Personal Professional Development
TRANSITION GALLERY/GARAGELAND MAGAZINE
How can one work as an artist,
Cathy Lomax is one who did this through her own publications and gallery/art space.
- What got you into this – opening up a gallery and publish a magazine? In what order did it happen?
Cathy found her and her friends finishing college, in a “transition” period when they were not quite established yet but still ready to start working as artists. She decided to start her own platform for them to show work independently from commercial instances.
Additionally, she had already started a zine called Arty and was interested in continuing its publication.
- Do you comission people to write or do people send in articles to you?
Mostly they will invite writers that they know of. To get to collaborate you have to work a lot as well and prove your competence and how your contribution is valuable.
- How is it funded? It is profitable?
Yes, there have been times when it’s been hard to fund but if you’re smart and make the right choices. It has been manageable. The question is with today’s rising rent costs if this is going to be still possible in London.
- You call Transition gallery an Artist Run Space, how do you use it besides being a gallery space?
As Transition is also a publisher, the space work as not only a gallery but an office kind of.
- What’s the benefits of an artist run space?
As artists themselves, the runners of Transition know to trust the artists they invite to curate and provide them the artistic freedom required to do a good show. In other contexts artists might have to compromise with commercial interests.
- What type of Artists benefit from this gallery?
Probably young and driven people. One example is the Chelsea students that initiated the Transition Gallery Prize and won. They had the opportunity to start the collaboration because of Transitions independency and interest in emerging entrepreneurial artists and by winning the most promising ones gained a big advantage when establishing themselves as artists in London.
- Who’s the audience?
Transition is very hidden and they seem to be happy to receive only devoted visitors. They briefly had a venue located on the streets, attracting spontaneous visitors however they didn’t like this because they would be less interested and it didn’t affect there sales.
I wonder weather independent galleries in general are less accessible to the general people, being more self orientated and nerdy.
- How are they staffed?
They’re pretty much all artists. The interns they take in are more mixed. They are often artists or art students like us but will sometimes be more into publishing/writing or curation.
- In my opinion, does this organisation answer a real cultural need?
I’d say yes. This kind of independent very internal art world that puts artistry over commercial value first at all times and has a co-opperative vibe, is crucial. Just the fact that it is more likely to show something controversial or crazy, totally based on the artist’s ideas than a bigger gallery that would always have an interest of their own reputation, makes it a purposeful instance in society and int he art world.
- What is my personal evaluation of the organisation?
I’d say it’s good, it succeeds in being a spring board and stepping stone for emerging artists and show art independently without having to compromise. Most of all, I think they succeed on the grounds of distributing current research and thinking activity among artists right now, not least through Garageland. It is a publication that with very few middlemen provides readers with artist’s ideas that truly engage them at the moment. I think that’s an amazing resource and also a fantastic way of archiving a certain time’s spirit.
If I would be critical I’d say that the Gallery hasn’t got a very wide ranged audience. There are a lot of steps to take before you’re actually in the gallery and if you’re ready to take those you’re with no doubt already into art and confident in that.
THOUGHTS and EXPERIENCE
on professional practice
I’m drawn to the idea of creating my own platform as I would like to write and do so many different things. It would be cool to yourself contextualise your work, be independent from galleries and other commercial instances and still be able to collaborate with people all over the world.
I don’t see the necessity of a publication though. Internet is a much more effective distributor both economically and geographically. In addition it requires less material resources and leaves less of an ecological footprint.
This could also be a springboard and reflective board for more performative and experience based works that I want to explore.
ARTIST RUN PLATFORMS / GALLERIES
In his perspectives lecture, Bedwyr talked a lot about the frustration with working with curators. I thought about this a lot when struggling with the curation team for my first show. Bedwyr made this a theme for his art. Making fun of his own complexes whilst criticing the elitist intellectual art world figure.
“Your struggles can be your fuel”
Supermarket Art fair, Stockholm
An art fair for solely artist run galleries happening annually, parallel to the regular art fair Market in Stockholm. This art fair is not only less expensive and easier to access it has a less commercial, more inspiring vibe to it too.
You really have to be an entrepreneur though. Like Cathy Lomax, knowing what you want and work for it. As well as it seems rewarding and most of all liberating to run your own thing, it takes immensive work and devotion.
Fucking Young Canadian Artists is an art collective I got in touch with earlier this year. Its founder Kenneth Jeffrey is very driven and has inspired to several initiatives. Just a good example of possibilites with internet, especially among us grown into the social media age.
Galleri Magnus Karlsson, Stockholm
I did a self insinuated internship at this gallery in 2015 and gained a lot of insight in the commercial art world and the different jobs available within this machine. I really enjoyed the environment, so calm and beautiful although messy and crowded. As Bedwyr William pointed out in his talk, not to mention in an art piece, an art gallery is a place for sensitive people “that wouldn’t hack it a day at the KFC”.
Personal letter when applying for Erasmus exchange at Gerrit Rietveld Academie, Amsterdam:
Statement for project Soul Chain:
Soul Chain is
an exploration of yourself and a channel for expression,
a celebration of the creative individual and the infinite possibilities of a collective,
a physical presence capsuled in a digital reality.
In this ongoing experiment participants are using their bodies as instruments, allowing their movements to travel across screens, adding on to a chain of of joined individuals, moving together in an unforeseen pattern.
Contributing to this project means recording a video of yourself that relates to the previous video posted on the project blog. How you choose to translate the movement is up to you. The material will then be treated and presented as an art project.
Nina Kihlborg studies Fine Art at Wimbledon College of Art in London. She is interested in movement and dance as self exploration, spiritual practice and connection between individuals. Soul Chain is the initial part of an investigation of these subjects, also engaging concepts of posthumanism and emergence.
Statement for exhibition “Eye contact” at Wetterling Gallery, Stockholm.
Born in Stockholm, Nina is now based in London where she attends Wimbledon College of Art. In 2018 she will have a Bachelor’s degree in Fine Art: Print & Time based media. Her work focuses on performance and video art. Nina creates visually manipulated self-portraits, using digital software such as the apps on her phone to construct new layers of herself. The images created thereby make for self-exploration.
Painting is often referred to as a traditional artistic medium; it is highly significant to the art world – and is often the type of expression we think of when we hear the word artist. However, to paint directly onto your own skin indicates a more playful expression, giving us connotation to carnivals or the circus. It might not even be seen as an art form, at least not a high status one.
The face paintings created by Nina are often generated through a distinctive thought or idea – it’s inspired by things like literary characters or a subculture. As the production of the different faces progress, their roles in her creations develop as they transform into Nina’s alter egos.
Exploring different characters can be seen as an asset to post-humanist ideals. Human nature no longer needs to be dictated by dichotomies such as the relation of man/woman or man/machine. We no longer feel the need to be placed in different categories – as the surrounding discourse of our identities has opened up.
Face Paints is a photographed series displaying seven pictures in a repeated pattern. Nina has painted her own face, and later on manipulated these pictures in Photoshop.