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The Art of Immigration

Image: Steve McQueen

Just what do migrant workers contribute to the UK?  It’s a question being asked by Immigration Minister Damian Green, who this week will reveal details of the government’s new immigration policy.  But it’s a question also being asked by art gallery Tate Britain. On Tuesday, a new exhibition will open which explores how British art has been shaped by the impact of migrant artists

As an island nation, it’s perhaps easy to think of ourselves as a homogenised culture that didn’t become subject to external influences until the post-war immigration of the 20th century. But the Migrations exhibition argues that this interchange of ideas and influences had already been going on for centuries beforehand. As curator Lizzie Carey-Thomas said: “What we’re really saying is you can’t consider the history of British art without considering the history of migration and impact it had on art.”

Migrations is an exhibition notable primarily for its theme rather than the work itself – most of which comes from Tate’s permanent collection so may already be familiar to regular visitors.  That’s not to say that there aren’t some surprises, primarily the more recent film and video work by artists such as Steve McQueen, Francis Alys and Zineb Sedira. But the show is at its strongest when encouraging us to think again about Tate’s collection – and what, in fact, we understand by the term “British art”.

Avant garde

So the exhibition explores how American artist Whistler introduced abstraction to Britain in the second half of the 19th century. It examines the influence of avant garde artists like Mondrian who came to Britain to escape Nazi persecution during the Second World War. And it reveals that the landscape – often considered that most quintessentially British of art forms – was actually imported to a 17th century Britain still dominated by portraiture by northern european artists like Keirincx and Siberechts.

Of course there are plenty of examples of foreign artists coming to live and work in Britain during the 20th century – from Paula Rego to Anish Kapoor.  Many of these were attracted by the openness to cultural influences which has come to define modern Britain and the vibrant community of artists living and working here.

But looking ahead to the future, many people in the art world now believe that the migration of artists into Britain is slowing down. And that as a result, the nature of this dialogue between British art and external influences could be changing.

Foreign influences

Over the last decade, many of the best-known British artists – such as Tacita Dean, Douglas Gordon and Susan Philipsz – have left the UK to work in cities like Berlin. They’ve been followed by waves of younger artists attracted by cheap rents and studio space, and what’s becoming a burgeoning community of artists.

But of course this doesn’t mean that the interchange of ideas between British and foreign artists has slowed down. In an increasingly globalised art market, and with international communication now easier than ever, British art continues to be shaped by foreign influences.

The exhibition at Tate Britain ends with Static, a film of that icon of immigration the Statue of Liberty, by Steve McQueen. McQueen lives and works in Amsterdam, has galleries in London, Paris and New York, and exhibits around the world – perhaps challenging our very understanding of what it means to be a British artist.

Article written by Matthew Cain, Channel 4 Arts and Culture correspondent:
Article source: http://blogs.channel4.com/culture/art-immigration/2174
Follow @MatthewCainC4 on Twitter.

Last Updated (Friday, 03 February 2012 17:07)

 

ZENDEH reveal a sneak peak in the development of FLOCK

 

FLOCK is a new production inspired by Farid ud-Din Attar's The Conference of The Birds, a classic poem from the North East of Iran about quest and discovery; community and family; society and leadership.

FLOCK will be performed in Spring 2013.

The first of a series of workshops aimed at young people and their families, will begin in November 2011.

Audio Extracts

Listen to extracts of The Conference of the Birds, read by members of the ZENDEH team and workshop participants.

Extract One here:

http://www.zendeh.com/flock.html

Last Updated (Thursday, 01 December 2011 14:25)

 

Arts Council England's audience segmentation market research tool

Find out which cultural consumer group you belong to and how the accompanying publication can help arts organisations (links are below).

Segmentation is a market research method where a given market is broken down into distinct groups.

Click here for the quiz and publication to find out which category you fit into and to download the publication for organisations.

These resources can help us to get a better understanding of current and potential arts audiences across England.

It is based on updated, in-depth segmentation research that breaks down the English adult population in terms of their engagement with the arts.

In the context of how the arts fit into people’s everyday lives, it provides new insight into the patterns of arts consumption and attitudes towards the arts, how people spend their leisure time and what competes with the arts for people’s attention.

It also considers socio-demographic factors, media consumption and lifestyles. The research can be used as a tool to inform marketing and audience development plans for arts organisations, local authorities and other agencies working in the arts. It also contains insights that organisations might find useful for fundraising and in the development of an arts activity itself.


Last Updated (Tuesday, 29 November 2011 17:01)

 

SUBLIME FREQUENCIES RETURN TO NEWCASTLE!

http://www.sublimefrequencies.com/tour/images/inerane2011/inerane.jpghttp://3.bp.blogspot.com/_YVgGbxguwC8/S6uUBFvxO7I/AAAAAAAAAF4/2AsBJR60yVw/s1600/FlowerCorsano%2BDuo%2Bflowercorsanoduo.jpg

Group Inerane & Corsano-Flowers Duo play The Cumberland Arms, Byker / Thursday 1st December / 7.30pm / £10

A dream pairing of two of the most ecstatic and transcendental rock units imaginable. Simmering up from the rebel heart of the Tuareg guitar scene, Group Inerane are a rough-hewn, tranced-out juggernaut from Niger with two white-hot albums on Sublime Frequencies to their name; Flower-Corsano Duo is the thrilling collaboration between kinetic free drummer Chris Corsano and Vibracathedral Orchestra's Mick Flower (shaahi baaja or Japanese banjo). Whether channelling West African guitar practice or free noise dynamics, both bands are capable of extended jams that reach for altered zones. A one-off and profoundly psychedelic double bill.

Group Inerane


The latest band to make the transition from the rich catalogue of Sublime Frequencies recordings to the live stages of Europe is perhaps the most anticipated of them all, the one we have been waiting for since “Guitars From Agadez Vol. 1” first stormed from the speakers and sold out in record time four years ago: Group Inerane.

Centred around band leader and six-string god Bibi Ahmed, Inerane hail from Agadez, Niger, one of the most volatile zones in West Africa. Out of this vast, arid land long beset by political unrest comes the Inerane sound, fit to bring tumultuous joy to any party on the globe: ecstatic and electrified Saharan guitar modes entangle/disentangle themselves around mantric vocals and propulsive trap kit drum attack. Genuinely rocking and raw as hell, at points the fuzz descends and Inerane seem to bore their way to the mainline of rock 'n' roll itself.

A second Inerane album, Vol. 3 of the “Guitars From Agadez” series, came out last year and gives further call to rejoice.

“This music is plain wonderful, life-affirming, and celebratory any way you look at it, and if you consider its origins, even more so” - Tiny Mix Tapes

“Group Inerane … encompasses the most exciting aspects of the Tuareg guitar style … a new form of Saharan psychedelia” - Dusted

Flower-Corsano Duo


A mystical, rocking jazz journey like no other from two underground music makers who have a special chemistry. A dynamic and heavenly combination of Chris Corsano's freeform rhythm patterns and Mick Flower's ecstatic wall of noise, this really is a trip into a ZONE. 2 albums on VHF/Textile and an incendiary live show have spread the word.

Michael Flower is known as a member of Leed’s Vibracathedral Orchestra, a lynch pin of the improvising rock/noise/drone world. He has also played and released with artists such as Tony Conrad, Sunburned Hand Of The Man, MV&EE and his own Michael Flower Band. His playing can be overloaded and pin you to the ground or blissfully graceful, even holy, his expansive sound lifting you to higher levels.

Chris Corsano's drumming has to be seen to be fully appreciated. An ‘into the void’ musician who collaborates with a huge range of artists and can still pull off mad solo shit. It is a rare drummer that can hold his own with his customized kit, clatter practice and circular breathing drone exhortations but retain a dynamic and structure that works. Loose-limbed, intense, even melodic, he exposes the audience to sounds and rhythms that defy normality. He moves light-footed around the world sparking off into all kinds of collaborations with the likes of Jim O'Rourke, Joe Mcphee, John Edwards, Whitehouse, Bjork, Thurston Moore and Bill Nace among many.

For more info and to contact TUSK Music visit the event's facebook page:

http://www.facebook.com/event.php?eid=216376105090290

 

Last Updated (Tuesday, 22 November 2011 15:45)

 
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