Artist Jon Adams presented the roots of some key terms at the Inside/Outside symposium this weekend.
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By 2017 CAS Artists had been exploring the potential of dissent as a methodology for creative dialogue for some time. They decided to open the conversation to include others. Could their working methods be translated into remote collaboration through the creation of on-line residencies? What alternative voices and interpretations of personal dissent would emerge? Artists were invited to explore dissent during Block_Chain: The Power of Two (2018) and one of the participating artists was Sarah Misselbrook who completed her MA at Winchester School of Art in 2011 and now works from the wilds of Catalonia.
Between Spaces (2018)
Out of the darkness I am here
responding and observing you…
Is this life?
Connecting to you
Disconnecting from you.
Do my actions go unseen if I don’t record them?
The chain records me,
I surveil myself, and I share this information with you,
Performances (although this applies an audience)
Reacting to you, I am in the space between
The far more intriguing negative me.
18 August 2019
What is Dissent?
Dissent at its barest minimum is objection. It’s also about difference. So it isn’t just about negation or rejection, it’s also about having an alternative.
It’s very much engaged with questions of orthodoxy and having an alternative doxa. So you are not just a naysayer, you are not just someone who is a contrarian, but you have a different point of view and you have an alternative reading or an alternative perspective that you want to proceed with.
Why is Dissent a good focus?
I think it’s because we live in a world that is constantly trying to push for artificial consensus. That can actually, rather than being a unifying point, be a divisive point in society. Dissent is is a word that accommodates difference, and respecting the right for there to be different points of view.
If you look at geopolitical crisis right now, having the right to dissent is crucial. It shouldn’t just be a case of claiming to embrace dissenters, it needs to fundamentally and structurally be there to allow people to put forward their dissent.
CAS’ first publication in the
Chapter 1. Dissent series reflects on the 2015 Laboratory of Dissent to consider ‘dissent’ as a creative methodology.
- Susan considers ‘the relational self’ and how it might create an interstice for a constructive dissent.
- Maija focuses on ‘individual dissent for collective change’ exploring how dissent is part of a non-linear process of mutual creativity.
- Yonat asks whether the performative act (including mis-performance) can be understood as a link between a painting and that “outside it”.
An exploration of theory and practice, this is an anthology of three very different essays by artists Susan Francis, Yonat Nitzan-Green and Maija Liepins.
* Offer excludes postage, pick up on 2nd November at The Laboratory of Dissent Symposium in Winchester or from CAS by arrangement.
Questions? Contact Maija on 07828 870 841