Yesterday we delivered a series of research drawings and video work made in collaboration with Gary Stewart and Stefan Keuppers to Bridport Arts Centre for their exhibition of a selection of work from ExLab2012. Gary and I have been working on a new two screen audio & video work inspired by conversations about the experience of time and memory we had with the Cultural Geographers from Exeter University we’ve been collaborating with this summer for our Storyweir commission at Hive Beach. Hive Beach is a continually shifting strip of shingle between the land and sea where the endless cycles of sun, tide and waves cause changes larger than we can imagine, but which are also felt by humans on a daily basis.
The new video at BAC is a new piece combining video shot at Hive Beach with maps, scans of the seabed and archival material. It features footage of several people whose activities bring them into contact with different cycles of life and histories of the area including a fossil hunter, an archaeologist, a member of Coastwatch and Bridport Wild Swimmers. Data on wave height, wave period and wave direction data gathered from the Channel Coastal Observatory beuy at West Bay is being used to control and modulate the ambient soundtrack that accompanies the voices of people who live, work and play on the coast.
You can see it at BAC from 13 October to 23 November.
Its been over a year since we sent out our last newsletter – not that we haven’t been busy, in fact we’ve been absorbed in a whole range of projects and activities :
Storyweir at Exlab, Hive Beach, Dorset
We have been commissioned by Exlab to create a new project at Hive Beach, Dorset as part of the Cultural Olympiad. The work opens on Saturday 28th July and will remain on site until 9th September. We have 3 days of free talks and 2 nighttime events (projections with live cello) on Friday 3rd to Sunday 5th August – all welcome.
This October sees the launch of our new monthly publication – each month we will crowdsource, print and post out an eBook to subscribers created and shared on http://bookleteer.com sharing the most beautiful, experimental, thought-provoking and inspirational eBooks people have created to inspire and provoke others into creating more of their own.
SUBSCRIBE HERE : http://bookleteer.com/blog/2012/07/introducing-the-periodical/
We’re also introducing a whole range of new features to http://bookleteer.com this year – public sharing, library pages as well as some exciting new developments later this year. Follow our progress here :
We’ve also dropped the minimum print run for our Short Run printing service to just 25 copies per eBook and the prices for printing A6 eBooks have dropped between 30-50%. Check the prices with our estimator tool here:
Proboscis have been collaborating with Royal Holloway’s Information Security Group (as part of the their EPSRC/ESRC/TSB research project Vome - http://www.vome.org.uk) to work with a local community in Pallion, Sunderland to create a sustainable knowledge and support network for local people to help each other cope and deal with benefit changes. We have developed a set of simple tools and processes to assist this “Ideas Exchange” – co-designed with the local community and are helping them integrate and adopt them into their ways of getting things done.
This Autumn we will be releasing a “Neighbourhood Ideas Exchange” package with versions of the tools that any community will be able to adopt and adapt for their own uses. Look out for announcements in September/October.
Proboscis has been commissioned by Futurecity and Arts&Business Cambridge to collaborate with Philips R&D in Cambridge as part of Anglia Ruskin University’s Visualise Public Art programme. We are exploring new forms for motivating people to incorporate health monitoring into their lifestyles by linking personal health data to systems that create tangible outputs. Starting with 3D printed ‘shells’ whose growth and shape is determined by data sets collected from ourselves, we plan to move on to feeding data to affect the growth of crystals and eventually towards ‘growing’ a shell organically through tissue engineering.
Professor Starling’s Thetford-London-Oxford Expedition
by Lisa Hirmer, Andrew Hunter, Josephine Mills, Leila Armstrong, Giles Lane and Hazem Tagiuri
Download Free : http://diffusion.org.uk/?p=2587
Buy a limited edition set : http://proboscis.org.uk/store.html#profstarling
by Active Ingredient, Desperate Optimists, Jane Prophet, Janet Owen Driggs & Jules Rochielle, Karla Brunet, London Fieldworks, Ruth Maclennan, Sarah Butler
Download Free : http://diffusion.org.uk/?cat=1043
Buy a limited edition set : http://proboscis.org.uk/store.html#materialconditions
City As Material : London
Contributions by Tim Wright, Simon Pope, Ben Eastop & Alexandra Deschamps-Sonsino
Download Free : http://diffusion.org.uk/?cat=976
Buy a limited edition set : http://proboscis.org.uk/store.html#cityasmaterial1
Earlier in the spring I received a copy of ATLAS: Geography Architecture and Change in an Interdependent World (edited by Renata Tyszczuk, Joe Smith, Nigel Clark and Melissa Butcher) a new book published by black dog publishing that brings together architects, artists and geographers to look at global and economic change. It is linked to and grew out of the web project ATLAS: making new maps for an island planet. Many of the contributors to these projects, like me, were part or participated in events or publications arising out of the Interdependence Day (ID) project back in 2006 and the organisers have gone to great lengths to keep those people and ideas together over the years through events, discussions and publications that keep progressing ideas and conversations.
For Atlas I revisited the project In Good Heart; What Is A Farm? (2009) which grew out of the partnership between Dodolab and Proboscis exploring communities, environment and resilience. I has been invited to visit the former Charlottetown Experimental Farm on Prince Edward Island, Canada, by arts organisation Dodolab. The visit, coupled with conversations with people and farmers, historical research into representations of farming, the lore of agriculture, weather, the seasons and the labours of the months, triggered many questions about land, farming and the factors that impact on this most ancient and technologically advanced of trades. The map created for ATLAS was inspired by these questions and the mediaeval illustrations of the Labours of the Months which were some of the first representations of farming and food production. It maps the interconnected stories people told me about what the word farm meant to them; their hopes and fears about food production and the harsh realities for farmers themselves. One of the things that struck me was how many people, who now live in urban places, recalled growing up on farms of visiting their grandparents farms. It impressed on me how swift the move from rural to urban has been for some people. Knowledge about environment has shifted with that move, some knowledge must have been lost and other knowledge is perhaps being created.
US TROOPS IN AN ENGLISH VILLAGE: EVERYDAY LIFE WITH THE AMERICANS IN BURTON BRADSTOCK, DORSET, ENGLAND, UK, 1944© IWM (D 20135) From the Imperial War Museum Collection
“ Mrs Annie Northover (in traditional bonnet) uses a wooden needle to braid nets on the doorstep of her cottage in Burton Bradstock, Dorset. According to the original caption, net braiding is “an old established local industry. Before the war they made billiard table pockets, sports nets. Today they make camouflage nets for the Services.”
When we recently met up with Human and Cultural Geographers at the Exeter University who we are collaborating with on Storyweir. Nicola Thomas brought along a list of people from the 1851 census who were working in the fibre industry in Burton Bradstock: cord winer, hackler, net maker, flax dresser, cordwinder, twine maker, twine spinner, flax dryer, flax spinner, flax packer, rope maker… Ghosts of an industry that had been prevalent in this area for hundreds of years, shaped by the geology and in turn shaping the architeure, society and future.
Burton Bradstock where we are working on Storyweir (a project about the connection between the human story and the geology of the area) has a long association with flax production and rope manufacture. It is very close to Bridport which had a key role in the flax and help industry for over 750 years from well before 1200 till later in the 1900′s. Though rope is not made the net making industry continues to this day. King John in the 1200s commissioned;
“to be made in Bridport, night and day, as many ropes for ships large and small and as many cables as you can, and twisted yarns for cordage for ballistae”
Later Henry Vlll ordered that all hemp grown within a five mile radius of Bridport be reserved for rope for the Royal Navy, Bridport eventually was granted a monopoly to produce rope in the 1500s. Later the area provided rope to the East India Company. The geology of the area provided the well drained soils and sheltered slopes with warm weather that suited the growing of hemp and flax. I’ve come across some films on the British Pathe wesbite of flax and Bridport net production in the 1940s and 50s.
After reading about the Jurassic Coast several years ago I’m really excited that we now have the chance to work there on a new commission at Hive Beach and Burton Bradstock, for our project Storyweir. Its been commissioned by PVA medialab and Bridport Arts Centre working with Hive Beach Cafe and the National Trust as part of ExLab 2012.
The commission will be developed over the next few months as we research and collaborate with geographers, earth scientists, the cafe and communities on the coast at Hive Beach and around the village of Burton Bradstock. We’ll be exploring how the human story of the Jurassic coast and the physical geography influence each other. The final works will be staged on the coast during the 2012 Olympic/Paralympic sailing events.
We will be popping up on Hive Beach with a temporary lab to work with local communities recording stories of amateur geology, scientific fact, folklore and tall tales alongside looking at scientific data and mapping of erosion, gathering local sounds and working with geologists and cultural geographers.
Hive Beach runs along the other-wordly Bridport Sands cliffs where it is possible to see Jurassic Strata and where there is a thin upper layer of limestone, the Inferior Oolite which is rich in fossils such as ammonites, belemnites, shells and sponges. Its a place both steeped in ancient geological time and is a rich mix of more recent physical and social history, folklore, scientific knowledge (amateur and professional) and contemporary stories.
This is the new project I am undertaking as part of my internship with Proboscis.
‘Pic(k)ing out London’ wants to prompt reflection about the ongoing interaction with the urban environment and how this affects people’s feelings and shapes their daily life. By collecting some of these unique gazes on the city and some of its multiple expressions I intend to compose an emotional map which will tell the story of the many moods that daily mingle and overlap in London.
Because of its variegated population, its vastness, its contradictions, London is made of contrasting voices, dissimilar faces, peculiar places and each individual is an irreplaceable tassel which contributes to compose an outstanding mosaic.
Participants will be asked to take three pictures a day and to keep a short diary for ten days. The pictures should be about a place, a thing or a situation they encounter, anything that catches their attention, both familiar or unfamiliar, usual or unusual in their daily life, and about a place or a situation they respectively enjoy or dislike in the urban environment. The pictures do not need to be technically perfect because what I value most important is the act of taking the picture itself, of being a little more aware and awake to our own surroundings.
Mapping is not only about exploring and depicting a portion of territory but it can also entail travelling into, investigating and representing some unfamiliar trails inside people’s mind: setting the boundaries and drawing the many trajectories collective consciousness can cover. “The human landscape can be read as a landscape of exclusion”, starts David Sibley in Geographies of Exclusion, and the same organization and orchestration of space follows the construction and position of the self related to the category of the other and the wider context of society. If we look at our surroundings as the phenomenal embodiment of our shared imagination, then we will decipher not only the imprint of power in its many forms but also the scattered marks left by individual imageries. Alternative, subaltern stories, all those visions that are thought not to fit in, because they belong to the other side of the fence, where all that is not pure enough, according to a set of ready-made prerequisites, is dropped off.
“Space is a part of an ever-shifting social geometry of power and signification”, this is an inspiring quotation drawn from Doreen Massey’s Space, Place and Gender and immediately it puts light on two major ideas underpinning the understanding of space: its non-neutral and non semantically univocal essence, and its intrinsic conflict. Space harbours a wide spectrum of semantic nuances and potential political definitions and thus produces continual challenges in terms of interpretation and agency. “The map is not the territory”, even if it is thought to be so, but an interpretation, a graphic and linguistic exposition of a portion of territory and how ever it strains to be scientifically irrefutable, the discursive component shines through mainly in the very moment such codes are disrupted. The elaboration of alternative maps make overt that “maps, like art, far from being a transparent opening to the world, are but a particular human way of looking at the world”. The idea of embracing alternative tube maps came to my mind because I was already familiar with Alex Roggero’s Underground to Everywhere map where he replaced the tube stations with the immigrants’ city according to the main ethnic minority living in a specific area. This travel book is in every aspect an homage to the author’s wanderings across the city and a sincere admiration to the vibrant, Babylonic and multicultural London. The author himself mentions several alternative tube maps which have been produced during the years. The tube map itself is not scientifically accurate but it was designed in such a way, so readable and clear, that has become hugely popular and iconic. Moreover, a recent visit to the Museum of London gave me the idea to insert in my visual essay some samples of hand-drawn maps which are displayed at the museum entrance in order to further underline the discursive, subjective aspect of the act of mapping. In partnership with Londonist, readers were encouraged to submit hand-drawn maps, focussing on their own experiences and connections with certain areas of London and obviously the aim was not to provide a factual representation of the city but to capture the different and variegated personal projections on the cityscape. The galleries themselves, which go through London’s history from when London was just a piece of desert land to the very present, are full of fascinating maps, each revealing a peculiar sphere of London according to the point of view and the intention of the composer. Booth’s poverty maps, based on his survey into life and labour in London from 1886 to 1903, assess varying levels of indigence and criminality in different districts across London, graphically accessible through a colour code, so for example, dark blue stands for ‘Very poor. Casual, chronic want’, while black stands for ‘Lowest class. Vicious, semi criminal.’ The textual level of the mapping process discloses diverse perspectives on the emotional and biased degree involved in any act of representation and this leads us to think that the entity represented, in this case the city of London or at least a portion of it, is to be found where more or less codified and official discourses and a multitude of singular experiences meet. Regarding this, it is very illuminating to address Proboscis’ Urban Tapestries project which, combining mobile and internet technologies with geographic information systems, looked at how people could actively map the environment around them and earnestly share this ever-evolving body of knowledge. This kind of collaborative mapping hints at another aspect implicit in the mapping process: its blatant lack of innocence suggests a potential political use, either as a tool of coercion and possession – unequivocal, for instance, is the case of Imperialism as Edward Said suggests – and as an instrument to reclaim and re-conquer one’s own right to the city and to build an alternative organic mutuality.
I see mapping as a central issue in Proboscis’ work not only because several projects have focussed on contemporary perceptions of the human, social and natural landscape around us – see for example the Liquid Geography ebooks series – as well as on fertile and rewarding ways to affect it, but their general conceptualization follows the mapping procedure. Proboscis’ approach simulates an unexpected plot, a thorough exploration, rich in ramifications, bends and junctions, sudden and unpredictable directions.
This year we will begin a major new programme of projects exploring the intangible things we value most about the people, places and communities we live in : Public Goods. Through a series of projects over a 5 year period we’ll be making artworks, films, events, exhibitions and publications in places across the nation (and hopefully abroad too) working in collaboration with both other creative practitioners and local people.
In this first year we’re planning a series of smaller research projects to help us meet and engage with collaborators, identify places and communities, themes and activities. We’ll be using our City As Material format for collaborative urban exploration and zine-making as a method of investigating new places with local people, and also focused projects, like Alice’s As It Comes, in both urban and rural settings exploring other knowledges and experiences that are often overlooked or are being swept away by the fast pace of social change. We also plan to continue our research collaborations into new technologies for public authoring, play and sensing the world around us (such as Urban Tapestries, bookleteer and Sensory Threads).
Our aim is to build up an archive, or archives, of the intangible goods that people most value and want to share – transmitting hope and belief through artistic practice to others in the present and for the future. In the teeth of a radical onslaught against the tangible public assets we are familiar with (libraries, forests, education etc), Public Goods seeks to celebrate and champion a re-valuation of those public assets which don’t readily fit within the budget lines of an accountant’s spreadsheet.
We’d love to hear from communities, practitioners or organisations who’d like us to work with them around this theme – do get in touch.
I have just sent off some new works on paper, that are the first part of my project In Good Heart, off to Confederation Centre Gallery in Prince Edward Island, Canda for the show Dig Up My Heart: Artistic Practice in the Field curated by Shauna McCabe which opens on Saturday till September 22. The show; brings together a group of practitioners who start from the same impulse – a visceral connection to the land and to place, and the transformative potential of that attachment in response to issues of landscape change…
In 2009 I was invited by our partners Dodolab to visit the Charlottetown Experimental Farm on Prince Edward island and spend some time researching its history, exploring the site and the island. The Charlottetown farm was one of a network of Experimental Farms created in the 1880′s to research and improve farming methods and production, the network hub was the Central Experimental farm in Ottowa.
The visit to PEI which triggered many questions about farming and the factors that impact on this most ancient of skills. The works bring together several strands of research, conversations, interviews, historical and folklore research to explore the perception of “Farm”, its origins, what it means to people now and the way in which the disappearance of traditional skills and distance from the sources of our food serve to disconnect people from their link with land and nature. It is part of my ongoing series, At The Waters Edge looking at peoples local and personal relationship to land and environment.
There will be a publication with the series of works and stories published in June. You can see the works on flickr.
I am grateful to all at Dodolab, Confederation Centre and the Public Archives and Records Office for helping with my research. A huge thanks to the people who kindly sent me their thoughts on the word “farm” and I would like to thank; Andrew, Angela, Adriana, Barb, Chick, Deborah, Danny, Dan, Frank, Gillian, Joyce, Joe, Kei, Mervin, Niharika, Tarin and Sarah. This work was commissioned by Dodolab who invited me to PEI in 2009 as part of an ongoing partnership with Proboscis.
There are no fences here … when you go out of town there are no fences, but I wouldn’t call this a wilderness because peoples homes are here, people live here.
This week I’ve been packing up a set of drawings to send out to the Canadian arctic town of Inuvik for the first leg of a touring show during the the 25 year anniversary of Ivvavik National Park in Canada which was created by a historic Aboriginal land claim settlement The Inuvialuit Final Agreement, signed in 1984. In it the Inuvialuit agreed to give up exclusive use of their ancestral lands in exchange for guaranteed rights from the Government of Canada. The rights came in three forms: land, wildlife management and money. (read more on the Inuvaliuit Regional Corporation). As a result Parks Canada and the Inuvialuit co-operatively manage Ivvavik National Park with the Inuvaluit Wisdom that the “The land will protect the people who support the protect the land“. Parks Canada has organised a touring exhibition of work from their Artist in The Park programme which I was invited to be part of by artist Joyce Majiski, in 2003 with whom Ive been working with since them on projects such as Topographies and Tales.
Middle of Nowhere?
Bordered on the north by the Beaufort Sea and Alaska on the West, Ivvavik sits at the north western tip of Canada. A highly biodiverse region of the Western Arctic, its Inuvaluktun name ‘Ivvavik’ means nursery or place of giving birth. It is a portion of the calving grounds and migration route of the Porcupine caribou herd and forms a part of the Beringia Refugium; an area untouched by the last glaciation where an ice-free bridge allowed humans and animals to migrate from Asia into North America over twenty thousand years ago.
In summer 2003 I met up with artists Joyce Majiski Ron Felix, Audrea Wulf and James Ruben, guide Mervyn Joe and elder Sarah Dillon and flew out of Inuvik, across the Mackenzie Delta towards Sheep Creek. From the air (and in the imaginations of the temperate zone) the arctic taiga and tundra, is a frozen desert. But landing at the junction of Sheep Creek and the Firth River we saw tussocks of wild flowers, embroidered cushions with succulent jewel like plants, luminescent mosses and ferns; miniature gardens of Babylon. Out on the land there were larger traces of life and stories of trappers, miners, hunters and travelers. The language of the north I grew up with paints an image of bleakness, but there the myths of desolation fell away.
“Have good time miles from nowhere!” someone had said before I set off. In the world’s ‘wildernesses’ like Ivvavik it is easy for a visitor to be lost in such a reverie of wonder at landscape that you miss the lives and culture that are part of it. There is a disjuncture between the notion of wilderness as barren, by definition disconnected from the social, and the view of land as homeland, a social place of culture, food and everyday life. To many outside the north the Arctic is still shrouded in an aura of romanticism portrayed, as it has been through the history of polar exploration, as a landscape of sublime desolation. To some, I expect, it’s not a place but an imaginary landscape far away from their everyday lives. I wonder what is the global consequence of this enduring vision of the land?
One day we see five caribou. Pregnant cows lead the herd from Ivvavik into the calving grounds in the Alaska National Wildlife Refuge (ANWR); an area rich in oil reserves. So important are the grounds the Gwitchin people refer to them as the “sacred place where life begins”. If the ANWR is opened for drilling many people believe it will result in untold damage to the herd and the people whose lives and traditions depend on it.
Last week I was lucky enough to be asked to spend a few days drawing Granville Arcade/Brixton Village, on the first leg of artistsandmakers.com Empty Shops Network Tour to six towns across England, created by artist Dan Thompson.
I joined Dan, Jan Williams (Caravan Gallery), Steve Bomford and podcaster Richard Vobes, for lively discussion and to create new work on site for an all day event on the Saturday, you can hear Richard Vobes podcasts of about the project here.
Its been a while since I had the chance to stay in one place for a few days drawing, talking to stallholders and getting to scratch a little below the surface, seeing the flows of life. This year we’ve (Proboscis) been involved in several projects that have looked at the issue of common space and how its changing alongside the implications of huge shopping malls, department stores and the privatisation of public space. It was a real pleasure to be in a place where the character of it is created by the people using it to trade and to socialise. There was an almost constant sound of conversation, laughter and music and the smells of all the food being cooked or sold.
Exploring empty shops is about celebrating local distinctiveness and the project will also show local communities how to use empty shops for meanwhile projects. Each project will last less than a week from start to finish and Dan makes a very open space for artists to follow their interests. Each week will involve public meetings, informal training for local artists, and showcase the tools needed to run empty shops projects.
The tour has been organised by the Empty Shops Network, with the first event happening just a week after the project was conceived at a meeting of organisations involved in bringing empty shops and spaces into meanwhile use.
The tour is supported by the Meanwhile Project, and the Brixton event is using a space provided by the Space Makers Agency. After Brixton, the Empty Shops Network project will visit five further towns, with dates in Shoreham by Sea, Coventry, Cumbria and Durham to be confirmed in coming weeks. See artistandmakers.com for details.
You can see more images from the Brixton week here.
Jan, Dan and Steve.
Steve and Terry – the butcher – in front of the pictures Steve and Jan took during the week.
Alice Angus and Giles Lane are currently participating in the latest DodoLab in Charlottetown, Prince Edward Island, Canada where we are working alongside Andrew Hunter (Chief DodoLabster), Barb Hobot, Laura Knapp and Lisa Hirmer, as well as a group of students from Mount Allison University led by Dr Shauna McCabe.
A film by Alice Angus and Joyce Majiski using music, oral recordings, drawing, animation and storytelling to playfully unearth local and personal stories, memories and myths against a picture of how concepts of space and environment are shaped by ideas of belonging and home. A personal exploration of the intimate way people form relationships with their environments, Topographies and Tales takes a journey through the myths and perceptions the filmmakers encountered on their travels in the west of Scotland and the Yukon.
Topographies and Tales is part of Alice’s long term collaboration with Canadian artist Joyce Majiski. They began a collaboration in 2003 which took them to Ivvavik National Park in the Canadian Arctic, Glenmore Lodge in the Cairngorm Mountains, Scotland, the Klondike Institute for Art and Culture in Dawson City, Canada, Joyce’s Tuktu Studio in Whitehorse and the Proboscis Studio in London.
Being in Common invited people to expand and alter their understanding of ‘common space’ and built on Proboscis’ continued engagement in the social, cultural and natural histories of sites and territories. It explored notions of kinship and belonging as well as those of property and ownership so connected to the meaning of ‘common’ in the English language and in Anglo cultures.
Inspired by the physical boundaries of the site and the close connection between the histories of enclosure, surveying and gunpowder that coincide in Gunpowder Park, Proboscis created three works which were sited in specific locations within the park. Through the use of optics, mirrors and viewmasters, visitors were invited to experience a different perception of their environment.
As part of Proboscis’ process of artistic research, Exploration Packs were sent to a number of people around the world who responded by creating their own perspective of what ‘common space’ means. These will be exhibited at the Field Station.
Accompanying these works is a Catalogue of Ideas, a pack of playing cards which playfully draws together, in 13 themes, imagery, writing, material from the Exploration Packs and ephemera collected during the commission. The themes, which range from water to human rights, environment to conflict and physical spaces to media, meditate on common space and the commons. Explore the cards via the Flash Viewer.
Art of Common Space Event – 21/22 March 2009 (Spring Equinox Weekend)
Gunpowder Park, Sewardstone Road, Waltham Abbey, Essex EN9 3GP
Team: Alice Angus, Niharika Hariharan, Giles Lane, Karen Martin & Orlagh Woods.
Exploration Pack contributors: Tony Amaechi, Max Dixon, Gill Croft, Saffron Douglas, Myria Georgiou, Andrew Hunter, Rita J King, Joyce Majiski, Adriana Marques, Emilio García Millán, Louisa Rolandsdotter, Anupama Sekhri, Premlata Sharma, Tak Tran, Janet Vertesi, Kasama Yamtree, Nithaar Zain.
Topographies & Tales is about the relationship between people, language, identity and place, revealing personal stories against the larger picture of how our concept of space and environment is shaped by “belonging” and “nationhood”, and how boundaries, barriers and borders come to be formed.
It has included short films, essays, nine Diffusion eBooks, a Creative Lab in London and events in Dawson City, Canada and is underpinning a new body of work exploring peoples relationship to water called At The Waters Edge.
Topographies and Tales is based around a body of work that Alice Angus has been creating in collaboration with Joyce Majiski exploring the perceptions of landscape and of the North. It is driven by interests in ideas of proximity and remoteness, technology and presence, and the concept of ‘wilderness’ against the lived experience of a place. The works are a personal exploration of the intimate way people form relationships with their environments. They are underpinned by an exploration of how the technologies of travel and communication impact on a sense of time, from the coming of the railroad to the ‘new’ world of data and communications: our perceptions of geography are affected not just by knowledge, but by the way it is mediated. Beginning in the winter of 2001 Alice took the railroad across Canada, from east to west, against the historic flow, creating the film, Near Real Time. Then, in 2003, Alice participated in the first Parks Canada residency in Ivvavik National Park in the Northern Yukon. She began a collaboration there with guide Joyce Majiski which took them to Glenmore Lodge in the Cairngorms, Scotland in 2004 and Klondike Institute for Art and Culture in Dawson City, Canada in 2005 for their short film Topographies and Tales 2009.
Topographies and Tales 2009 (12.52 min)
Topographies and Tales, 2009 (excerpts 5.30min)
Using music, oral recordings, drawing, animation and storytelling to playfully unearth local and personal stories, memories and myths against a picture of how concepts of space and environment are shaped by ideas of belonging and home. A personal exploration of the intimate way people form relationships with their environments combining animation and live documentary footage, Topographies and Tales takes a meandering journey through the myths and perceptions the filmmakers encountered on their journeys in the west of Scotland and the Yukon.
Near Real Time By Alice Angus, following the railroad East to West across Canada
Landscapes in Dialogue by Alice Angus, thoughts inspired by the Artists in the Park residency, Ivvavik National Park, Yukon
At The Waters Edge with Joyce Majiski and Alice Angus
The first in a new a series of eBooks growing out of Topographies and Tales. At The Waters Edge are water based investigations exploring different perspectives of what it means to care for the environment and how it can affect the way in which water environments are managed and cared for.
Team: Alice Angus, Giles Lane, Orlagh Woods (2004-09).
Landscapes in Dialogue : Thoughts inspired by the Artists in the Park residency, Ivvavik National Park, Yukon by Alice Angus
The Endless Landscape, polyorama or myriorama (meaning ‘many views’) was a popular 18th and 19th century storytelling game also known as a tableau polyoptique. It consists a series of paintings of fragments of a panorama that can be arranged in billions of combinations to form a continuous landscape for creating stories – each card extending, adding to or changing the narrative. A neverending journey of imaginary landscapes.
Proboscis’ first Endless Landscape, by Alice Angus, depicts 21 fragments of a panorama based on London and was part of Social Tapestries – a 5 year project about mapping and sharing knowledge, storytelling and public authoring using cutting edge mobile and internet technologies and revisiting traditional paper based methods. The flow of ideas from Social Tapestries has increasingly emphasised the importance of storytelling and narrative as a living, everyday process that underpins how people co-create and inhabit culture and society. Part fact and part fiction, the Endless Landscape alters geography and connects events across the timeline of history. Its panoramas are littered with improbable landscapes, curiosities, ghostly evocations, historical anomalies and architectural conundrums.
Set of 18 Magnets – Price £19.99 – Buy Online