Tuesday, 26 January 2010
The Family Event
An Installation by Naomi Kendrick
An Exhibition at The Middle Room
Preview on Friday 12th of February 6.30 – 9pm
Then view by appointment 13th – 21st of February
Contact: 07765 024583 email@example.com
Open 11am – 6pm, venue directions below
The Family Event Installation explores our knowledge of ‘family’. Each individual within this iconic group has memories and feelings, yet given the complex changing relationships and the passing of time, these are constantly shifting. What insights or conclusions can the trails of objects, memories and myths - all remnants of a family’s presence - suggest to us?
The work takes us on a journey in which surreal flashbacks associated with early memory are recalled; objects are unearthed through a process of seeing, opening, touching, smelling, listening; and stories are glimpsed, though fact and fiction remain blurred.
The exhibition also features documentation from Kendrick’s ‘The Family Event 4th of July 2009’ where the artist invited 30 members of her own family to respond to the installation, experiencing, discussing and making together in groups.
An important aspect of Naomi Kendrick’s work is an interest in the participatory ways an artwork can be experienced, in how the senses connect to the imagination of the viewer and how in these ways the life of the work can be extended. The viewers’ responses are considered as further traces, a significant continuation of the works story.
See http://deadrabbit-ablog.blogspot.com/ for more information
The Middle Room, 203 Slade Lane, levenshulme, Manchester, M19 2AE.
203 is opposite West Point off License and a launderette
Street parking available
Buses from Manchester – 192, 50
Train from Manchester to Levenshulme - Several an hour and take 6 minutes
Tuesday, 19 January 2010
What were you expecting from the day?
Did my best not to think about or expect anything
To Learn more about Naomi's work
Mayhem with two children ruining everything...
A complete surprise, but something to do with the senses
Lots of food and to not know exactly what was going on
What was your favourite part of the day?
Being together and Naomi's artwork
Discussing ideas and inspiration from Naomi's work
The making of an art piece
Wrap up (looking at each others work)
All of it was fantastic really enjoyed it as you must have noticed, but if I had to state one bit it was creating our art!
Playing boggle (I had not played it before)
Making clay rabbit
What was your least favourite part of the day?
Travelling and traffic jams
Thinking of what to create - but once we worked it out it was fun
Not being able to eat all the food as I'm on weight watchers
Is there anything you think could be done differently?
Bit of music during lunch?? (smiley face drawing)
Sharing thoughts on the food
I would like to have been more thoughtful/creative on the task i.e acted or sang
How did today compare to your previous experience of art and of spending time with family?
excellent brilliantly done
Art was fun and carefree - much like school rather than adult experience of art. Very interesting to be around family in completely new capacity.
Nice seeing how others think - More creatively than people normally demonstrate
A unique event being a participant with art
Uncovers new insights
Different with all adults being included as it is mostly myself and the children and usually a child like result but this was nice to have an adult result
I have learnt from experience, and also from experiencing some of Naomi's art in different places to keep an open mind and be surprised! Last time the family got together was for a wedding so this was completely different.
A whole new experience I'd like to have again
More family here than normal so different and better atmosphere
To be honest I haven't been so involved in art before. It was a great experience.
If there were a 'Family Event Part Two', what do you think should happen and why?
Best part is not knowing and turning up with an open mind and no preconceptions.
Flip the event - ask participants for 'entry' to exhibition
For something to be created that can be taken home and to be proud of or to do pieces that we give to each other or that we make specifically for someone to learn more about that person etc.
I think people should be given tasks prior to the event and bring things. Also for task to be created by the guests.
Same again maybe with some booze
Any other comments about your experience of The Family Event.
Many thanks for a wonderful day
Great day, felt productive, creative, fun and unlike any other event.
Loved it all despite being a little nervous before hand - No reason at all!!!
What a great day when is the next and what can I help you with. Well done and thank you!
Very well organised and thoroughly enjoyable
‘I can see why this is very special, because it felt it!
It was a fantastic idea and day and really enjoyable and very therapeutic probably for all involved. Instead of sitting around talking about oneself or discussing and putting the world to right, we were all enjoying mutually, a special moment and seeing each and everyone’s creative side and artist within. Loved it as you could see……’
‘just a quick message to thank you for a very enjoyable day. I have enjoyed telling everyone what we did, also for me it was great fun creating something (not sure what to call it) with a group and I find it quite relaxing. Something that a friend asked me is what did Naomi get out of the day, and I was not sure how to answer that. One very big treat was to have the whole family together, it was lovely seeing people I had only heard about or I had not seen for a long time. Well done Naomi for getting everyone together it was great.’
Friday, 15 January 2010
The picture above and the first quote below come from my time spent in Avignon, France with Fabrica gallery, here we learnt the workshop methods of the organisation Cemea - training centre for active education methods is the official definition of Cemea, a misleadingly dull description. The time that I spent with artists from Cemea, in Avignon twice, Paris once and numerous times in Brighton is where I found the basis of my workshop ethos and an equal influence for my own artwork. That all of this took place in a beautiful place, where we slept in a tiny school, shared food and thoughts under the shade of the playground trees and saw incredible performances and exhibitions daily, at the Avignon festival, made it even more memorable.
I discovered the best way to learn about anything is to experience it first hand (at Cemea we learnt how to approach running a workshop by being participants in workshops run by the french artists). This luxury of participating instead of leading a workshop, having the feelings of apprehension and then exhilaration when you create something new, in a medium you have never tried before, (such as dance) alongside strangers, is invaluable as it puts you in the position of your own workshop participants. Art is not something one 'knowledgeable' person teaches the 'un knowing' as can be the approach in formal education. It is more collaborative than that, the workshop leader, for example, is there to show participants ways they can find out for themselves, to facilitate learning, The workshop leader and the participants feed one another. For me this self directional approach is the logical and only way, when you think about it, it is impossible to tell someone what an art work is, only they can know that by experiencing it for themselves.
Gille's quote below about snowballs was something he said when he was squashed in the boot of the car as we (the English) headed towards the train station and home, he was saying we should pass on what we found, I like to think that I am.
'Don't forget to make snowballs and let them roll'. Gille Maillet, 2005.
'I paint just as I write. To discover, to rediscover myself, to find what is truly mine, that which, unbeknown to me, has always belonged to me. To experience at once the surprise of it and the pleasure of recognising it. To bring forth or bear witness to the appearance of a certain vagueness, a certain aura, where others would, or do, see fullness.
To render an impression of 'presence' everywhere, to reveal (and first and foremost to myself), the tangles, the chaotic movement, the extreme liveliness of the 'I know not what' which stirs in my remotest being and seeks a foothold on the shore'. Henri Michaux, 1959.
'Whatever you dream you can do begin it. Boldness has genius, power and magic in it. Begin it now'. Goethe.
'Be yourself because you have done enough and know your stuff to be able to approach it in your own unique way - academia can be deadening to creative thought if people feel there's a right or wrong way. Be confident, because you are, and you will always be able to justify what you do and how you do it. You are brilliant at exploration, which is the foundation stone, keep that in mind at all times....sometimes things take a while to make sense, that's the joy of everything'!
Jackie Wills, 2007.
I HAVE BEEN
TO HELL AND
AND LET ME
From the artwork Untitled (I have Been to Hell and Back) 1996, Embroidered Handkerchief, by Louise Bourgeois
'Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.'
"I is not only able to hear the music that dreams is making but I is understanding it also the BFG said. It is like a langwitch"
Thursday, 14 January 2010
Ideas for The Family Event Installation
(a surprise from my mum, who had it made from my drawing of a cake,
and presented it to me at The Family Event)
Tuesday, 12 January 2010
After the Family Event had taken place in July I received an e-mail from my Auntie Marilyn, saying how much she had enjoyed the day and that she had been telling her friends about it. Marilyn's friends had asked her what did I get out of it? Without much time for a feedback session at the end of the event, she couldn't tell them. The letter below was my response to this, and was sent to Auntie Marilyn and the rest of the family.
Thank you for your e-mails, letters and comments, I thought I would let you know my own thoughts on The Family Event.
My sense of what actually happened on the day is a bit of a blur, and this is why Amanda’s two and a half hours of film, Andrews photographs and your feedback have been so important to me. I have been working in this way, with people responding to my artwork through making their own having established the method on my M.A, which I finished in March. Despite this previous work I did not know what to expect - particularly because my own family were participating as opposed to the strangers and colleagues I had been used to. Some people I spoke to about the idea thought it was brave working with my own family, as you might all fall out or just hate it!
I remember feeling very nervous just before you arrived, and felt strange slipping into ‘work mode’ given how familiar you are to me. I noticed that you seemed, understandably, nervous too.
The reason for having the board games you played at the start of the day, aside from filling the time when people were being shown the work, was to try and re-create the comfortable and playful atmosphere from when we have played those games in the past. These games and the request for you to make food that came from a family memory, were also intended to get you thinking about the senses, your own family history and the different relationships within that.
I enjoyed presenting the installation to you, my policy for this (when I have shown this and other installations elsewhere) is that I should only be there at the start to say you can touch it, and you need to look in the boxes etc. Beyond this I should not hang around in case I influence your explorations. Within this event I was asking you to experience my work and respond to it, but what is important, and differentiates it from gallery workshops and other forms of education, is that I should not influence how you do this, I just have to trust that you will. Though in a way this is risky for me, as I never know what the outcome will be, I feel this is the right way to engage with art - no two people will feel the same about one artwork, and this is what I find interesting. In a sense once it has left the artists studio it’s meaning is taken over, shifted by each person who may encounter it.
In this case I was also relieved to leave you in the work, as your opinions are very important to me - part of me wanted to know what you thought, and another part didn’t!
I was used to seeing you in different contexts, Christmas, weddings, family holidays, not like this. When I did over hear you exploring the work on the day, or on Amanda’s film it was fascinating to see everyone’s familiar personalities responding to this unfamiliar situation. I noticed uncertainty, humour, curiosity, people trying to work it all out or just playing with it. This was interesting as much for your interactions with each other whilst exploring, as your direct interaction with the artwork.
How we know people within our families is limited, it is really dependent on certain situations in which we normally gather talk, play (and usually eat!). I feel this gave me more of an insight and I started to wonder what you would be like as work colleagues and friends. There were also moments during the day when people slipped into the roles they would normally assume at a family occasion, like taking control of the kitchen or making everyone laugh.
After I had asked you to start making work yourselves I looked through the kitchen hatch out at everybody, busy grabbing materials and making. This was such a familiar scene to me, I recognised all of the materials from previous workshops and the acts of breaking of lumps of clay off the block, finding scissors and pouring out glue…but here the faces didn’t match the scene and that was odd and exciting in equal measure, a bit like a strange dream.
I felt pleased to have given everyone the chance to spend time together in this way; it was particularly nice seeing all of the different generations working together on the same thing, on anything, in this way. I feel that the documentation of The Family Event serves the dual purpose of documenting a piece of work I have done, but also as an important family record for years to come.
Part of my reason for doing this is because it is difficult to explain what I do, and to show you my work when it isn’t the first hand experience. I think that many artists feel the path they have chosen leaves them feeling separated from their family in some way. I know from my usual workshops that ‘art’ is guilty of projecting itself as aloof, closed to those who ‘do not know’ which is a massive fault on the part of the art world, and one which I have to battle with in much of the gallery workshops I do. Only you can know if involving you in this one aspect of my work, means you now understand my job any better, but for me it felt like a bridging the gap between my ‘roots’ and the world I inhabit day to day.
When it came to packing the work into the van at the end of the day, I was conscious of how indifferent I was to how my own work was wrapped up and moved, in comparison to your work. I felt a huge sense of urgency to protect yours and get it safely into my studio for repairs and perseveration. What you made was brilliant, and an insight into members of my family that I would never have had without doing this. Within each group there was something that stays with me; the way you worked as a team, the effort and concentration that went into the work, the revelations about you and your own family memories or feelings about my work and me. Your work, sat beside me now in my studio, feels like the most important ever made. The preciousness I am applying to it perhaps shows the significance of the circumstances of how art is made; it’s process, who has done it and why over and above the physical form it may take.
Recently Amanda and I watched the film footage she had taken of the day, I was gripped throughout. At the end she asked me questions about what I had learnt from it but all I could do was sit there with a big grin on my face, and say “it just shows me how wonderful my family are” Carrying out the event and looking through the documentation felt very emotional, I was pleased that it had worked (people explored my work and responded in an interesting and new way), proud of my family and profoundly sad that it was suddenly all over.
One of my favourite artists, Joseph Beuys, is famous for saying ‘art is life and life is art’ this runs through much of my work and in particular beliefs about how the art establishment should function in a more accessible way. I feel The Family Event is the closest my work has got to fully embracing this philosophy, and has given me a renewed faith that this is the right path to follow – Life is interactive, multi sensory, unexpected and those that engage in life do so as a diverse set of people with an infinite set of experiences, expectations and relationships to offer – Art has a responsibility to reflect this. It is amazing how in the seemingly liberal world of the arts, things can be so closed and categorized, there are frustrating traditional notions of what it is, who it is for, who it should be made by.
We proved it is, and should be, for all.