Week 26 – Anne Hardy – June 29-July 5

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Scraping. Crackling. Rainbow sound. Filter. Whoosh and whoop and russsh of air. Brush. Breath. Sea, but not sea. Unsean. Trickle. Cloudburst. Broop, rustle. Rumble, scrapple: track fork. Nkrkrkrkr. Drum bung. Dong. Gung. Budda budda. Begin!

That’s what I hear: a Joycean overture coming from the speakers of Anne Hardy’s installation for Week 26 of Fig-2. She herself has “rrmmmph, huoooghg, op, mmmuuow, ip” which is just as good. Orthography (how we write down the spoken word as text) is an arbitrary, personal art. Joyce himself to great acclaim had Bloom’s cat in Ulysses say not “Meow” but “Mkgnao!”

Anne Hardy Fig-2 26/50 2015You can listen to an excerpt of this soundtrack “rrmmmph, huoooghg, op, mmmuuow, ip” and imagine having it going on at full volume all day long, as the fig-2 team do. Over 45 minutes I found it oddly reassuring, even friendly, but then I like controlled noise. I’m not sure I’d like it nine to five, though to be honest I have exactly that myself: a constant soundtrack of uncontrolled asymmetrical noise, chatter, smoking, sirens, and an alarm that constantly goes off when someone constantly opens the gate constantly all day. Jessie says the Hardy soundtrack isn’t so bad but that you’d then go out and a car could crash behind you and wouldn’t notice to turn around.

Anne Hardy Fig-2 26/50 2015The soundtrack is heavily edited and processed audio from recordings of Anne Hardy installing and creating sculptural work in her studio, leftovers from physical work, just as the space is strewn with physical leftovers of this other work that is absent. Plasterboard shapes being cut, scrunched up tape, big scrapes of smashed up concrete: your brain tries to connect the sounds to the objects, but both aspects resist each other.

Anne Hardy Fig-2 26/50 2015The speaker system by Flare Audio uses waves or something instead of compressing air so it can be much louder than conventional speakers. It is a remarkable technical advance and Flare’s technology to have been taken seriously by sound engineers and audio nutjobs. The sound is vivid and punchy, and I know this is how I experienced the sound and it wasn’t an illusion caused by having been told about the special sound system because in my notes I wrote “Very vividly recorded sounds. Very punchy sound.” (though admittedly my notes on things are mostly a higher form of complete drivel).

The carpet is the glorious “process blue” of pure cyan. A darkish inscrutable blue that makes objects a buoyancy in an alien visual field that invites the eye in and projects the objects back out.

Anne Hardy Fig-2 26/50 2015In such an environment with this vocabulary of sounds you do start to not so much hallucinate but question the origin of the noises. Was that noises off or did it come from the speaker? Irene steps through and kicks the bin, Jessie’s heels scrape, I blow my nose then sniff.  I think that motorbike was outside. You forget what’s inside and what outside, start hearing things, imagining you hear things. The sounds pile up on themselves and create little narratives.

Think of the opening of Beethoven’s Fifth – du-du-du-DUH. Most sound you hear is just du-du-du or DUH. Joining them together, however, you can create pattern. In Anne Hardy’s soundtrack I hear the long swelling sound of water followed by a weird click edited and juxtaposed to punctuate and create a phrase which is essentially musical.

Anne Hardy Fig-2 26/50 2015It’s a terrific use for ‘found sounds’. Years ago I went to a Wire Salon (a Q&A organised by the fiercely mandarin music magazine Wire) about field recordings, and one of the big questions raised was ‘After you’ve recorded all this stuff, what do you do with it?’ We sound recordists have hours and hours of birdsong and crowd noise and trains going out and coming in and beaches. I genuinely have a recording of complete silence (from an anechoic chamber – it sounds really odd).

The economy of Anne Hardy using discarded parts of sculptural processes in exhibiting them and soundtracking them makes her the green champion of fine art practice.  Throughout her work she has also scoured the streets of Hackney for objects that she can introduce into her work.

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She made her name constructing weird spaces of which she would then take a single photo which would be all that remained of it (she wasn’t always a green champion). They’re completely amazing. Her practice later took her into creating these spaces so that not one but several photos would be needed to capture them, and to not to be so rigidly ephemeral but so that people could enter them, adding a third dimension. Her Fig-2 show takes this even further by allowing us into the process of the making of these spaces, and seems very much intended to be viewed as transitional. It will be interesting to see next month in her show FIELD, at Modern Art Oxford, how far along on her trajectory she has gone in moving away from photography and integrating sculptural installation and audio.

anne-hardy-reference-3Opening up spaces and exposing processes, and centring on the process of making, is a functional kind of art. It’s art about art. Which is fine and modern but doesn’t invoke the sublime or the uncanny. The photos have a perfection. They are pure art. They don’t encode or include their own making except that inasmuch as there is no attempt to disguise the artificiality of the scene. This is what gives the photos their hyperreality. They’re so unreal they seem more real than reality.  Jessica Lack says Hardy is “one of a number of contemporary photographers well aware that the documentary look is best recreated by using stage sets.”

2-hardy700The extreme shortness of the depth of field adds to the effect, making the spaces harder to understand and interpret, harder to read. The process of “reading a space” is psychologically charged, and in a sense you project yourself onto it. The ghost in a haunted house is actually just the spectre of your fear. Hardy’s photographic spaces are difficult, and so foreground your own response. It might not be something you are even aware of.  The isle is full of noises. You might just feel a bit weird, a bit edgy, start imagining things. . .

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ADDITIONAL LINKS

Fig-2 interview with Anne Hardy: https://soundcloud.com/fig2/2650-fatos-ustek-interviews-anne-hardy

The world’s largest natural sound archive just went up online – The Macaulay Library uploaded 150,000 recordings documenting the sounds of 9,000 species. It’s fully listenable and fully searchable: http://www.chartattack.com/news/2015/08/06/worlds-largest-natural-sound-archive/

Week 9 – Deborah Coughlin with Gaggle – 2-8 March

This week in Kabul, Afghan artist Kubra Khademi was forced into hiding after publicly wearing a metal suit featuring exaggerated breasts and buttocks. The suit was so designed because “this is all that men see of women”, to highlight the sexual harassment of women. After only eight minutes a mob of men shut her down.  On the 20th anniversary year of the Beijing Declaration on gender equality, a new United Nations report finds that violence against women around the world “persists at alarmingly high levels.”

On Sunday 8 March civilization celebrated International Women’s Day while a depressingly familiar male sub-class complained about it. Sunday was also the last day of fig-2 Week 9, in which Deborah Coughlin with Gaggle (her all-female experimental choir and performance group founded in 2009) presented Yap! Yap! Yap! — “a celebration of women’s voices. Uncovering the great things that women have said throughout history and also saying new things, now, very loudly, with a roster of incredibly special guests. It’s like the Vagina Monologues only not just about fannies.”

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In the same week that Gaggle were in residence at fig-2 I went to a number of different shows that made me aware of the diversity of approaches within fine art and performance that are concerned with gender, or explicitly feminist in theme or intent, or that made me think about the unprecedented number of female artists working today in the UK.

Are there more women involved in and interested in fine art than ever before? The group show Eccentric Spaces (selections from Deptford’s Bearspace Gallery, curated by FutureCity, exhibited at Foyles) featured eight women to four men. Similar ratios seem to apply with the artists chosen for fig-2, and at the Eccentric Spaces private view (perhaps the Yap! Yap! Yap! opening too) there were more women than men.

I suspect that it is the case that at a lower profile women abound but as you go higher up the women disappear, and men predominate. There are some Emins but few. There is a similar case with acting, I believe, with many female actors and few female roles, and I see it in science with many female postgraduates but few female professors. This might chime with examples we find in sociology of the feminization of the workplace in which initially spaces such as the workplace (or by extension fine art practice) are proletarianised at a low level and the work devalued; following on from this devaluation women are suddenly allowed to permeate. I cross my fingers that this analysis is just me being cynical, and that the increased numbers of women creating work at this level will be replicated in time higher up.

One theme that seemed to predominate in the shows I went to this week was space, and spaces, in which women in particular can be, perform, and collaboratively imagine new worlds.

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The Eccentric Spaces show seemed to take off from architectural imaginings of space. Similarly, at Mirrorcity at the Southbank in December 2014, Tai Shani’s Dark Continent was an installation and three-part performance taking the structure of an allegorical city of women, exploring feminine subjectivity and experience, complete with a commissioned theme song.

Best of all though, in the same week as Gaggle, was Fannying On, a weekend of installation and collaboration in a reclaimed office space off Chancery Lane. Kayleigh O’Keefe has founded an imaginary country called Gash Land (of which I am a Citizen – apply here!), or imaginary cuntry, that is also a real ongoing collaboratively generated art project, a “Utopian Cunt Wonderland”. Fannying On included Psychedelic Menstrual Huts (where men can learn about what it’s like) and a strongly in-your-face emphasis on female physicality, which, in keeping with the prevailing paradigm of inclusivity, was welcoming of everyone. Radical feminism’s ‘Angry Snatch’ has become the ‘Laughing Gash’. Kayleigh O’Keefe’s videos about flab, fisting, big labia, queefing, pissjaculation, and menstruation, are hilarious. And very NSFW.

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What Gash Land, Dark Continent, Eccentric Spaces, Yap! Yap! Yap! have in common is a concern with creating new spaces for female engagement. This relates back to Woolf’s ‘Room of One’s Own’ and female self-determination, and forward to the notion of ‘safe-space’ where gender and sexuality can be freely expressed, but also has a uniquely modern performative element that spins metaphor into reality without ever losing its ideality or its applied real world seriousness: it is ideally political.

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This duality was well captured by Deborah Coughlin. Over the week the ICA studio space was used to create a “collage of pop and ideas, great nobodies and brilliant nobodies, clever words and weird noise” with performances and installations. When I arrived for the opening night the space felt the most excitement I’d experienced there yet. The bulbs had all been changed to pink and green, and the space very quickly filled up with people (a queue remained all the way up the ramp until the end). On the walls were quotes from feminist writers from Mary Wollstonecraft and Virginia Woolf to Andrea Dworkin and bell hooks. Speakers blasted riotgrrl bands and anthems, such as the Raincoats’ version of the Kinks’ classic transgender anthem Lola. A drum kit had been set up, and mini stages made ready for the twenty-piece choral force of Gaggle.

It felt like something subversive could actually happen in a gallery space, which was unusual. Perhaps it was the club vibe and my age, or the effects of the free gin cocktail, which this week was called LADY PETROL, and which was INSANE (it involved triple sec, angostura bitters, London dry gin, lemon peel, and, for all I know, petrol).

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Across the space the imagery had a hipstery edge to it, garish and a bit gross, familiar from the look pioneered by political-conceptual-theoretical-performative-musical duo The Knife, who must be a touchstone in the intellectual background to Gaggle. The open-mouthed motif that was scattered around Yap! Yap! Yap! is familiar as the Rolling Stones logo from when they had some counter-cultural cachet, as well as having been co-opted by the 1980s kids TV programme ‘Your Mother Wouldn’t Like It’ and is broadly symbolic of freedom of expression and the rebellious speech act.  The hooded members of Gaggle rolled in wearing thick black lip makeup that seemed a defiant reclamation of makeup and dress from traditional uses of these to service and please the male gaze.

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Between the Gaggle choir’s songs, Ruth Barnes introduced readings. Charlotte Church read from Mary Wollstonecraft a passage part of which was excerpted on the wall: “My own sex, I hope, will excuse me, if I treat them like rational creatures, instead of flattering their fascinating graces.” Paula Varjack read from Virginia Woolf’s essay in which Woolf discusses ‘killing the Angel in the House,’ that tormenting self-sacrificing phantom coming between her and her writing.

Ama Josephine Budge and Dana Jade performed two recent dialogues between transfemale actor Laverne Cox and feminist thinker bell hooks, discussing “liberatory images” in the Normativeheteronormativeimperialistwhitesupremacistcapitalistpatriarchy and whether Beyoncé is a feminist; and the notion of ‘safe space versus risk’ in terms of (trans)gender and love.

Wollstonecraft and Woolf are both pioneering figures of First-wave Feminism, which is concerned with the basic emancipation of women, while Cox and hooks’ concerns are more those of Third-wave Feminism’s focus on queer theory and ethnic experience.

In Week 5 of fig-2, Rebecca Birch’s ‘Lichen hunting in the Hebrides’ studied a women’s community choir who preserve Gaelic women’s work songs. In Week 6 Young In Hong’s ‘In Her Dream’ referenced Judy Chicago’s The Dinner Party (1979), a classic work of rediscovery of female artists from history. Such acts of rediscovery of historical female figures and practices are familiar as a process of late Second-wave Feminism.

While Young In Hong used these references, the work itself centred on a more third-wavy exploration of the intersection between Western and Korean female experience. Similarly, Deborah Coughlin’s work Yap! Yap! Yap! seems to telescope generations of feminist thought, but with an emphasis on the performative, the socially constructed nature of women through images, that is associated with postmodern feminism, such as you find in the work of Cindy Sherman, where female images are deconstructed but there is also a certain joy in ‘dress-up’.

Too many isms? Too much theory? Near the gin, across one wall the following lines were painted up:

Timing…
When can I stop
on the wave?
Different place might
be the right time

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Overly rigid historically overdetermined delineations of feminism in the arts, such as I’ve employed in separating various impulses out into First-, Second-, Third-wave and Postmodernism Feminisms, don’t seem as helpful as they have been in the past. Structuring the discourse may have hardened it. Perhaps we are moving into a different place, a new space, a kind of feminism in art that includes all the best of the previous waves: emancipatory, historical, multicultural, queer, militant, dadaist, absurd, imaginary, real… This would make it a more postmodern (that is, decentred) kind of feminism than postmodern feminism itself, but with a renewed militancy. Fourth wave feminism? Post-wave feminism?

On another wall, Coughlin spelled it out:

Speeches

Past – forensic
Present – ceremonial
Future – political

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The struggle for equality varies wildly across the world, and we can’t describe one simultaneous female experience, other than a broad inequality with men, which is still a universal truth.  Much of the Middle East area still practices sexual apartheid in 2015, which means that feminism occupies a complex position there, directly suppressed but also, where possible, informed by conceptual advances imported from places where human rights have made greater advances, or where they have not been pushed back to the middle ages.

In certain areas, what this simultaneity of intellectual experience and disparity of political position between women across the globe means is that in some places feminist activity and activism has skipped a few steps; if you can imagine the Suffragettes in England over a century ago employing the imagery and means of Pussy Riot. Perhaps the next steps in developing feminism in the arts are characterised by not just the Third-wave’s “ceremonial” inclusiveness and congruence with respect to gender and ethnicity, but also to the First- and Second-wave’s “forensic” means, theories and strategies we employ to move humankind forward: perhaps even, however problematically, a new “political” unifying feminist modernism.

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The last word goes to Ruth Barnes: “Let’s have a dance — set yourselves free!”

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POSTSCRIPT: One of the Gaggle opening evening’s special guests, Dana Jade, is the founder of Clit Rock, created to raise awareness and funds to combat FGM. The next fundraiser is on March 27.