Hi Helen,

I think your question touches on important things here...

After getting a place in Chelsea College, in 86 I was then suddenly thrown out because they fucked up my grant application. Ironically, even though I was in despair at the time. This created a new situation where I ended up moving to bristol in 87, setting up pirate radio stations, and taught myself computer technology & did projects with Heath Bunting, and thus the early spirit of Furtherfield began to emerge. Although, it was in mid-90s that Furtherfield really got into gear after realizing that just being a pain in the neck to the system was not going to change things at deeper levels. Emancipation was not just about one's self getting on in the world, but working things out with others.

I have always advocated self-learning, and I am an obsessive autodidact. Finding imaginative ways to stay afloat is a valuable skill. Whether you are part of an arts organization or an artist who is not affiliated to an institution, you need varied abilities in order to survive. This is because the institutional networks and their frameworks with their default settings do not support those existing outside of them. Which is obvious, but not always explored in much detail.

The extra slice of irony here is that, in the future (this is happening now) institutions will only be able to justify education through economical processes. Which kind of leaves many of the more adventurous thinkers and artists in these environments having to expand their connections and thus their ideas with others outside of their traditional frameworks, unless they decide to give in to the greater hegemony, and many will and do. Of course, such actions are difficult because those who are doing great things in their institutions are dealing with extremely tough regimes which stunt developments for many different reasons, some of these are because the institutions have histories reliant on classical traditions, even though these traditions may also be challenged by Neoliberal demands from top-down, market dominated ideologies.

Which brings me back to contemporary academics and artists, working in these environments, where the hierarchies they exist in are dictating values and behaviors where assumed canons take precedence over what’s really going on in contemporary art culture. Unless, those in positions of academia, curators, and artists begin to expand their remits, studies, and art processes, beyond referencing only what is in front of their nose – so that others can see the real alternatives which are existing now (and before). Then, you can say goodbye to groups like ourselves, and similar thinking individuals, who believe - what you are told is not necessarily a true measurement of our reality.

Wishing you well.

yes i have; but i find it very strange. does linkedin mean the same thing by Art as we do? what do you know about Art? everything? do we still need to go to university if we get more than x number of endorsements for something?

On 2/07/13 8:32 AM, ruth catlow wrote:
Endorse! endorse!!

On 01/07/2013 13:27, helen varley jamieson wrote:

such a strange world we live in ...

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