、独立雕塑和设施,其中许多人探索中产阶级化、殖民主义、家庭生活、民族主义和移民。Expvs2.JPG WPA6021602IMG“地板是熔岩”,安装视图,Natalia Gonzalez Martin的房子,博宁顿广场,为艺术之夜2018。礼貌:附属项目,伦敦,一个贪婪的地主从任何东西制造“家”的能力与现金拮据的策展人将卧室、车库或未使用的商店变成艺术空间的能力不同。在附属项目中,由Natalia Gonzalez Martin和佐治亚州史蒂芬森策划的一个由艺术家领导的项目,在著名的博宁顿广场的马丁的房子里,是一个集体展览,“地板是熔岩”,由海伦达·德·普尔福德、Jack Evans和Oona Wilkinson组成。威尔金森的作品探索了街头流浪者的历史,他们在20世纪80年代致力于为周围的房子引入一个功能完善的管道系统。另外两位艺术家进一步探索了埃文的灰色斑纹石膏背立柱建筑门的构思和德普福德安装的两个巨大的蜡微笑脸融化在外面潮湿的夜晚。在这个空间里,你很容易忘记那是一个人的住处,直到你转过身来,瞥见了厨房里的一个角落,但却无法避免碰到那些让我们的环境超越我们谦虚的愿望的不光彩的东西。泰茨。LaaRiaPaung-StudioCa-Press -IVES-13JPG WPA6022602IMG拉里阿奇邦在StudioRCA为艺术之夜2018。谦恭:艺术家和皇家艺术学院,伦敦。30分钟步行,Larry Achiampong提供了迷人的视听研究所。在九个榆树河畔的StudioCa。深刻而辛辣的探索他者,尤其是非裔的他者,它深入到殖民和迁徙中。晚上10点,在一个拥挤的寂静无声的房间里,这位艺术家出现在一组甲板前,身穿一件白色的帽衫,缝有一个黑色的网状物覆盖着他的脸。长达一小时的街舞、视频游戏和科幻小说集被情绪化的咬人声打断。其中一个是可以立即识别的,一个臭名昭著的英国广播公司采访了西印度群岛作家和播音员Darcus Howe在2010英国骚乱中,一个记者无知地问他是否也有骚乱。Achiampong用散文、电影、音乐和文本来讨论排挤、拒绝和种族主义,这些都是千篇一律的故事。Halel-Altdule-空间难民2012-18-MuldioMealAtdio-B-TILITH-IPLANTIALETIONE -伦敦- Curr-HayWaldGaleRe-FAR-NATYT-2018. -Pay-Junnay-BaseT.JPG WPA60260602IMG HALIL Alt NDEEL,空间难民(2016—18),B多媒体安装伦敦星际社会。海沃德画廊为艺术夜策划2018。礼貌:艺术家和艺术之夜;照片:Jonnie Bassett的归属也在英国星际社会的哈利尔Alt NdEL多媒体安装空间难民营(2016—18)中进行了探索。根据Muhammed Ahmed Faris,第一位1987在太空旅行的叙利亚宇航员,展览展出了人造纪念品、肖像和一部电影,其中法里斯与其他难民谈论有关离开和返回叙利亚的艰难困苦。在影片中的一个时刻,法里斯说:“我希望我们能在太空中重建城市,那里有自由和尊严,没有暴政,没有不公正。”这一时刻,难民们拼命占领火星的一个未来,试图找到一个没有反对的栖息之地,这是我们偏执的投资在维持周边的征兆。它是终极反乌托邦的情节线。未来的想法也在Queoptoi(2018)中进行了探索,在BFI的门厅中进行了筛选。这部电影是关于他们空间中酷似社区的作品的集合,还着眼于“培育新的激进可能性的建筑环境和景观”。T-NIGHT-2018-照片-JONNIE-BASTUL.JPG WPA6024602IMG CE CIL B伊万斯,Amos World是现场直播,2018,性能在Stuttcom工作室,伦敦。海沃德画廊为艺术夜策划2018。礼貌:艺术家和艺术之夜;照片:Jonnie Bassett在沃克斯豪尔公园,Prem Sahib的雕塑500平方英尺(2018)复制了一个新的建筑一居室公寓,强调了不断变化的景观局部地区,以及其当代同性恋夜生活Scun。黑色墙壁安装感觉就像迷宫或走廊的夜总会。绅士化经常感觉它是一夜之间发生的,而Sahib的作品的解构本质体现了同样匆忙的时间尺度感。C.C.C.I.伊万斯的表演《阿摩司的世界》(2018),在Studiocom工作室制作,也剖析了公众与业主之间的关系。在一个关于“社会进步的住宅区”的虚构电视节目中,伊万斯在一个现场观众面前导演了一个演员和剧组,其中一个情节围绕着租户越来越疏远,从建筑师的空洞承诺中分离出来。更好玩的节日艺术作品包括可译可修补的可拍卖(2018),Harriet Fleuriot和Sarah Cockings的互动表演设施,探索不满或不履行所有者拥有的对象,他们拥有。这些不需要的物品是通过一个定制的、人工控制的机器进行的一系列物理和虚拟的转换。这个精心设计的集合,充满了绿色屏幕和障碍物的过程,感觉就像是拒绝家庭生活,或者是拒绝那种无用的家庭。这是消费主义的产物。另一部轻松的作品,Marinella Senatore的《伦敦游行》(2018),从巴特西发电站开始,朝着海沃德画廊走去,里面有歌手、舞者和拉拉队。游行活动,常常感觉像一个错位,但可爱的狂欢探索的“公共创造过程”的解放力量,在一个环境中,城市景观越来越优先于社区凝聚力。海军陆战队参议员-Loon on PrimeSerion 201-PosialPulialPultual-ART-NIGHT-2018TRAIL-Lunn。-Cay-Hay-Walay-GaleRy-FAR-NATYT-2018。-Pay-RaChel-ChelyJPG London’s Nocturnal Contemporary Arts Festival Art Night 2018 Asked: What Do We Call Home Now? - 伦敦夜间艺术节艺术夜2018问:我们现在把家叫做什么? MARILLA-SENATOR,伦敦游行,2018,参与式表演;ART夜间2018小径,伦敦。海沃德画廊为艺术夜策划2018。礼貌:艺术家和艺术之夜;照片:Rachel Cherry Overall,艺术之夜2018是一个及时的作品的踪迹,它不能在一个更合适的夜晚来临,考虑到英国的骄傲同时发生,庆祝颂歌从世界CU“回家”。P观察者挤满了每条路。但是在一个高租金、工作和生活空间融为一体的地方,侵略性的边界和驱逐出境,是不是现在的家园已经过时了?当一个居民在身体上、法律上甚至在情感上都能做到这点时,几乎没有什么共鸣。也许不是艺术的作用,在一夜之间补救这些问题,但它应该打开讨论的地板,同时也承认艺术本身在社会净化中的不幸角色。在清晨的时候,看到街上忙于寻找徒步艺术的人是有益的,但是在富裕的地区和大量的投资中,免费的艺术可以被看作是一个中间点,直到我们发现谁在填充这些空间的时候在家里。当节目结束时,谁比他们更受欢迎。艺术之夜2018号发生在南岸、沃克斯豪尔和九个榆树,伦敦,7月7日。主要形象:Lara Favaretto,我可怜的索诺马蒂(穷人是疯了),2005 - 18,安装视图,九榆树巷,伦敦。海沃德画廊为艺术夜策划2018。礼貌:艺术家和艺术之夜;照片:蒂埃里巴尔卡迪什莫里斯卡迪什莫里斯是FrieZe的数字助理,他是另一个孪生兄弟、Huck和茫茫人海的创始人和贡献者。M系列访谈节目G.IrL.com;城市报道艺术夜伦敦卡迪什莫里斯劳拉Favortto C.C.C.莱利


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