Silent City

Amelia’s Magazine | Silent City Call for Artists, Filmmakers, Writers and Students

by

pressrelease1

The exhibition/symposium Silent City is “a reaction against shows such as the RA’s “Earth: Art of a Changing World” which have the tendency to “present the West as a vision of classless ecological justice”, pill whilst clearly in reality (as we saw in Copenhagen) prioritising the needs of the developed nations. As to be expected Copenhagen was relatively quiet on progressive debate and active politics and rather noisy on producing something vacuous, at the bottom of which, try all the important (see ‘right’) Countries signed.

Despite reservations from ‘developing’ countries on the bill, the ‘developed’ countries appeared to throw all manner of strops to get what they wanted.

caranahaul2

“These hybrid creatures are constructed from insects taken from display cabinets. They act as reminder of the fragility of the natural world. Seemingly discovered from the world of the unknown, these imagined hybrids act as a canvas to subject our anxieties on to and allow the viewer to consider new forms of existence.”

caranahaul3

Cara Nahaul

Silent City is an exhibition in four parts, the first, coming up in April focuses on “environmental balance”. Acting as a symposium, the show will “address the issue of climate change with particular focus on its impact on the Third World. Silent City evokes the idea of major global cities remaining silent, contributing little to effectively combat climate change.”

A documentary by Francesca Weber-Newth and Sally Mumby-Croft

Mauerpark Berlin – Ein Kurzfilm (Mauerpark Documentary Trailer)

What you need to know:

The Exhibition

Silent City wants to address “the global geopolitics of environmentalism. Typically, climate change events have failed to address these issues that concern both the global south and post industrial nations. In light of this, many people have become apathetic and disillusioned about the prospects for change.”

By producing a publication which features the work of both students and specialists, the curators hope the further the discusstion that climate change does not exist only within scientific debate, but that it is a pervasive aspect of all our lives.

If your tired of watching the debate on TV, reading about it in the newspapers or the apparent lack of action with regards to climate change, get involved! Think about what is possible – what did you want to see discussed at Copenhagen? What was missed off the agenda, what are the politicians and static art exhibitions missing?

What would have to happen to make nature only be able to survive in artificial spaces

What would have to happen to make nature only be able to survive in artificial spaces? Emily Whitebread


“Developed out of a series of conversations I was having with a physicist, Robert Plant. This particular question came to me when I was watching the 1972 science fiction film Silent Running. In the film Earth’s plant life has been destroyed and only a few specimens remain. These plants and animals are preserved in greenhouses in space. The space ship in which the entire film is staged really reminded me of the Eden Project in Cornwall. I began to think more abut the Eden Project and was curious to know how this artificial environment could become a reality, which I explore in my film – turning a situation of normality into a space for catastrophe.”

Deadline: 15th March 2010. Please send submissions and queries to silentcitycollective@googlemail.com. Artists please send images of your work, a statement and what you would like to produce.
Writers please send examples of writing and what you intend to write for publication.

The Exhibition dates are 22nd -26th April 2010.
Film Screening date TBC.

Written by Cara Nahaul, Emily Whitebread and Sally Mumby-Croft on Friday February 26th, 2010 10:47 am

Categories ,Amelia’s Magazine, ,Climate Camp, ,Copenhagen 15, ,Silent City

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Amelia’s Magazine | Silent City Call for Artists, Filmmakers, Writers and Students

by

pressrelease1

The exhibition/symposium Silent City is “a reaction against shows such as the RA’s “Earth: Art of a Changing World” which have the tendency to “present the West as a vision of classless ecological justice”, pill whilst clearly in reality (as we saw in Copenhagen) prioritising the needs of the developed nations. As to be expected Copenhagen was relatively quiet on progressive debate and active politics and rather noisy on producing something vacuous, at the bottom of which, try all the important (see ‘right’) Countries signed.

Despite reservations from ‘developing’ countries on the bill, the ‘developed’ countries appeared to throw all manner of strops to get what they wanted.

caranahaul2

“These hybrid creatures are constructed from insects taken from display cabinets. They act as reminder of the fragility of the natural world. Seemingly discovered from the world of the unknown, these imagined hybrids act as a canvas to subject our anxieties on to and allow the viewer to consider new forms of existence.”

caranahaul3

Cara Nahaul

Silent City is an exhibition in four parts, the first, coming up in April focuses on “environmental balance”. Acting as a symposium, the show will “address the issue of climate change with particular focus on its impact on the Third World. Silent City evokes the idea of major global cities remaining silent, contributing little to effectively combat climate change.”

A documentary by Francesca Weber-Newth and Sally Mumby-Croft

Mauerpark Berlin – Ein Kurzfilm (Mauerpark Documentary Trailer)

What you need to know:

The Exhibition

Silent City wants to address “the global geopolitics of environmentalism. Typically, climate change events have failed to address these issues that concern both the global south and post industrial nations. In light of this, many people have become apathetic and disillusioned about the prospects for change.”

By producing a publication which features the work of both students and specialists, the curators hope the further the discusstion that climate change does not exist only within scientific debate, but that it is a pervasive aspect of all our lives.

If your tired of watching the debate on TV, reading about it in the newspapers or the apparent lack of action with regards to climate change, get involved! Think about what is possible – what did you want to see discussed at Copenhagen? What was missed off the agenda, what are the politicians and static art exhibitions missing?

What would have to happen to make nature only be able to survive in artificial spaces

What would have to happen to make nature only be able to survive in artificial spaces? Emily Whitebread


“Developed out of a series of conversations I was having with a physicist, Robert Plant. This particular question came to me when I was watching the 1972 science fiction film Silent Running. In the film Earth’s plant life has been destroyed and only a few specimens remain. These plants and animals are preserved in greenhouses in space. The space ship in which the entire film is staged really reminded me of the Eden Project in Cornwall. I began to think more abut the Eden Project and was curious to know how this artificial environment could become a reality, which I explore in my film – turning a situation of normality into a space for catastrophe.”

Deadline: 15th March 2010. Please send submissions and queries to silentcitycollective@googlemail.com. Artists please send images of your work, a statement and what you would like to produce.
Writers please send examples of writing and what you intend to write for publication.

The Exhibition dates are 22nd -26th April 2010.
Film Screening date TBC.

Written by Cara Nahaul, Emily Whitebread and Sally Mumby-Croft on Friday February 26th, 2010 10:47 am

Categories ,Amelia’s Magazine, ,Climate Camp, ,Copenhagen 15, ,Silent City

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Amelia’s Magazine | What art says about us: An interview with Silent City

by

The new publication from Silent City, page ‘Art and Activism’, visit web poses three key questions: Should art be separated from activism? Should art have a political value or function? Should art be radical, remedy critical, resistant or subversive? While Silent City has chosen activism as the focus of its examination, the key question is one that can be applied to any art discussion: What do we want art to say about ourselves?

“The political value of art will always be disputed, [but] it cannot be denied that there is a relationship,” says the Silent City trio. “Modern UK activism is incredibly creative, from the actions of Climate Camp to art collectives such as the Vacuum Cleaner. It may not be always overly political, but it is far from separate.” At all times in history, art has told a story about the politics of its time; just consider the identity of the people in the pictures, or the subtle ways in which the artist undermined the status quo.

Claire Roberts at the Silent City symposium. All photography by Sally Mumby-Croft.

Art and Activism
‘Art and Activism’, which Silent City hopes to publish later this year, was created from submissions following a call-out to several arts websites. The final choice was up to Sally Mumby-Croft, Cara Nahaul and Emily Whitebread, who had partnered with Peter Eramian, editor of Shoppinghour, for the project. Designed by Simon Sherlock, the finished product contains a combination of photojournalism, poems, essays and documentation of actions undertaken by the artists.

Last year Silent City presented a symposium (review) focusing mainly on climate change, but this latest publication shows the trio has a broader mandate.

“The original idea behind Silent City was to produce three separate exhibitions, exploring the three pillars of the UN’s 2005 World Summit outcome document: economic development, social development, and environmental protection,” says Silent City, pointing out how these three elements are interconnected. The symposium included references to social and economic consequences of climate change, meaning ’Art and Activism’ felt like a natural progression.


The big issues
As the issue of climate change moves from being a scientific concept to something that infiltrates everyday life, people increasingly feel like they want to do something. But where do we start with such an overwhelming issue?

“It’s overwhelming because it is a crisis that affects humanity as a whole,” says Silent City, referencing Anthony Giddens’ book ‘The Politics of Climate Change’. “He explains that this is precisely one of the reasons why we cannot face up to the consequences of climate change. Society is always pressed by more ‘immediate’ concerns – a situation which is taken advantage of by politicians and policy makers who continue to distance themselves from making radical and concrete gestures towards combating the issues.”

Having said that, the past year has seen activism come back on the agenda in a big way, with widespread protests against coalition cuts and the rise of activist groups.

“[This shows] activism trying to find alternative dialogues and use inspiring visual methods to find alternative solutions. The work of Art Not Oil and Liberate Tate in the face of the BP oil spill is immensely inspiring,” says Silent City, further listing the emergence of Art Uncut, the occupation of the Slade School of Fine Art and the development of the Free School.

Sally Mumby-Croft has created a short film, ‘Edgeland’, bringing attention to how parts of the Hackney Marshes are being sacrificed for the Olympics – but this is an issue where little can be done.

“I wanted to draw attention to the spaces so often ignored or perceived as desolate. [The East Marsh] is a space shared by many people for many different purposes and yet it has been decided that this land will be temporarily paved over to make way for a car park. A space teaming with football pitches and dog walkers will become a concrete block. I think that’s terribly sad, and I think it’s immensely important that this issue is discussed. [… ] Hopefully it will encourage viewers to question their relationship and use of public space.

Ways of seeing
Cara Nahaul, the founder of Silent City, is currently a painting fellow at Jerwood arts centre. Asked about the place of activism in a typical ‘fine arts’ practice like painting, Cara points out how she sees her practice as discussing her culture and background, and exploring it within a larger political meaning.

“I feel that audiences have moved away from the assumption of expecting ‘nice’ things from contemporary painting,” says Cara. “In attempting to discuss painting with video art, we tend to think of a hierarchical relationship in which the visual language of painting came first and cinema learnt from it. Today cinema has developed a strong and autonomous language whilst painting is often criticised for its inability to reflect on contemporary society. For me, this is where I find the freedom for my own work. Whilst I am unsure about a place for activism within painting, I believe that painting can still challenge our ways of seeing.”

Art is rarely created just to be something pretty to look at, but with each added layer of meaning it gets harder for the layman to ‘get it’. Even so, it may be wise to leave reading the leaflet till last, says Emily Whitebread, who is just finishing her degree in Art Writing.

“My personal response to writing about an exhibition or an artist is not to read too much beforehand. This works particularly well if I am unfamiliar with the artist or exhibition, as I prefer to absorb as much as possible from experiencing the work without external influences. I then incorporate these reflections in my writing and only when I feel satisfied with my initial response do I then look at external sources.”


The New Educators
Shoppinghour-editor Peter Eramian has also had a hand in selecting the works that make up ‘Art and Activism’. He describes Shoppinghour as “a hub from which we spawn other collaborative projects and events”, with an ambition to mobilise and inspire creativity in response to political, cultural and social issues. Still, Shoppinghour is not just a tool for political activism, says Peter, explaining how there is a theoretical foundation to Shoppinghour:

“Both Yasushi [Tanaka Gutiez, co-founding editor] and I are basing our doctoral research on understanding the New Educators of our time: individuals and collectives inspired by a heightened critical awareness of culture and the active employment all mediums, disciplines and practices in their critique of society and ruling ideologies. We’re fascinated by the reconstruction of the activist epistemology and its potential to subvert, and hope that through Shoppinghour others too will be fascinated with us.”

The Shoppinghour magazine is currently in the phase of significant expansion, including a new distribution deal that will see the magazine sold across London. Still, the quality of content will remain the first priority:

“We’re certainly not prepared to compromise the quality of our content. But then, neither are we cynical enough to believe that the ‘larger audience’ is somehow less sophisticated,” says Peter, adding that it may be equally complacent to reject the popular and only focus on the opposite, “that which is uncommunicative in its overabundant self-important ‘sophistication’.” So while Shoppinghour wants to tackle its subjects with “substance and gravity”, we can also expect an edge that is “playful and accessible, alternative and punchy”.

Shoppinghour issue 7 – Rights

– – –

Keep an eye on Silent City’s website for details on ‘Art and Activism’ – here.
Sally Mumby-Croft’s film Edgeland can be viewed here.
Cara Nahaul’s work can be seen at Jerwood Space until 26th June – details here.
Emily Whitebread is part of arts group X Presents – read about their projects here.
Read more about the developments at Shoppinghour on its website here.

Written by Jessica Furseth on Wednesday June 8th, 2011 4:56 pm

Categories ,activism, ,Anthony Giddens, ,art, ,Art and Activism, ,Art Not Oil, ,Art Uncut, ,BP oil spill, ,Cara Nahaul, ,Climate Camp, ,East Marsh, ,economy, ,Edgeland, ,Emily Whitebread, ,environment, ,Free School, ,Hackney Marshes, ,jerwood space, ,Liberate Tate, ,London Olympics, ,Peter Eramian, ,Sally Mumby-Croft, ,Shoppinghour, ,Silent City, ,Simon Sherlock, ,Slade School Of Fine Art, ,society, ,The Politics of Climate Change, ,UN’s 2005 World Summit, ,Vacuum Cleaner, ,X presents, ,Yasushi Tanaka Gutiez

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Amelia’s Magazine | What art says about us: An interview with Silent City

by

The new publication from Silent City, page ‘Art and Activism’, visit web poses three key questions: Should art be separated from activism? Should art have a political value or function? Should art be radical, remedy critical, resistant or subversive? While Silent City has chosen activism as the focus of its examination, the key question is one that can be applied to any art discussion: What do we want art to say about ourselves?

“The political value of art will always be disputed, [but] it cannot be denied that there is a relationship,” says the Silent City trio. “Modern UK activism is incredibly creative, from the actions of Climate Camp to art collectives such as the Vacuum Cleaner. It may not be always overly political, but it is far from separate.” At all times in history, art has told a story about the politics of its time; just consider the identity of the people in the pictures, or the subtle ways in which the artist undermined the status quo.

Claire Roberts at the Silent City symposium. All photography by Sally Mumby-Croft.

Art and Activism
‘Art and Activism’, which Silent City hopes to publish later this year, was created from submissions following a call-out to several arts websites. The final choice was up to Sally Mumby-Croft, Cara Nahaul and Emily Whitebread, who had partnered with Peter Eramian, editor of Shoppinghour, for the project. Designed by Simon Sherlock, the finished product contains a combination of photojournalism, poems, essays and documentation of actions undertaken by the artists.

Last year Silent City presented a symposium (review) focusing mainly on climate change, but this latest publication shows the trio has a broader mandate.

“The original idea behind Silent City was to produce three separate exhibitions, exploring the three pillars of the UN’s 2005 World Summit outcome document: economic development, social development, and environmental protection,” says Silent City, pointing out how these three elements are interconnected. The symposium included references to social and economic consequences of climate change, meaning ’Art and Activism’ felt like a natural progression.


The big issues
As the issue of climate change moves from being a scientific concept to something that infiltrates everyday life, people increasingly feel like they want to do something. But where do we start with such an overwhelming issue?

“It’s overwhelming because it is a crisis that affects humanity as a whole,” says Silent City, referencing Anthony Giddens’ book ‘The Politics of Climate Change’. “He explains that this is precisely one of the reasons why we cannot face up to the consequences of climate change. Society is always pressed by more ‘immediate’ concerns – a situation which is taken advantage of by politicians and policy makers who continue to distance themselves from making radical and concrete gestures towards combating the issues.”

Having said that, the past year has seen activism come back on the agenda in a big way, with widespread protests against coalition cuts and the rise of activist groups.

“[This shows] activism trying to find alternative dialogues and use inspiring visual methods to find alternative solutions. The work of Art Not Oil and Liberate Tate in the face of the BP oil spill is immensely inspiring,” says Silent City, further listing the emergence of Art Uncut, the occupation of the Slade School of Fine Art and the development of the Free School.

Sally Mumby-Croft has created a short film, ‘Edgeland’, bringing attention to how parts of the Hackney Marshes are being sacrificed for the Olympics – but this is an issue where little can be done.

“I wanted to draw attention to the spaces so often ignored or perceived as desolate. [The East Marsh] is a space shared by many people for many different purposes and yet it has been decided that this land will be temporarily paved over to make way for a car park. A space teaming with football pitches and dog walkers will become a concrete block. I think that’s terribly sad, and I think it’s immensely important that this issue is discussed. [… ] Hopefully it will encourage viewers to question their relationship and use of public space.

Ways of seeing
Cara Nahaul, the founder of Silent City, is currently a painting fellow at Jerwood arts centre. Asked about the place of activism in a typical ‘fine arts’ practice like painting, Cara points out how she sees her practice as discussing her culture and background, and exploring it within a larger political meaning.

“I feel that audiences have moved away from the assumption of expecting ‘nice’ things from contemporary painting,” says Cara. “In attempting to discuss painting with video art, we tend to think of a hierarchical relationship in which the visual language of painting came first and cinema learnt from it. Today cinema has developed a strong and autonomous language whilst painting is often criticised for its inability to reflect on contemporary society. For me, this is where I find the freedom for my own work. Whilst I am unsure about a place for activism within painting, I believe that painting can still challenge our ways of seeing.”

Art is rarely created just to be something pretty to look at, but with each added layer of meaning it gets harder for the layman to ‘get it’. Even so, it may be wise to leave reading the leaflet till last, says Emily Whitebread, who is just finishing her degree in Art Writing.

“My personal response to writing about an exhibition or an artist is not to read too much beforehand. This works particularly well if I am unfamiliar with the artist or exhibition, as I prefer to absorb as much as possible from experiencing the work without external influences. I then incorporate these reflections in my writing and only when I feel satisfied with my initial response do I then look at external sources.”


The New Educators
Shoppinghour-editor Peter Eramian has also had a hand in selecting the works that make up ‘Art and Activism’. He describes Shoppinghour as “a hub from which we spawn other collaborative projects and events”, with an ambition to mobilise and inspire creativity in response to political, cultural and social issues. Still, Shoppinghour is not just a tool for political activism, says Peter, explaining how there is a theoretical foundation to Shoppinghour:

“Both Yasushi [Tanaka Gutiez, co-founding editor] and I are basing our doctoral research on understanding the New Educators of our time: individuals and collectives inspired by a heightened critical awareness of culture and the active employment all mediums, disciplines and practices in their critique of society and ruling ideologies. We’re fascinated by the reconstruction of the activist epistemology and its potential to subvert, and hope that through Shoppinghour others too will be fascinated with us.”

The Shoppinghour magazine is currently in the phase of significant expansion, including a new distribution deal that will see the magazine sold across London. Still, the quality of content will remain the first priority:

“We’re certainly not prepared to compromise the quality of our content. But then, neither are we cynical enough to believe that the ‘larger audience’ is somehow less sophisticated,” says Peter, adding that it may be equally complacent to reject the popular and only focus on the opposite, “that which is uncommunicative in its overabundant self-important ‘sophistication’.” So while Shoppinghour wants to tackle its subjects with “substance and gravity”, we can also expect an edge that is “playful and accessible, alternative and punchy”.

Shoppinghour issue 7 – Rights

– – –

Keep an eye on Silent City’s website for details on ‘Art and Activism’ – here.
Sally Mumby-Croft’s film Edgeland can be viewed here.
Cara Nahaul’s work can be seen at Jerwood Space until 26th June – details here.
Emily Whitebread is part of arts group X Presents – read about their projects here.
Read more about the developments at Shoppinghour on its website here.

Written by Jessica Furseth on Wednesday June 8th, 2011 4:56 pm

Categories ,activism, ,Anthony Giddens, ,art, ,Art and Activism, ,Art Not Oil, ,Art Uncut, ,BP oil spill, ,Cara Nahaul, ,Climate Camp, ,East Marsh, ,economy, ,Edgeland, ,Emily Whitebread, ,environment, ,Free School, ,Hackney Marshes, ,jerwood space, ,Liberate Tate, ,London Olympics, ,Peter Eramian, ,Sally Mumby-Croft, ,Shoppinghour, ,Silent City, ,Simon Sherlock, ,Slade School Of Fine Art, ,society, ,The Politics of Climate Change, ,UN’s 2005 World Summit, ,Vacuum Cleaner, ,X presents, ,Yasushi Tanaka Gutiez

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Amelia’s Magazine | Film Preview: Mauerpark, the documentary.

by

Emily Whitebread interviews Francesca Weber-Newth and Sally Mumby-Croft about their recently completed short documentary film: Mauerpark.

Mauerpark [‘Wall Park’] lies on the former ‘no man’s land’, visit this site which separated Berlin for 27 years. After reunification in 1989 and the fall of The Wall, information pills the area was designated as a public space – hence ‘Wall Park’. Now a private developer intends to build housing on the fallow land, treat which lies at the periphery of the park. The plans are hotly debated, with citizen action groups arguing that building development would damage the unique atmosphere of the park. The film documents the current politics of this “people’s park” and asks individuals why the park is such an important ‘free’ urban space.

There are similarities between Mauerpark and the development of green spaces for the 2012 Olympics in London. Mauerpark, as a short documentary, allows the architect, politicians and concerned groups, to voice their opinions. The park’s architect, Professor Gustav Lange, explains his original concept and his views on its present use.

In March Mauerpark was screened in Berlin, with most of the interviewees present. The short documentary was also screened as part of a regeneration symposium at Goldsmiths College, London and as part of the exhibition Silent City.

What was the response to your depiction of the park by those viewing the documentary?

Fran: In Berlin the interviewees enjoyed seeing the park from mine and Sally’s perspective. The film gave those with different visions for the future of Mauerpark, a chance to see the common ground which they all share – to see themselves as part of a larger group. At the Goldsmiths screening, those debating the Olympics, and its effects on Hackney, were thrilled that citizen groups in Berlin are so active. They drew comparisons between London and Berlin in terms of urban development and the potential for citizen activism to affect the look and use of city space.

Fran was interning in Berlin while researching for her undergraduate dissertation when a friend recommended her to buy a bicycle from the flea market in Mauerpark. “After that first visit, I was obsessed.” Seven months visiting the park culminated in this collaboration.

Sally, as a non-Berliner, what was your immediate feeling when entering the park?

Sally: Straight away I felt a sense of the place’s importance – not only in terms of historical memory but in the day to day activities of the local communities. There are two sections of the park though which are strikingly different – the side designed by Prof. Lange, and the fenced-off side in private ownership which prevents easy access for the residents into the park on their doorstep.

Many Berliners strongly feel that The Wall is still a presence even though it has physically been removed, when crossing from East to West they still feel The Wall is there.

Did you experience this during filming?

Sally: The feeling is inescapable. Mauerpark is one of the final spaces where The Wall stood that has not been built on or turned into a tourist trap. Using Bernd Krüger’s collection of before, and after, the fall of The Wall photographs in the documentary intensified this.


Photo by Sally Mumby-Croft

Did you think that Professor Lange’s vision for the park is in tune today with those who use the space?

Fran: How a park should look is strongly felt in Germany where there is tradition that ‘a park’, as constructed by landscape architects, generally has rigorous structure and regulation. Prof. Lange broke with this cliché. He saw the space as a burst balloon; a pressure zone that was now open. People were excited by the park but his deliberately planned sparseness scared them a little. However, it is precisely this openness, and lack of formal structure, that has become not just accepted, but also cherished by many users.

Not everyone is happy with the park as it. People come to the space with very different notions of what ‘recreation’ is. Stereotypically the elderly want comfort, families want peace and quiet, and youngsters want to socialize. To create a park that meets the needs of all these different user groups and that references the historical importance of the space, is a difficult task!

What was your reaction to the view that there are no historical reference points to the Berlin Wall in the park?

Fran: The issue of history, politics and memory is contentious. People’s experiences of divided Berlin will shape their ideas as to whether it should be remembered, and how this remembrance might look. ‘Historical reference’ can sometimes be taken too literally. The tourist looking for the site of The Wall can find it at the Bernauer Strasse memorial site/museum. Mauerpark’s shape – a thin strip with a central, cobbled path, provides the clues to its history. Many appreciate Prof. Lange’s subtle historical references whilst valuing the park’s potential to provide a social arena for people to make new connections that override the divided history.

If you could influence the fate of the Mauerpark what would you like to see?

Sally: I would love to see Mauerpark completed with open access on all sides.
Fran: My ideal would be for the developers to donate the fallow land to the City and fund the creation of a clean and safe public area.

Mauerpark documents a place that is capable of healing wounds and bringing together people who were once separated. The fate of the park is currently undecided, with debates continuing as to the shape and scale of building development on the fallow land. With government officials, developers and local people in deep discussion for indefinite periods, this rings familiar alarm bells.

Mauerpark will be shown at the Free Range festival in Leicestershire on 30th May and also in London at Goldsmiths on the 27th May 5pm to 8pm

Photographs by Francesca Weber-Newth

Written by Emily Whitebread on Tuesday May 11th, 2010 12:35 pm

Categories ,Francesca Weber-Newth, ,goldsmiths, ,Mauerpark, ,Sally Mumby-Croft, ,Silent City

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Amelia’s Magazine | A review of Silent City, Part One: A Symposium on Climate Change

by

Peggy-Sue-Antonia-Parker
Illustration of Peggy Sue by Antonia Parker.

Peggy Sue have been around in various incarnations for sometime – previously accompanied by the Pirates – and it comes as a real surprise to discover that their first long player has only just come out, this site so already engrained are they in the indie consciousness: a true band of our internet led times.

Released at the end of April on Wichita Recordings, more about Fossils and Other Phantoms therefore finds the work of an already mature band with a strongly identifiable sound of their own. A combination of indie and folk with a strong streak of the blues and even doo-wop, remedy husky vocalists Katy Klaw and Rosa Rex take turns to lead the tunes against a firm rhythmic backbone courtesy of drummer Olly Joyce, who comes crashing in halfway into opening track Long Division Blues after a slowly spiralling build up. His presence is never far away, even when the girls resort to the glorious simplicity of a simple guitar, kazoo or uke to back their playfully tumbling harmonies – I Read It In The Paper, Green Grow The Rushes and The Shape We Made soon grow into bigger songs with the addition of percussion.

Peggy-Sue-Fossils-And-Other-Phantoms

Single Watchmen is a tuneful favourite that is accompanied by a gorgeous animated video. Soulful lyrics sound heavily influenced by complicated love lives (though I discovered this is not quite the case when I interviewed the band) and render this album the perfect heartbreak sound track, but the point when you most definitely feel it’s time to pick yourself up and stand proudly independent again. Yo Mama sees them stand defiant “I’m gonna go downtown and find myself someone,” they assure us.

The album was launched with a free gig at Rough Trade East, which also happened to fall on Katy’s birthday. Accompanied by extra violin and cello “the one who bought me the cake is my favourite out of our string section” the trio powered through an energetic set in front of a clearly adoring though somewhat coy crowd. Despite problems with feedback and tuning “normally we tune up properly before a gig but we drank beer instead cos it’s my birthday” it was a great showcase for these talented and very individual multi-instrumentalists who are nothing if not prolific.

Peggy-Sue-Antonia-Parker
Illustration of the string section by Antonia Parker.

Today they release a new EP. Lover Gone was the result of a road trip to Devon. “Officially we were supposed to be recording demos but we somehow managed to create another EP instead,” explains their website. You can buy the new EP here.

Look out for my interview with the band, coming soon.

Peggy-Sue-Antonia-Parker
Illustration of Peggy Sue by Antonia Parker.

Peggy Sue have been around in various incarnations for sometime – previously accompanied by the Pirates – and it comes as a real surprise to discover that their first long player has only just come out, pharmacy so already engrained are they in the indie consciousness: a true band of our internet led times.

Released at the end of April on Wichita Recordings, Fossils and Other Phantoms therefore finds the work of an already mature band with a strongly identifiable sound of their own. A combination of indie and folk with a strong streak of the blues and even doo-wop, husky vocalists Katy Klaw and Rosa Rex take turns to lead the tunes against a firm rhythmic backbone courtesy of drummer Olly Joyce, who comes crashing in halfway into opening track Long Division Blues after a slowly spiralling build up. His presence is never far away, even when the girls resort to the glorious simplicity of a simple guitar, kazoo or uke to back their playfully tumbling harmonies – I Read It In The Paper, Green Grow The Rushes and The Shape We Made soon grow into bigger songs with the addition of percussion.

Peggy-Sue-Fossils-And-Other-Phantoms

Single Watchmen is a tuneful favourite that is accompanied by a gorgeous animated video. Soulful lyrics sound heavily influenced by complicated love lives (though I discovered this is not quite the case when I interviewed the band) and render this album the perfect heartbreak sound track, but the point when you most definitely feel it’s time to pick yourself up and stand proudly independent again. Yo Mama sees them stand defiant “I’m gonna go downtown and find myself someone,” they assure us.

The album was launched with a free gig at Rough Trade East, which also happened to fall on Katy’s birthday. Accompanied by extra violin and cello “the one who bought me the cake is my favourite out of our string section” the trio powered through an energetic set in front of a clearly adoring though somewhat coy crowd. Despite problems with feedback and tuning “normally we tune up properly before a gig but we drank beer instead cos it’s my birthday” it was a great showcase for these talented and very individual multi-instrumentalists who are nothing if not prolific.

Peggy-Sue-Antonia-Parker
Illustration of the string section by Antonia Parker.

Today they release a new EP. Lover Gone was the result of a road trip to Devon. “Officially we were supposed to be recording demos but we somehow managed to create another EP instead,” explains their website. You can buy the new EP here.

Look out for my interview with the band, coming soon.

Peggy-Sue-Antonia-Parker
Illustration of Peggy Sue by Antonia Parker.

Peggy Sue have been around in various incarnations – previously accompanied by the Pirate – for sometime which means that it comes as a real surprise to discover that their first long player has only just come out, medications so already engrained are they in the indie consciousness: a true band of our internet led times.

Released at the end of April on Wichita Recordings, troche Fossils and Other Phantoms therefore finds the work of an already mature band with a strongly identifiable sound of their own. A combination of indie and folk with a strong streak of the blues and even doo-wop, husky vocalists Katy Klaw and Rosa Rex take turns to lead the tunes against a firm rhythmic backbone courtesy of drummer Olly Joyce, who comes crashing in halfway into opening track Long Division Blues after a slowly spiralling build up. His presence is never far away, even when the girls resort to the glorious simplicity of a simple guitar, kazoo or uke to back their playfully tumbling harmonies – I Read It In The Paper, Green Grow The Rushes and The Shape We Made soon grow into bigger songs with the addition of percussion.

Peggy-Sue-Fossils-And-Other-Phantoms

Single Watchman is a tuneful favourite that is accompanied by a gorgeously surreal animated video by Betsy Dadd. Soulful lyrics sound heavily influenced by complicated love lives (though I discovered this is not quite the case when I interviewed the band) and render this album the perfect heartbreak sound track, but the point when you most definitely feel it’s time to pick yourself up and stand proudly independent again. Yo Mama sees them stand defiant “I’m gonna go downtown and find myself someone,” they assure us.

The album was launched with a free gig at Rough Trade East, which also happened to fall on Katy’s birthday. Accompanied by extra violin and cello “the one who bought me the cake is my favourite out of our string section” the trio powered through an energetic set in front of a clearly adoring though somewhat coy crowd. Despite problems with feedback and tuning “normally we tune up properly before a gig but we drank beer instead cos it’s my birthday” it was a great showcase for these talented and very individual multi-instrumentalists.

Peggy-Sue-Antonia-Parker
Illustration of the string section by Antonia Parker.

Look out for my interview with the band, coming soon.

Peggy-Sue-Antonia-Parker
Illustration of Peggy Sue by Antonia Parker.

Peggy Sue have been around in various incarnations – previously accompanied by the Pirates – for sometime. So already engrained in the indie consciousness as they are, page it comes as a real surprise to discover that their first long player has only just come out. A true band of our internet led times.

Released at the end of April on Wichita Recordings, Fossils and Other Phantoms therefore finds the work of an already mature band with a strongly identifiable sound of their own. A combination of indie and folk with a strong streak of the blues and even doo-wop, husky vocalists Katy Klaw and Rosa Rex take turns to lead the tunes against a firm rhythmic backbone courtesy of drummer Olly Joyce, who comes crashing in halfway into opening track Long Division Blues after a slowly spiralling build up. His presence is never far away, even when the girls resort to the glorious simplicity of a simple guitar, kazoo or uke to back their playfully tumbling harmonies – I Read It In The Paper, Green Grow The Rushes and The Shape We Made soon grow into bigger songs with the addition of percussion.

Peggy-Sue-Fossils-And-Other-Phantoms

Single Watchman is a tuneful favourite that is accompanied by a gorgeously surreal animated video by Betsy Dadd. Soulful lyrics sound heavily influenced by complicated love lives (though I discovered this is not quite the case when I interviewed the band) and render this album the perfect heartbreak sound track, but the point when you most definitely feel it’s time to pick yourself up and stand proudly independent again. Yo Mama sees them stand defiant “I’m gonna go downtown and find myself someone,” they assure us.

The album was launched with a free gig at Rough Trade East, which also happened to fall on Katy’s birthday. Accompanied by extra violin and cello “the one who bought me the cake is my favourite out of our string section” the trio powered through an energetic set in front of a clearly adoring though somewhat coy crowd. Despite problems with feedback and tuning “normally we tune up properly before a gig but we drank beer instead cos it’s my birthday” it was a great showcase for these talented and very individual multi-instrumentalists.

Peggy-Sue-Antonia-Parker
Illustration of the Peggy Sue string section by Antonia Parker.

Look out for my interview with the band, coming soon.

Peggy-Sue-Antonia-Parker
Illustration of Peggy Sue by Antonia Parker.

Peggy Sue have been around in various incarnations – previously accompanied by the Pirates – for sometime. This means that it comes as a real surprise to discover that their first long player has only just come out, patient so already engrained are they in the indie consciousness: a true band of our internet led times.

Released at the end of April on Wichita Recordings, web Fossils and Other Phantoms therefore finds the work of an already mature band with a strongly identifiable sound of their own. A combination of indie and folk with a strong streak of the blues and even doo-wop, husky vocalists Katy Klaw and Rosa Rex take turns to lead the tunes against a firm rhythmic backbone courtesy of drummer Olly Joyce, who comes crashing in halfway into opening track Long Division Blues after a slowly spiralling build up. His presence is never far away, even when the girls resort to the glorious simplicity of a simple guitar, kazoo or uke to back their playfully tumbling harmonies – I Read It In The Paper, Green Grow The Rushes and The Shape We Made soon grow into bigger songs with the addition of percussion.

Peggy-Sue-Fossils-And-Other-Phantoms

Single Watchman is a tuneful favourite that is accompanied by a gorgeously surreal animated video by Betsy Dadd. Soulful lyrics sound heavily influenced by complicated love lives (though I discovered this is not quite the case when I interviewed the band) and render this album the perfect heartbreak sound track, but the point when you most definitely feel it’s time to pick yourself up and stand proudly independent again. Yo Mama sees them stand defiant “I’m gonna go downtown and find myself someone,” they assure us.

The album was launched with a free gig at Rough Trade East, which also happened to fall on Katy’s birthday. Accompanied by extra violin and cello “the one who bought me the cake is my favourite out of our string section” the trio powered through an energetic set in front of a clearly adoring though somewhat coy crowd. Despite problems with feedback and tuning “normally we tune up properly before a gig but we drank beer instead cos it’s my birthday” it was a great showcase for these talented and very individual multi-instrumentalists.

Peggy-Sue-Antonia-Parker
Illustration of the Peggy Sue string section by Antonia Parker.

Look out for my interview with the band, coming soon.


Untitled (CCD) by Claire Roberts (detail)

The central premise of Silent City, drug the group comprised of artists Emily Whitebread, Cara Nahaul and Sally Mumby-Croft, whose first exhibition has just opened in Brick Lane, is intriguing. Their starting point was a reaction against what they perceived as the standard Climate Change exhibition. Cara explained the original thinking behind the group:


Wilberforce’s 7000 oaks by Susanna Byrne (detail)

“We went to the RA’s ‘Earth: Art of a Changing World’, and we were completely disappointed. There were one or two standout pieces, for example Lemn Sissay’s performance video ‘What If?’, but on the whole it was a very shallow, one-dimensional show. It didn’t provoke us at all. We found the bright red neon globes and concrete flowers both obvious and pious. The worst thing though, was that it seemed almost entirely from a Western perspective. We’re the ones who caused this mess with our industrialisation, but the Global South is paying the highest price. Bangladesh will be submerged by our actions, but at that show countries that are actually directly affected by climate change didn’t even get a look in.”

They founded Silent City the next day. Their objective was to redress this balance by putting on exhibitions that would seek to present the full implications of Climate Change – especially what it would do to those nearer the equator.

I went along to Brick Lane to see if their exhibition could match her admirable words, and I was suitably impressed. A group show of around 20 artists of various backgrounds whose work all deals with the environment have joined the three founding artists, and the result is a pleasing mix between professionally polished ideas and the kind of activist idealism that was missing from Earth: Art of a Changing World.


Relics of our Past (left) and Vanishing Point (right) and by Tutte Newall

The work, in various mediums from painting and film to dead insects, was of a very high standard. Highlights included Tutte Newall’s beautiful but disturbing paintings of monochrome animals who stand in pools of their own colour, Jools Johnson’s fascinating installations of dystopian cityscapes fashioned out of screws and random computer components, and Claire Robert’s presentation of dead bees, a commentary on the emergence of colony collapse disorder, which threatens bees worldwide, and therefore a third of the world’s food supply.


God Lives in Detail IX by Jools Johnson

Works such as the documentary Drowning By Carbon, by Hazuan Hashim and Phil Maxwell, which featured Bangladeshi children planting the trees that they hoped would one day save them from the looming climate catastrophe, ensured that the original promise that the exhibition would deal with the Global South was kept.

But perhaps the best thing about Silent City was that it managed to put forward a view of Climate Change that was not obvious, in spite of the fact that as a topic it has been talked to death from every angle. Featured documentary Mauerpark, for example, focused on the proposed development of the famous Berlin park. At first glance, this seems more a social than an environmental issue, but after watching the film its relevance to the Climate debate became clear: At its heart the film was about the choice between the short term pursuit of growth and a space that was for everyone, whose benefits could appear more intangible and immeasurable. It became easy to view Mauerpark as microcosm of the natural world itself.


Mauerpark Screening, Photograph by Stuart Sinclair

This outlook on Climate Change that seemed fresh and different, coupled with art that was as well thought out and made, as it was thought-provoking, made Silent City a big success. In fact it was so successful that the closing night film screening was such a scrum that people were camping out on the stairs, able to hear but not see the films. Silent City was apparently just the first of a planned series of exhibitions. It looks like next time they might have to rent out a bigger space.


Photography by Sally Mumby-Croft.

Written by Max McCormick on Wednesday May 19th, 2010 10:15 am

Categories ,Bangladesh, ,Cara Nahual, ,Claire Roberts, ,Climate Change, ,Climate Disaster, ,Colony Collapse Disorder, ,Drowning in Carbon, ,Emily Whitebread, ,film, ,Francesca Weber-Newth, ,Hazuan Hashim and Phil Maxwell, ,Jools Johnson, ,Joseph Beuys, ,Mauerpark, ,Natascha Nanji, ,Sally Mumby-Croft, ,Silent City, ,Tubby Brothers, ,Tutte Newell

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