The ski slopes of Broadwater Farm

So, we all took a day off.

Philip Lane: A Tale of Treachery, Protection, Cucumbers and Marching Songs.

Cemal calls round last week. I haven’t seen him for ages. He’s been keeping a low profile in a charming northern city somewhere, railing against the lack of proper Turkish supermarkets, giving up smoking, complaining, nay mewling, about those other Kurds, those ‘Iranian’ ones, who turned out to be Iraqi, but also enjoying a good moan, breathing cleaner air, and getting very attached to his local, premier league, football team.

So we stroll out in the morning frost to investigate Philip Lane which, I realise, has completely changed since his departure last year. Now, he used to work at Aksu, little Aksu, the veg shop on the corner of Kitchener rd, that’s where I met him. Then the bigger shop by the bus stop, big Aksu, committed an act of unspeakable treachery. It started to stock vegetables too, not as well kept as those on the Kitchener rd corner, but veg nonetheless. The upshot was that little Aksu went 24 hours, then closed and was sold, unable to compete with its treacherous neighbour which now sold alcohol and veg. Little Aksu didn’t have room for alcohol and anyway Hussein’s wife was observant and didn’t really approve, so Hussein went and got drunk at the Turkish tea shop at the back of Botany Bay pub opposite and gambled away the shop’s meagre profit.

So, the ever stoical Cemal migrated over the road to work at Ocean Stores, another Turkish supermarket. We had only two so naturally a third was necessary. Mr. Ocean must have been a bit loaded so he bought up little Aksu as well and turned it into a butcher. That lasted less that a year, and was bought by Mr, Tea-shop-at-the-back-of-Botany-Bay-pub, affectionately known as ‘the Trafficker,’ on account of the alarmingly high turn over of Lithuanian women who worked at the bar in the tea-shop. So the Trafficker buys out the butcher’s shop and turns it into – yes that’s right – another of his lovely tea shops, because we’ve got only fifteen of them in Philip Lane / West Green road so, clearly, we need another.

Well then Mr. Ocean buys up the Turkish hostel at the back of Ocean Stores where my friends Cafar, Bilgen and their children used to live (in one room with the children in a bunk bed under the stairs in a corridor - happily they now live in a nice big flat at the back of Tescos opposite Seven Sisters), and where Cemal used to live, ‘bunking up’ with his mate, Rifat, and he, Mr. Ocean, extends Ocean Stores to include the butcher again. It’s now a pretty substantial supermarket. He even thoughtfully drops the price of soya milk from £1.29 to £1.19, having noticed at long last the Big Aksu has been selling theirs for £1.19 ever since they committed the cucumber coup.

Then what? Well, Botany Bay Pub was closed down and sold off around Christmas last year. Lately there’s been much activity and buying in of shop fittings and I ask the nice young woman at Ocean Stores what’s happening. Ocean Stores by now has doubled up as the local recruiting agency for the PKK. If you go there at the right time of day, there’s now a very chatty lad who plays, ‘communist marching song’s’ according to him. ‘I’m not supposed to,’ he confides and then starts trying to interest the hairy English anarchist man behind me, sporting ginger beard and desert fatigues, in joining up. He looks at me and boldly asserts, ‘there are almost as many women in the PKK as there are men, you know.’

I’m interested in more mundane matters though and, as the nice young woman counts my change, she informs me that Botany Bay is to be another supermarket – a really big one. ‘What sort of supermarket, which supermarket?’ I demand, dreading the onset of Tescos or similar. ‘Another Turkish family,’ she growls, and flares her nostrils for added emphasis.

Thing is, I cant see either Big Aksu or Mr Ocean going down without a fight and, given Ocean’s affiliations and Aksu’s protection racket which, according to Cemal, he started around the time of cucumber coup, I’m not sure if the sheer size of Botany Bay will be enough. The C Word’s prediction for 2009 is local skirmishes breaking out on the borders of N17 and N15, (BB is N15, Aksu and Ocean N17 – Philip Lane is the border,) resulting in possible all out war later in the year.

Maureen at the Laundrette on the corner of Philip Lane and Clonmell rd offers the best vantage point for anyone interested in observing from her splendid, full-size, picture windows. It was ideal for observing the fights at the pub and I’ve no doubt she’ll offer front row seats, tea so strong you could tar the road wit it, and a plentiful supply of her own unique Irish wisdom for all patrons in need. She also does a very fine line in second hand books. I wonder if there’s one about the battles of Broadwater Farm. Ah, now there’s another story. Thelma at the flower shop over the road can tell you all about that.

Work in Progress

Happy New Year! January 19th and I've only just started my first post for this year. Ok, so I have to admit it - I'm wholly immersed in making new work for the show in Esfahan and in writing a journal article, Tanslating Virginity. The result is that I cant easily get to shows because of time pressure and because there's no more room inside my head to fit other people's work in and I'm not reading because I want to concentrate on writing. That last bit isn't quite true because I am reading Fataneh Farahani's glorious PhD thesis - yes they can be glorious sometimes - it's called, 'Diasporic Narratives of Sexuality: Identity formation among Iranian - Swedish Women.' Swedish Universities publish their theses properly so anyone can read them. This one is from Stockholm University and I warmly recommend it.
So, the pot above is for 'How to Eat a Pomegranate', that's the title of the show. When I'm in Iran, countless numbers of people ask me, 'What do you think of Iran?' The show is my response to this question. The pot pictured above is one of two pots called, 'Forming the Perfect.' Yes, it is a pun on language. I got it from one of my grammar books. I like it because of the reference to the struggle with language and also because it indicates that perfection is formed, rather than being natural. The show's getting increasingly involved with the deep concern that Iranians have with perfection, especially perfect beauty, and the ways they construct it. Fataneh, she of the thesis, took this picture in my studio. I really like it because it shows the scale of the pot well and its relationship to me. I have a very troubled relationship with perfection. So none of my pots will be perfect. This one, for example, is going to have breathe in if it's going to get in the kiln ok. I'll let you know what happens.

Lotf'allah mosque, Esfahan, Iran

No one with an interest in ceramics should allow themselves to die without first seeing Esfhahan.

Viva Viva

I'm shocked to find it's more than a month since I wrote for this blog. Much has happened. I've been in Iran, discussing a planned solo show in Esfahan in 2009, in the Iranian month of Ordibehesht, which runs from April 21st - May 21st. There will be much more on this soon, and more about plans for The C Word's second year, which, coincidentally starts at about the same time as Iranian New Year, mid - March.
Meanwhile, I want to tell you about a remarkable, ambitious, and to the best of my knowledge, unique exhibition I saw on Sunday 14th December, the last day of it's two-week run.

Viva Viva

In a giant concrete bunker under the Marylebone campus of the University of Westminster, opposite Baker st. Tube Station and Madame Tussaude’s, lies P3. It’s one of London’s newest art spaces, and certainly one of its biggest. If Tate modern resembles an airport, (which it does), this is the aircraft hanger. It’s brutal though, the sort of place that General Pinochet would have singled out for particularly ghastly torture sessions.

Undaunted, however, the turbo-charged visionary that is Zemirah Moffat, spun into action and delivered an astonishing exhibition of flickering, glittering screens, colour bars, soundscapes, language trails and lovingly bound, printed volumes, all in the service of the practice-based PhDs in Audio-visual media.
The idea itself was eccentric to the point of insanity – it would certainly have seemed so to the average, art-world curator.
‘I’m going to curate a show of practice-based PhDs in audio-visual media from the last 20 years. It’s a show about knowledge. The centre piece will be a library with all the doctoral theses bound in orange on the shelves so that the audience can read them.'
YAAH RIGHT, drawls the west-end curator, adjusting her velvet hair band, and hastily doing up the top button of her Harvey Nich’s silk blouse. A doctoral thesis sounded mildly threatening–she wasn’t going to take any risks.
YEAH RIGHT, sneers the cool cat curator, tossing his thinning mane, grease landing in a fine spray on a nearby wall – consults his blackberry, ‘we’ll just close the gallery for the two weeks it’s on shall we?’ Collapses with laughter at his own side-splitting wit.

I wont pretend it wasn’t overwhelming, intimidating almost as you descend the concrete bunker and encounter the numerous screens, but bit by bit, they separate out and become individual pieces of work. The vast space is generous, you could arrange yourself comfortably and settle into each work, absorbing the particular nature of the ‘cinema’ venue, or the tv screens, the still photographs suspended from the ceiling, or the computer screen tucked up next to a pillar, or the several screens forming a whole installation. Ear phones allowed me to sink into John Wynne’s ‘Hearing Voices’, work on click languages from the Kalahari Desert in Botswana, which attended to all my personal obsessions, and for which I would cheerfully have settled in for the night.

Screen work rarely does well in a conventional gallery space, so perhaps this most emphatically not white, not cube, demonstrates that very different kinds of spaces are needed for such work to thrive. The most significant thing though was the constant humming presence of the research, the building of knowledge through experiment and writing, the integrated relationship between the written thesis and the art work, which, probably for the first time, were allowed to appear in the same venue at the same time, so the viewer/ reader/ audience could encounter the whole, rather than the fragmented, disassociated parts. This was an extraordinary adventure which demanded much from its audience and delivered more. I’d love to see something like it in the Hayward. The public are quite capable of coping with a bit of hard-core thinking, if only we’re given the chance.

Rebecca Fairman, 2008: Cold Comfort

Cold comfort is a very simple work, a collection of small, square, imprinted and slightly cushioned hollow tiles, arranged together on a child-sized iron bedstead to resemble a patchwork quilt. The bed is placed in a dimly-lit, cell-like room, with a curved ceiling like a tunnel and with one entrance and no windows. It’s a forlorn sight.

There is a palpable sense of sorrow hanging in the dimly lit rain-soaked air. It’s impossible not to think of Jane Eyre or the Princes in the tower. It has a theatrical, film location quality to it which gives it a contemporary feel but simultaneously recalls images of Dickens’ characters and Victorian London, in the ‘produced’ sense.

Fairman has very successfully introduced devices of melodrama to the work through her use of lighting and of the damp, dark cell. She has kept the visual qualities simple and in so doing, has allowed the ceramic quilt on its bed to communicate what Jorunn Veiteberg has called, ‘craft’s affective side,’ The patchwork quilt, both as an image and as a thing, and here it’s used as both, is steeped in cultural memory. It is an archetype of craft and a recognisable object which can speak to a wide and culturally diverse audience. Fairman uses it to generate very personal, intimate meaning, but one to which audiences can and did respond.

Fairman has used craft practice as the central agent of narrative in this work with considerable agility. The cold hardness of the ceramic ‘quilt’ is the tactile surprise which works, not least because you can pick up each piece, turn it over in your hands, and know how hard it is. In so doing you encounter the imprints of fine lace, embroidery, bits of doilies and so forth which are the pieces of female biography, the domestic memorabilia from which quilts are made. Quilts, traditionally, are made from ‘leftovers’. There is a class aspect to their story: the very wealthy didn’t need to bother too much with patchwork quilts. There are ‘posh’ quilts, made from new fabric, but overwhelmingly they’re ‘backyard’. Cold Comfort deploys a down-home, domestic, useful and traditional craft form, to generate a new, contemporary narrative, which suggests that the genealogy of this work is closer to feminist art from the 1970s and 80s, than to modernist craft pottery.

Fairman took this piece to some local woodland and was surprised at how much the public, especially children, took to it and wanted to get involved in some way. ‘One child was clearing all the leaves away because she didn’t want this beautiful thing to get dirty.’ Left on it’s own in that kind of environment, it might quickly look like a murder scene and would be too visceral, for me anyway. Cold Comfort is at its strongest when it is interactive. Fairman was wise to avoid a white cube, gallery environment which would have made it very stagey. The brickwork of shunt and of basement room in her house allowed the ‘affective’ side to do its work.

Cold Comfort was exhibited at Shunt, November 2008 and previewed at the artist’s house in Bermondsey.
Fairman is also part of the Buff group, featured earlier this year on The C Word.

The Parlous State of Publishing for Writing about Ceramics.

This post will appear in three parts. it is about the vexed question of how to write and talk about pots, about ceramics, about craft and about art. It's also about where and how publish what we do write. Part one is below. Parts two and three will appear later this week. They're in the pipeline - I'm working on them. There may be another section discussing examples of art-speak, pot-speak, Ceramics' emancipatory inheritance and Ceramics' mythic imaginary - these last two are a bit connected but not entirely. Ready?

Part 1: A moderately short story about writing a book review

Alice was eating toast and marmalade and feeling rather pleased with herself. She’d been sent a big fat glossy, expensive-looking book to review, at least that’s what she thought she had to do. Confrontational Ceramics was the title. She settled down for a quiet morning’s reading – the sort of reading you do with a pencil, note book and those mini post-it notes in different colours for marking special pages. Just for a moment, she felt really quite important. Gradually, as the morning passed, storm clouds gathered, as the sordid truth slowly dawned. The beautiful fat glossy book was dreadful. Dreadful in every way. The text was ghastly - it was only an introduction and then some mini-introductions but, even so, they were enough to put you off the whole thing - and the rest of the book was made up entirely of pictures with something called, ‘artist’s statements’. These apparently were where the artists were allowed to try and bully you into thinking what they thought. Well Alice jolly well wasn’t going to be bullied. She threw the beastly book across the room, and went and consulted the Cheshire Cat. She was, after all, expected to write about the thing. What was she to do?

Well, she wrote the review and let’s just say that, in the process, she learned that it was almost impossible to write a negative review which wasn’t inherently depressing and as unreadable as the book she objected to. She sent it off and it was politely returned. She tried again. It went back and forth for weeks.

‘Try writing about the ‘work’ instead of the text,’ growled the white rabbit, fishing out his gold pocket watch and snarling about academia, while Alice, almost in tears by now, meekly agreed but also snarled. She berated the parlous state of publishing and wondered how to review ‘work’ she hadn’t actually seen.

Then a neighbour publication, ‘Sopra Nova Glittery Handwork’ published its review of the bestial book, and Alice noted that it was written by a Patrician White Patriarch with a very Proper Pottery Pedigree. She also noted that he’d made exactly the same complaints as she had. The White Rabbit emailed: he too had noticed that Alice’s objections, (yer honour) had been upheld by the senior Prefect with the Perfect Pedigree. Alice tried not to feel too smug, and suppressed the ‘I told you so’ that threatened to jump out of her mouth. She wrote the new review, but the bestial book didn’t get any better.

Alice still doesn’t know if the Parish Council Pottery Newsletter will publish the new version or the old version or an amalgamation of the two, or nothing. She still isn’t sure if the senior prefect’s review has somehow made her’s more palatable or not. The White Rabbit seems somewhat mollified, but you can never be sure with rabbits. They take fright easily.

It had been a funny morning. Alice felt strangely satisfied and yet something was still bothering her. The Cheshire Cat still hadn’t uttered. So she thought she’d go and see the Red Queen just to see if she had anything to say on the matter.