The Land is a Mirror – A Saga

When I set out to record the piece to camera that would become my reflective submission, the first attempt didn’t exactly go to plan. I had a site in mind that would provide a suitable backdrop, a quiet corner on the edge of a shooting estate. It was bordered by plantation woodland and was far enough removed from the beaten track to be visually suitably rugged.

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The track abruptly ended on the other side of a new gate, the fence itself was also new with the signs of a prior electrified on discarded amongst the heather. On the corner of the boundary, a large stile was the only part of the fence to still have old timbers (the semi-rotten steps a sign of the estate’s priorities). It was perfect.

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Like my previous pieces to camera, my intention was to “perform” a semi-improvised presentation. I had a predetermined structure to work from and a series of crib notes to work from with relevant quotes to read from, but it was going to be a fairly free from recital. The choice to do so in plein air was made based on feedback from staff and peers on previous test pieces.

My feelings were that being in the space was vital for the authenticity of the work. This coupled with the improvisational element, being on a hillside would provide a suitable stage to respond to. This was further reinforced by the video work exploring transferable skills in drug addicts that Charlie Hackett presented in his seminar. The work discussed in a freeform presentation, the topic of the addict’s journey. This was done whilst walking through the physical spaces that are common to the addict’s experience. This potentially  formal presentation was then given depth and authenticity by being made within the physical space relating to the research, thus grounding the resolved outcome in its context.

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So far, so sensible, then the summer ended.

Up to this point, every day I had gone to make images this summer had been a typical day in the summer of 2018. Dry, sunny, unbelievably bright. This day had cloud cover, which excited me greatly, it was a shame they were the wrong kind of clouds. Whilst I explored the space and took some images I became aware of that all too familiar misty haze rolling over the next hill, the rain was coming and it was heading in my direction.

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Before long the smirr had taken hold and began maturing into proper droplets of rain. With eyes peering to the hills and ridgelines int he distance, I would have been kidding myself to think that the rain was going to be short-lived, so I sat down and waited. After a while, I knew what I knew to be true to be the accepted truth. Circumstance had forced my hand and I would need to record the piece to camera as audio only in the form of a podcast, which could act as a voice over.

I had really not intended for my word to be a VO (even in plein air) as this technique is all too commonly adopted within my own work and the work of other contemporary artist working with moving image. As I was reflecting on the topics raised during the seminar program and how they coloured my thinking of my own practice, I felt it important that I appear on camera to present those thoughts.

But the rain had other plans*.

I set myself up with a lavelier mic and set the recorder running, I was unable to monitor the recording and record at the same time due to feedback. But one of the usual strengths of a lav mic is the consitinecy of the signal due to the fixed position of the mic.

I do not know if it was a loose connection within the mic or if some moisture got into the  element, the cause is mostly irrelavent. The outcome was a buzz, a horrific constant, unfilterable buzz. That even more frustratingly ends of its own accord about halfway through the 18 minute recording.

So what I had time allocated to be the final ended up as a damp squib of a rehersal on a hill. This forced me to reshoot and therefore allow to to produce what I ahd intended all along, albiet with a more genric background.

So as proof of the excercise, I have posted the unusable recording in its raw unedited state. enjoy.


Bad audio


The finished video

Finished reflective with good quality audio with enforced reshoot.


*strange that I would personify the rain, it would be more accurate that the conditions forced a change of plan and that my plan B was also, not impervious to the weather.

Reflective Video Essay

Masters Reflective essay submitted in video format. Using Nuno Sacramento’s seminar as a jumping off point to explore subjective and objective viewing of the landscape and how this manifests within my own practice.

Bibliography

Books

Shepherd, Nan, and Robert Macfarlane. The Living Mountain a Celebration of the Cairngorm Mountains of Scotland. Canongate, 2011.

Bloom, Brett, and Sacramento, Nuno. Deep Mapping. Breakdown Break Down Press, 2017

Monbiot, George. Feral: Searching for Enchantment on the Frontiers of Rewilding. Allen Lane, 2013.

Vince, Gaia. Adventures in the Anthropocene A Journey to the heart of the planet we made. Vintage, 2016.

Websites

Outdooraccess-scotland.scot. (2018). Scottish Outdoor Access Code. [online] Available at: https://www.outdooraccess-scotland.scot/ [Accessed 14 Aug. 2018].

Nature.scot. (2018). Home | Scottish Natural Heritage. [online] Available at: https://www.nature.scot/ [Accessed 14 Aug. 2018].

Scotways.com. (2018). Statutory Access Rights – ScotWays. [online] Available at: https://www.scotways.com/faq/law-on-statutory-access-rights [Accessed 14 Aug. 2018].

Government Guidelines Documents

Gov.scot. (2011). The Muirburn Code. [online] Available at: https://www.gov.scot/Resource/Doc/355582/0120117.pdf [Accessed 14 Aug. 2018].

 

Anish Kapoor’s Enforced Redaction

Versaille again, and another large-scale show in the gardens. Anish Kapoor’s sculpture dubbed “the queen’s vagina” had been vandalised with ant-semetic graffiti on three separate occasions. His intention was to leave the slogans to highlight and for it to act as “a lament to a state of intolerance”.

When forced by a court to remove it he opted to redact the slogans using gold leaf. This use of gold as a material relevant to both the location and a knowing nod to the works press given nickname is a powerful act of sympathetic repair. Albeit against the artist’s will.

One might suggest that whilst he could never have predicted the graffiti or its anti-Semitic nature, but that his refusal to remove it only raised the profile of the work higher. His explanation as to why he did not want to remove the inflammatory statements that are personally hurtful does not address how they may hurt others. His refusal to redact them could be read as a tacit act of condoning the slogans.

Ironically the fact that a right-wing politician raised the court action allows someone who represents the facets of the community traditionally aligned with these views as the moral actor in this instance. The story can then be spun that Kapoor was, in fact, inciting hatred by choosing to have the slogans on his work in such a prominent forum.

Therefore it gives rise to the suggestion that it was a strategic move to not remove or redact the graffiti, but this is, of course, all conjecture.

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Article covering Kapoors busy media appearance schedule around the event.


Originally published on the independant.co.uk

Anish Kapoor’s ‘Dirty Corner’ to be covered in gold leaf after artist told to remove anti-Semitic vandalism against his will

A French court ruled the vandalism must be erased immediately, despite the artist’s intentions to keep the slogans on show as a tribute to humanity’s intolerance

Art assistant workers cover up with gold leaf to mask anti-Semitic graffiti on the vandalized sculpture "Dirty Corner" by British-Indian artist Anish Kapoor in the Versailles castle in Versailles, outside Paris, France. The controversial red trumpet-shape

Art assistant workers cover up with gold leaf to mask anti-Semitic graffiti on the vandalized sculpture “Dirty Corner” by British-Indian artist Anish Kapoor in the Versailles castle in Versailles, outside Paris, France. The controversial red trumpet-shape ( AP )

Anish Kapoor’s controversial Versailles sculpture is to be covered in gold leaf to mask anti-Semitic slogans used to vandalise the work earlier this month.

Kapoor had wanted the offensive graffiti to remain on show to turn the piece of art into “a lament to a state of intolerance”, but a French court has ruled the slogans must be erased and an alarm installed.

“Dirty Corner”, which has been dubbed the “Queen’s vagina” by French media, will be covered in gold leaf, in what Kapoor has described as a “royal response” to vandalism.

The funnel-shaped work has been vandalised three times since it was installed in the Palace of Versailles in June.

Art assistant worker covers up with gold leaf to mask anti-Semitic graffiti on the vandalized sculpture “Dirty Corner” by British-Indian artist Anish Kapoor in Versailles

The anti-Semitic slogans daubed on the sculpture included “At Versailles Christ is King” and “the second RAPE of the nation by DEVIANT JEWISH activism”.

Kapoor, who is Jewish of Sephardic Iraqi origin, said he wanted the offensive slogans to remain in order for the sculpture to “carry the scars of the renewed attack”.

Anti-Semitic inscriptions written with white paint daubed onto Anish Kapoor’s ‘Dirty Corner’

“I will not allow this act of violence and intolerance to be erased. ‘Dirty Corner’ will now be marked with hate and I will preserve these scars as a memory of this painful history,” he wrote on Instagram.

A court ruled the graffiti be removed immediately after Fabien Bouglé, a local right-wing councillor, filed a complaint against the artist and president of Versailles Catherine Pégard, accusing the pair of “inciting racial hatred, public insults, and complicity in these crimes [for leaving the graffiti]”.

Funnel-like structure ‘Dirty Corner’ can be interpreted in a number of ways, says Anish Kapoor

The artist condemned the ruling, saying: “The racists in France have won a court judgement forcing the racist graffiti to be covered, blaming the artist and Versailles for inseminating racist propaganda. It is as if a woman is raped and blamed for her own rape.”

Work began covering the statue in gold leaf on Monday 21 September.

A member of Kapoor’s gallery told Le Figaro: “It was important for the artist to respond to these attacks in his own way. This is an artistic answer to political violence.”

Grouse Grit

This article is shared from Raptor Persecution Scotland


The red grouse and medicated grit scandal: it’s hard to swallow

Just when you thought that all the detrimental environmental and health hazards associated with driven grouse moor management had been exposed, and just when you thought you understood the extent of corruption and/or incompetence by the government agencies responsible for preventing the detrimental environmental and health hazards associated with driven grouse moor management, along comes something else to make your jaw drop.

This time it’s medicated grit.

First, some background about medicated grit: what it is, why it’s used etc., for those who may be new to this.

The red grouse’s diet is predominantly heather. Heather can be quite fibrous and tough so the grouse ingest grit that can be found naturally on grouse moors to help digest their food. All perfectly natural. Red grouse also suffer from infestations of the parasitic Strongyle worm, which live in the gut and can cause cyclical ‘population crashes’ of red grouse every 4-5 years. Again, all perfectly natural. However, these cyclical population crashes are not very popular on intensively-managed driven grouse moors because they result in less red grouse available to kill. When your business model depends on a high density of red grouse to shoot, you want to avoid these natural population crashes at all costs. So in the 1980s the grouse shooting industry came up with a brilliant wheeze: they worked out that if they added a pharmaceutical wormer drug to the grit, they could ‘medicate’ the grouse without too much effort and halt the population crashes. Genius, eh?

The original drug used in medicated grit was Fenbendazole and this grit was placed in piles at regular intervals across grouse moors so the red grouse could eat it with easy access. The amount of grit put out depended on the density of grouse so sometimes these grit piles would be placed as frequently as every 75 m. The use of this grit was quite successful in that it reduced worm burdens in red grouse by an average of 44% and, more importantly to the grouse moor manager, increased grouse productivity by 40%. Great! More grouse available to kill! However, the drug and the fat used to bind the drug to the grit were temperature-sensitive, which meant that if there was an unseasonably mild spring, the drug would melt too soon and thus attempts to medicate the grouse during the crucial period would fail.

Not to worry, though. In 2007 the industry came up with a solution – switch to another wormer drug (Flubendazole) and another fat with a weather-resistant coating. This new grit contained 5% Flubendazole, the maximum strength permitted (licensed) for use in the UK. Tests showed that this new medicated grit would persist in the environment for much longer: 70% of the active drug remaining after nine months of being laid out, and 50-60% remaining after 18 months.

To comply with the law (which states that this drug must be withdrawn from use no later than 28 days before the start of the grouse-shooting season on 12th August to ensure the drug doesn’t find its way in to the food chain), some (but not all) grouse moor managers started to use ‘medicated grit boxes’ which comprise two compartments, separated by either a hinged or a sliding door. One compartment holds the medicated grit and the other compartment contains non-medicated grit. This allows the moorland gamekeeper to simply close off the medicated grit compartment at the appropriate time, assuming the gamekeeper is diligent and isn’t tempted to leave out the medicated grit for longer than the law allows.

Photo: medicated grit box. Image by Richard Webb.

Medicated grit tray by Richard Webb Lammermuirs

Not every moor uses specialist grit boxes though. Some moors use a home-made version:

Photo: breeze block grit dispenser. Image by Phil Champion.

Medicated grit Phil Champion

And some moors place the grit directly on to cut pieces of turf:

Photo: grit on cut turf. Image by Richard Webb.

Medicated grit upturned turf Richard Webb

Whilst the use of medicated grit boxes might seem a very good idea, they are not without their problems. When red grouse use the boxes, they can sometimes scrat around for quite some time while they choose which piece of grit they want to pick up. This can result in large amounts of faecal matter being deposited inside the box which in turn can spread disease to other grouse using the box. The ‘best practice guidelines’ issued by GWCT encourages the regular removal of all these faeces but it’s apparent that this isn’t happening on all moors. This may well explain the recent increase in the highly contagious ‘Bulgy Eye’ disease in red grouse that’s being reported on moors in northern England as well as Scotland.

Photo: grit box contaminated with grouse faeces. Image by Raptor Persecution Scotland.

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Although some grouse moor managers were using double strength medicated grit, they still weren’t satisfied with performance so a new ‘super-strength’ medicated grit has been developed which is ten times the strength (and according to grouse moor management ‘guru’ Mark Osborne, can be twenty times the strength). The ten times strength grit contains a suspension of 50% Flubendazole, which is far greater than the 5% limit permitted for use in the UK. The manufacturers get around this by using a Special Import Certificate.

In addition to the use of medicated grit, some grouse moor managers are also using direct-dosing methods whereby the grouse are caught in the middle of the night and have a tube shoved down their throats to deliver a few mls of an anthelmintic drug.

So, with all these pharmaceutical wormer drugs being given to red grouse, you might expect a high level of monitoring by the statutory agencies to ensure that these drugs are not entering the food chain when people are eating shot red grouse, right? Pretty much all other meat destined for human consumption is subject to rigorous testing so red grouse shouldn’t be any different, right?

WRONG!!

You may remember back in July we blogged a little bit about the use of medicated grit on driven grouse moors, in response to a ludicrous claim by SNH that red grouse are ‘healthy’ and ‘natural’ to eat (see here). We said we were interested in the testing regime and had read that the Food Standards Agency was responsible for testing shot red grouse as well as for randomly sampling medicated grit boxes.

So an FoI was sent to the FSA to ask them for the following information:

  1. How many individual birds (red grouse) were tested in England and Scotland in each of the following years: 2010, 2011, 2012, 2013, 2014? Please provide a breakdown of each country in each year.
  2. From how many geographically separate grouse moors did these birds originate? Please provide a breakdown of county for each year.
  3. On what dates were these birds tested? Please provide a breakdown for each county in each year.
  4. How many of the birds tested in each year were found to contain the presence of illegal residues of Flubendazole? Please provide a breakdown of each county in each year.
  5. If illegal residues were detected in any bird, what action, if any, was taken?
  6. How many individual grouse moors in England and Scotland were randomly visited in each of the following years (2010, 2011, 2012, 2013, 2014) to test the contents of grit boxes for the presence of Flubendazole? Please provide a breakdown for each country in each year.
  7. How many grit boxes were inspected on each grouse moor of each year in each country? Please provide a breakdown of each moor, in each country, in each year.
  8. On which dates were these inspections made? Please provide a breakdown of each moor, in each country and in each year.
  9. How many of the inspected grit boxes were found to contain Flubendazole? Please provide a breakdown of each moor, in each country, in each year.
  10. If any illegal residues were detected in any grit box, what action, if any, was taken?

The FSA said they didn’t hold the information and recommended contacting the Veterinary Medicines Directorate (VMD) at DEFRA who should be able to help. It turns out that ‘the VMD are the competent authority for the National Surveillance Programme which is carried out in accordance with EU Directive 96/23/EC. This is implemented nationally under The Animal and Animal Products (Examination for Residues and Maximum Residue Limits) (England and Scotland) Regulations 2015 and The Animal and Animal Products (Examination for Residues and Maximum Residue Limits) Regulations 1997 as amended’.

So the same FOI was sent to the VMD. Their response was as follows:

“The VMD’s Residues Team haven’t taken any red grouse samples under the National Surveillance Scheme (NSS) in the years you cite, nor in any other year. We don’t therefore have the information you request”.

A further FoI was sent to the VMD to ask why they hadn’t collected any samples from any red grouse, ever. This was their response:

“The legislation does allow us to sample red grouse, but the issue is that we do not have any details of abattoirs processing this species. We continue to sample partridge and pheasants at abattoirs – these are from game shoots and taken to abattoirs to be gutted and cleaned. The abattoirs have to hold a licence to be able to do so.

In accordance with the Legislation, we must take samples at the primary production point – on farm or at abattoirs. But as we do not have any details of abattoirs processing red grouse, we have been unable to carry out any sampling under the surveillance programme.

If you do have concerns that there is use of an unauthorised substance or the withdrawal period is not being observed you should contact the Local Authority”.

Wed 6 May - CopyWe were fascinated by the idea of gamebirds being sent to “abattoirs” to be gutted and cleaned. We’d never heard of that, although we did know that some gamebirds are sent to game processing plants to be plucked etc. One such plant is Yorkshire Game, which we also knew processed red grouse. So another FoI was sent to the VMD to ask for a list of all “abattoirs” and processing facilities they had visited in the last five years to sample pheasant and partridge, as we were keen to see whether Yorkshire Game appeared on their list. Surely, if we, as ordinary members of the public, knew that Yorkshire Game processed red grouse, then the specialist team from the VMD would also know that….it’s kind of their job to know! We also asked why, if the legislation states that samples must be taken at the primary production point (“on farms or at abattoirs”) no samples had been taken at any red grouse ‘farms’ (grouse moors)?

This was their response:

“Under the programme samples are taken at abattoirs and some of these abattoirs also act as a processing facility.  Attached is a list of all game samples taken including the abattoir from 2011 to date. [Ed: this list did indeed include Yorkshire Game, as well as a number of other processing facilities in England and Scotland].

Samples taken on farms are from animals in a managed environment and the animals are usually housed to allow the sampling officer to target a specific animal to be sampled.  The practicalities of taking a sample from birds that are roaming free would be more difficult and take up additional resources.

However, since my last e-mail the VMD have now successfully identified a number of abattoirs where red grouse is processed.  As a result the National Surveillance Programme for 2016 will include sampling from red grouse and full results will continue to be published on gov.uk”.

So, it turns out that the VMD had been sampling pheasants and partridge at Yorkshire Game (and other game processing plants known by us to process red grouse), but were apparently unaware that red grouse were also available to sample there. That’s kind of hard to believe, isn’t it?

Their response to why they haven’t sampled red grouse directly at grouse moors is also hard to believe. They state that sampling free-flying birds would be difficult (yep, that would be true) but don’t say anything about why they haven’t sampled dead (shot) birds at the end of a day’s shooting.

It’s good to hear that this ‘specialist’ team “has now successfully identified a number of abattoirs where red grouse are processed” and we look forward to seeing the results of extensive sampling that should begin in 2016.

But the VMD still hadn’t answered the question about testing medicated grit boxes on grouse moors, to see whether the anthelmintic drug had actually been withdrawn within the statutory withdrawal period or whether it was still freely available to the grouse at the on-set of the shooting season. So, another FoI was submitted to ask how many grit boxes on grouse moors had been tested over the last five years. This was their response:

“The prescribing of wormers in grouse grit is permitted under the rules of the prescribing cascade in the Veterinary Medicines Regulations 2013. Use of medicines in animals under the cascade is down to the professional judgement of the prescribing veterinary surgeon, taking into consideration the impact on the animals concerned, in response to a specific animal welfare need. Therefore, the VMD does not specifically monitor such use.

A statutory withdrawal period when using medicines under the cascade has to be applied and that means that the medicated grit must be removed from the grouse moors at least 28 days prior to the shooting of the birds.  The Legislation referred to in my previous e-mail sets out that primary products of animal origin should be sampled and grit is not included in the programme. Samples of red grouse muscle will be taken as part of the 2016 programme”.

Amazing! So a pharmaceutical drug of at least ten times the licensed strength permitted (twenty times the strength if you believe Mark Osborne) is being used on grouse moors without ANY statutory monitoring whatsoever! Isn’t that astonishing? Do you think that the public would accept other meat industries (e.g. dairy farmers) getting away with this lack of regulation and scrutiny? No, of course they wouldn’t, so how come the grouse shooting industry is exempt?

The grouse shooting industry will probably argue that they have ‘best practice guidelines’ for the use of medicated grit – and indeed they do – but who will believe that they’re adhering to these guidelines? We don’t. This is an industry that routinely breaks the law so we’d fully expect them to ignore ‘best practice guidelines’, especially if they know the authorities aren’t checking.

Anyone still fancy eating a ‘natural’ and ‘healthy’ red grouse? Go on, it’s good for you – as well as all that toxic lead, there’s free, high-dosage wormer included too! Yum!

And what about the environmental consequences of using this high persistence pharmaceutical drug in an open landscape of supposed high conservation value? What short and long-term effect is it having and how does it impact on other species? Nobody knows. Is anyone researching this or is it yet another case of turning a blind eye to the actions of the grouse shooting industry?

An argument could easily be made that shot red grouse is actually ‘hazardous waste’. The HSE’s definition of hazardous waste is this:

‘Waste is considered ‘hazardous’ under environmental legislation when it contains substances or has properties that might make it harmful to human health or the environment. This does not necessarily mean it is an immediate risk to human health, although some waste can be’.

It’s time driven grouse shooting was banned. Please sign the petition HERE

UPDATE 3 March 2017: Are red grouse safe to eat? Don’t rely on Government testing to tell you (see here).

UPDATE 1 January 2018: High risk of eating contaminated red grouse after inadequate safety checks (here)

UPDATE 12 July 2018: High risk of eating contaminated red grouse as inadequate safety checks continue (here)

Giuseppe Penone at Versailles

I saw this show whilst on honeymoon back in 2013, it is funny how I had forgotten about it for a good number of the intervening years. The use of gold leaf having an added potency by its use in Versaille. Not only is it being used in an act of sympathetic repair to totems of damaged nature. But due to its over use within the palace it highlights the  wealth and crass opulence which can often be the cause of such damage.

The trees themselves stand quietly within the gardens, some sat apart from the trees some amongst them. They act as beautiful damaged pillars, reminiecent of the ruined pillars of antiquity. But the use of materials and the subverted natural shapes make us reasses the actual nature of the trees they represent, especially once you realise they are bronze, not wood.

beyond the use of gold and the broader themes of mans impact on the natural world, there is a lot of cross over between this show and Penome’s work and my practice. Mine albiet being amended prints over large scale physical objects.


Giuseppe Penone

This summer the Château de Versailles hosts Giuseppe Penone for a major exhibition of contemporary art.  While some pieces are installed within the palace, the majority of works are outside with a select few specially presented in the French formal gardens designed in the 18th century by André Le Notre, which celebrate their 400th anniversary this year. Brilliantly sited, the rigorous formality of the impeccably manicured gardens contrast against Penone’s large-scale sculptures of trees, the grandeur of which exalts both the artist’s hand and nature’s uncultivated beauty.

A leading figure of the Arte Povera movement – literally translated as “poor art,” a term coined by Germano Celant for a group of Italian artists inspired by the politics of 1960s who in response to the increasing commercialization of culture often used simple, everyday materials in their work – Penone joins an international roster of art superstars to have shown at Versailles, including Jeff Koons, Takashi Murakami, Bernar Venet and Joana Vasconcelos.  The exhibition, which opened on June 11th and runs through October 30th, is curated by Alfred Pacquement, director of The Centre Pompidou in Paris.

   Giuseppe Penone        Giuseppe Penone
    Albero folgorato, Thunderstruck Tree, 2012.                    In bilico, In the balance, 2012. Bronze,
    Bronze, gold, 1000x200x200.                                          river stone, 1000x500x200.
   Giuseppe Penone        Giuseppe Penone
    Elevazione, Elevation, 2011.                                           Le fogile delle radici, The leaves of Roots, 2011.
    Bronze, trees, 1000x600x600                                           Bronze, water, vegetation, soil. 944x260x300
Since the beginning of his career, Penone has made working with trees a central part of his practice.  Through subtle interventions the artist isolates this familiar object that we take for granted and transforms it just enough to both retain its organic origins and display something that has been recognizably altered by man.  All recently completed works, some of the sculptures on view were created specifically for Versailles.  The central work Tra Scorza e Scorza (Between Bark and Bark) from 2008 is made of two bronze casts of tree bark that came from a monumental Lebanon cedar that was damaged by a 1999 storm at Versailles, which now surrounds a much smaller oak tree. Penone reinvented the space of its growth and implied the reliving of time through memory.
Giuseppe Penone
Penone’s ability to come up with new ways of viewing and experiencing the outdoors and transforming his sculptures into essential forms, creates a magical dialogue between viewer and nature.  Interested in sensory perception, especially touch and sight, many of his works from the 1970s involve impressions of his skin or images of eyes. It was early in his career that he became interested in the relationship between the corporeal and the environment, using his body as his principal subject. His well-known piece, Rovesciare i propri occhi (To reverse one’s eyes), from 1970 depicts the artist wearing mirrored contact lenses he had custom made, rendering himself blind and offering the viewer his sight instead. The eyes cease being “windows into the soul” and instead become screens of what exists beyond.Tra Scorza e Scorza, 2003. Bronze, ash tree, 950x430x280
Through the inventiveness of his practice and the profound and lasting impact of the works themselves, Penone is renowned as one of the most important artists of his generation. He gives his viewers the opportunity to appreciate nature through his art. When he carves out the inside of a tree, he reveals its past and the slowness of growth in the natural world as if asking his viewers to take a moment and think about the concept of time in a much deeper and broader sense than that encountered in our daily life, creating a dialogue with the elements of nature through his poetic and innovative sculpting.
Giuseppe Penone
Both up through August 11th, you can also catch Penone in two concurrent museum shows in Europe.  Whitechapel Gallery in London is presenting The Bloomberg Commission: Spazio di Luce (Space of Light), and Kunstmuseum Winterthur in Switzerland has mounted a broad eponymously titled survey show with sculpture, works on paper and installation pieces going back to the 1960s.
Giuseppe Penone. Rovesciare i propri occhi (Reverse your
eyes). 1970. Action by the artist, reflecting contact lenses
Photo: Claudio Basso © Archive Penone

Robert Misrach

Richard Misrach (born in Los Angeles, California in 1949) is among the most important and influential of living American photographers. He produces large-scale color photographs that meditate on human intervention in the landscape and probe the environmental impact of industry. Misrach’s images also convey concern with color, light, and time. His best-known series, “Desert Cantos”, captures the awful beauty of human-wrought disasters in the desert; other subjects include the aftermath of Hurricane Katrina and dramatic weather systems around San Francisco’s Golden Gate Bridge.

Curator Anne Wilkes Tucker writes that Misrach’s practice has been “driven [by] issues of aesthetics, politics, ecology, and sociology.” In a 2011 interview, Misrach noted: “My career, in a way, has been about navigating these two extremes – the political and the aesthetic.”

 

Here I have colated a number of interviews and lectures on his work.

Lochnagar – Improvised Monolgue

As part of my intention to produce my reflective essay as a video piece, I recently completed a route navigating round Lock Muick to Lochnagar via some other munros. I did this with the dual intention of filming footage and shooting stills. The stills to help consolidate the kintsugi images and the video to help illustrate (poetically if not literally) the themes and topics that the VO would be discussing.

This piece was an unexpected improvisation, whilst most of my “vlog” style discussion pieces are technically improvised, they are thought through and the structure planed (if not always written down) in advance. In this case it was entirely improvised as I had not expected to record it.

My final reflective submission will however be a more refined and pre-scripted VO merging the more formal and the poetic videos shared here. This is further building on my “Right to Roam” discussion piece that I filmed in responce to Charlie Hacketts seminar, that video is posted below.

 

 

Charlotte Prodger

“Growing up in the rural, agricultural environment of Aberdeenshire as a young person, I understand landscape and queerness as inherently linked,” Prodger said in a statement. “And, as someone who identifies as queer, I’m excited by the fluid borders of identity—especially the perceived edges of gender and geography. The productive crux of this new work is precisely where all these things come into contact with one another.”

BRIDGIT is titled after the eponymous Neolithic deity whose name has had multiple iterations across different geographical locations and points in history. BRIDGIT was shot entirely on Prodger’s iPhone, which she approaches as a prosthesis or extension of the nervous system, intimately connected to time, social interaction and work. Body and device become extensions of each other, and the work becomes a unified meditation on shifting subjectivity.” Excerpt from Tate.com

Charlotte Prodger 2015

Charlotte Prodger, 7300P81 and 14M2EP33, photograph, inkjet print on paper, stainless steel, laser-cut perspex, 2015; Dacite/Basalt, 2014. The Weight of Data at Tate Britain (exhibition shot) –

Me 2009

Just sayin’.

 

 

Right to Roam?

As part of his seminar, Charlie Hackett gave us an asignment to produce a short form video exploring some of the topics we are exploring in our MA projects. He wanted to see a critical grounding, so it would be more akin to a presented essay over say a vlog. Here is my first pass at the assignment. It is a “vlog”, however it allows the space to have a first draft at the issues I am tackling within my studio work.


Comments Discussion

 

I had a interesting discussion about the differences between access in Scotland and the USA with a regular commenter on my channel Jeremy Porterfield. He raised some interesting points relating to long standing behaviours which can be explored in the Scottish example as to how the current situation was able to come about.

 

As an American without said right to responsible access, this topic has always been really interesting to me. As an avid outdoors person from a pretty undeveloped and natural area in the South, I grew up with a desire to explore that was always fenced off by two things – fences and keep out signs. As an adult, I recognize that our extremely litigious society has created reasons for people doing so, both ridiculous (being sued due to accidents that occur on your property) and not so ridiculous (the idiots you described in the Loch Lommond bit), not to mention commercial concerns.
I can say that the way we are doing it doesn’t really help outdoors people (less access) or land owners (issues with legal requirements) – though I’m sure the legal profession is appreciative of the revenue these issues provide. My thoughts on this may shift soon, as I’m about to purchase some land and it’s been ingrained in me since childhood that means I can tell people to get off of my land and they must respect that (read ‘Of Mice and Men’ for an older reference to this line of thinking).
All that to say – I’m with you. Not sure exactly how you should handle it, but what you have is special and as a community, I feel you should do everything you can to protect that right – probably outside of lynching of the idiots previously described. Education, definition of what it means to be responsible, what would be considered damaging by commercial ventures, etc. would be potential places to start.
I’m really interested to see how this turns out and other people’s views on the subject.
Callum Kellie
Thanks for the really thoughtful reply. Even before the “right to roam” came into effect and before the national parks in the Cairngorms were founded, people accessed the wild lands if Scotland that they did not own for their own pleasure. Poaching has always been a no go, but if you were on a hill to take in the hill, frequently (and increaaingly in the last 100 years) you were able to get on with it.
Most of the fencing amd boundaries you find are in actual fact a out keeping game in an estate rather than hikers out. It is an interesting debate but the access, both illicit historically and legal currently, breeds a sense of ownership. Once ground is spiritually communal, its quite hard to put the genie back in the bottle.
Jeremy Porterfield
It’s a really interesting topic and one i’m interested in from a planning/governmental perspective. That’s interesting about the fences – I’ve always thought it awesome about the gates that I’ve seen on your vids and others that have the little stairwells over the side. i think it’s particularly interesting as Britain in a more grasp-able sense has a finite amount of land and a much higher average population density than the states, especially the flyover states.
I’ve heard it said that 10 years in the States is like 100 years in Britain, but 10 meters in Britain is like 10 km in the States – ie the States have space the way Britain has history. However, I think the way we, as humans globally, steward our wild places will become more and more prominent and pressing going forward as populations continue to grow. I think it’s an issue we all (all nations) will have one day, even if I’m not alive to see it.
Callum Kellie
England is a slightly different kettle of fish to Scotland as it doesn’t have universal access. There are trails and bridleways that outdoors enthusiasts can access but there are an equal number on private land. The population density is a good point I hadn’t considered previously. In England is also significantly higher than Scotland, 5million people in Scotland and the majority are in a small number of cities that are mostly in close proximity. The majority of Scotlands real estate is unpopulated.
There used to be a much more even spread of people across the landscape, but in the 18th century the Lairds (land lords) cleared out their tenants to make way for sheep farming. Many went to the coasts and the cities, many went to America. But more recently the land has felt like it belongs more and more to the people.
An example of this when I was a kid, I walked 5 miles to visit a stone circle in a local farmers land. There was a fence, I more or less threw my Labrador over so I could climb after him and we could visit the stones. There were cattle in the field, but I ensured they weren’t bothered by my dog. I can’t imagine that happening in the states from what I have read.
Jeremy Porterfield
Agreed – England is certainly different than Scotland, at least from what I’ve seen in videos of Scotland and my experience in SW England. Self-power, whether walking or cycling, seem to be much more viable as a means of transportation than the States, probably because in large part, the States have been developed post-industrial revolution and the advent of cars, so everything (with a few notable exceptions) is much more spread out geographically.
There are other factors involved in this as well, but they touch political topics I’m purposely avoiding. I also think there’s generally a much more active lifestyle on your side – some of this I think is attributable to climate. In the South US during the summer when it’s 35C most days and very humid, many people have no interest in being outdoors, and part of me doesn’t blame them.
However, it makes even an average mountain biker like me seem pretty extreme to many. I think it’s super interesting to realize the connections between historical realities (the Lairds clearing tenants, American post-Industrial development) and the situations they’ve given rise to in the present day. It’s as if they are “seeds” that have been planted and are now coming to harvest, decades and centuries later. That’s why I’m interested in solutions now, because even though I won’t see it, the “seeds” we plant will directly and indirectly shape the future and I want to remembered as someone who thought about those things.
Anyways, that’s a ton of heady stuff on what started as bike topic lol.
Callum Kellie
Your right loads to think about! I really like your sowing seeds analogy and looking into the past to see how a situation came about. Lots to think about!

‘Cut heather burning for sake of the environment’

The argument that Muirburn has a positive environmental impact has always seemed like a flawed argument in my mind. The idea that burning the surface vegetation layer to promote new growth and return carbon into the ground doesn’t stack up against the evidence.
Peat holds a phenominal amount of carbon, it is a form of carbon storage that is often overlooked.  By burning or allowing it to erode, we release that stored carbon into both the atmosphere and the water table.
The fresh growth argument is also flawed as the growth is almost of a monoculture. The diversity in terms of flora and the animal species it supports is etremely limited due to the use of Muirburning. Plant types dont return to burnt ground at an even rate, certain plant types populate ground faster. The longer a moorland is allowed to self regulate, generally speaking, the more species will be found there. Trees take longer than heather for example, by burning the ground, any sapplings that are trying to establish them selfs are removed from the mix.
Burning the skin of the land is an illogical approach to protecting it, as it benefits few activities, all of them destructive in one sense or another.
The counter argument that well managed muirburn has been used by man to manage landscapes for thousands of years is another daft argument. They believed that a man could die of too much cleanliness only 300 years ago, just because a practice is a long standing one does not allow it to go unchallenge based on new evidence.
This is why we cant have nice things.

Heather burning on Scotland’s grouse moors may be causing serious damage to peatlands, rivers and wildlife, new research shows. The latest results from a five-year study suggest upland moor burning has a significant negative impact on the environment, causing important peat bogs to dry out, turning rivers more acidic and reducing the diversity of plants and animals able to survive in the habitat.

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Other effects include raised soil ­temperatures, an increased risk of flooding and higher silting of water courses. Muirburning, as it is known in Scotland, is a traditional land management technique believed to have been in use since Mesolithic times (about 12,000-3,000 BC). It is often carried out to promote new heather growth to boost grouse numbers for shooting. In some parts of the country, it is used to improve grazing and to prevent wildfires by restricting available fuel, and is occasionally used for conservation purposes.
Scientists from the University of Leeds involved in the Ember project assessed the impact of heather burning on upland peat moors across the English Pennines. Lead researcher Dr Lee Brown said: “Until now there was little evidence of the environmental impacts of moorland burning. “Unsurprisingly, a push away from moorland burning without solid scientific evidence to back up the need for change has created a lot of tension. “The findings from the Ember project now provide the necessary evidence to inform policy.” Researchers found the water table is significantly deeper where burning has taken place compared to unburned areas.
A lower level of saturation allows peat near the surface to dry out and degrade, releasing stored pollutants such as heavy metals into rivers and carbon into the atmosphere. Co-researcher Professor Joseph Holden said: “Altering the hydrology of peatlands so they become drier is known to cause significant losses of carbon from storage in the soil. “This is of great concern, as peatlands are the largest natural store for carbon on the land surface of the UK and play a crucial role in climate change. They are the Amazon of the UK.” Blanket bog covers around 23 per cent of land area north of the Border. Conservationists at the Scottish Wildlife Trust oppose muirburning on upland blanket bog.
Maggie Keegan, head of policy and planning at the charity, said:
“If you think that it takes 1,000 years to form a layer of peat one metre deep, should we really be burning it?”

Scottish Gamekeepers Association chairman Alex Hogg hit back at critics of land management on sporting estates, widely acknowledged to help conserve rare black grouse. “Rotational strip burning acts as a fire-break against wildfires, which scorch peat over large areas, releasing carbon into the atmosphere at a far more damaging rate than any controlled muirburn would,” he said. The muirburning season runs until 15 April from today.


This article was originally published on the Scotsmans website.

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