We’ve made a film about Nathan Coley’s new commission for Råängen, ‘And We Are Everywhere’, 2018.
Nathan, the Bishop of Lund, Jake Ford (from White Arkitekter) and myself talk about the work, the context and the broader Råängen programme.
I’ve written a piece called CUT YOUR NOSE LIKE YOUR HAIR for Helen Stratford and Idit Nathan on radical art practices, privatisation, social isolation, the Enclosures Acts, Pokemon Go, Dada and absurdity. Published in Art & the Public Sphere, Volume 7, Number 1, 2018
Read the full text here
Image: ‘Excursions & Visites Dada’, Saint-Julien-le-Pauvre, Paris, France, 1921
I had such a good time writing this text for Richard Grayson’s embroidery project with Matt’s Gallery - now brought together in this gorgeous book.
Amateur craftspeople and local residents each embroidered a letter of Guy Debord’s declaration: BOREDOM IS ALWAYS COUNTER-REVOLUTIONARY. It’s a beautiful project that encompasses collective endeavour, craftsmanship, commitment, tedium, dream-like states and the search for meaning in contemporary life.
Read the text here
More information on Richard Grayson’s ‘By Our Own Hand’ project here
An absurdly beautiful day for the launch of ‘And We Are Everywhere’ on 2 June - a new commission in Lund by Nathan Coley. We made a pilgrimage from the steps of Lund Cathedral to Brunnshög - an area on the outskirts of the town, to see the work, eat ice cream and hear a talk between myself and the Chaplain of Lund Cathedral, Lena Sjöstrand.
The sculpture will remain in situ until March 2019.
Photo: Peter Westrup, 2018
More information here
I’ve produced a booklet about a selection of projects I’ve done over the past ten years. The publication includes stories by Joanna Quinn and Joanna Walsh plus, a text by me about my fabulous, cross-dressing great aunt who ran away from Essex to Australia.
Thanks to the amazing Lisa Stephanides and Stefan Kraus from Polimekanos for inspired design collaboration.
Let me know if you’d like a copy.
I’ve been working with Great Portland Estates on a programme of art commissions for Rathbone Square, off Oxford Street, London, since 2014. A series of three gates by Robert Orchardson and a drinking fountain by Alison Wilding have just been installed. Robert’s bronze gates are collectively titled ‘Infinite Geometry’ and stem from the artist’s long-held interest in repeated structures that extend towards a vanishing point, articulating infinity through single perspective.
Alison Wilding’s bronze drinking fountain, called ‘Herm’, is a public offering to users of the square. The fountain provides water at different levels to children, adults and people using wheelchairs. A historic spring is located at Rathbone Square which was used by 18th century chemist Henry Cavendish to campaign for access to clean water in the capital. 250 years later, Wilding’s drinking fountain is one of a growing number of fountains that have been installed in London to reduce the environmental impact of plastic bottles.
More photos coming soon!
Photo by Rebecca Heald
The first Råängen seminar, to be held on 28 April 2018, will focus on ‘Time’ as a cultural construct and tool for project development. Speakers from Lund, New York, London and Berlin will discuss timeless states, Stone Age finds, sacred calendars, how contemporary artists have considered the subject of time; how the future can be envisaged; and how different cultures talk about time. The connecting strand is Lund Cathedral’s commitment to the land in Brunnshög over a 1,000 year period.
CATHY HAYNES, writer, curator and artist, London
ANNA LAGERGREN, archeologist, Lund
FIONA RABY (Dunne & Raby), academic, architect and designer, New York
LISA ROSENDAHL, curator, Berlin
LENA SJÖSTRAND, chaplain, Lund Cathedral
Chair: Jes Fernie, Råängen curator
Saturday 28 April 2018, 13.30 – 18.30
Further details: here.
Photo: Cathy Haynes and Lena Sjöstrand, Time Walk, Lund Cathedral, Råängen seminar, April 2018.
As part of the Råängen programme, curated by myself and Jake Ford, we’ve made this short film about the response to Nathan Coley’s work in Lund, south Sweden. It includes a fantastic range of responses from students and teenagers:
” Grandma wouldn’t like it!”
“Does it mean we should do more while we’re still alive?”
“It’s unpleasant, all of it, it’s super creepy!”
“I think it’s a comforting idea”
“It shifts meaning as you read it”
Film made by FEW Agency, Malmo.
Read more about the Råängen programme here.
I saw Rhys Coren’s work at Seventeen Gallery last year and thought I’d love to work with him on a large-scale public commission. So, I’m delighted that I’m now engaged in a project in Hanover Square, London, with him and developers GPE, to be realised in 2020.
Photo: Rhys Coren, ‘Carly Simon’s Why, followed by Carly Simon’s Why, followed by Carly Simon’s Why (again)’, 2016.
Nathan Coley’s artwork ‘Heaven Is A Place Where Nothing Ever Happens’ has been installed adjacent to Lund Cathedral in Sweden. The work marks the beginning of the Church’s conversation with the people of Lund concerning the development of Church land in Brunnshög, an area northeast of the town.
More information on the Råängen programme here.
Photo: Peter Westrup, 2017