The recent announcement of the withdrawal of Singapore's participation in the world's longest running art biennale, the Venice Biennale, has caused quite a bit of a reaction amongst selected communities on this tiny island republic; some claimed the move to be regressive, when Singapore has been laboriously building up a small but pretty formidable stable of artists and works of art for the past decade or so and with the Singapore Biennale, Singapore seems to be staking its more-than-proportionate (sized-wise) claim in the global art market (of course having a very hearty push from the economic might of the republic in the midst of the global financial meltdown).
The introduction of the phrase, community art, to be foregrounded, from hence forth, feels propagandistic and may I say, reminds one of Socialist Realism or equvalent art movements or initiatives taken in history by many governments which dubiously used for various agendas, sinister ones included (especially the fatalistically contested eras of the inter-war years of the 1920s and 1930s on continental Europe).
On the other hand, the UK is witnessing the curation of another form of art which is neither highly-placed, highly financed and highly profiled or politically agenda-ed community ones; it is a showcase, a celebration of the D.I.Y. culture of PUNK.
Venue: Hayward Gallery London
Duration: 13th Sep - 4th Nov 2012
See link here.
Schedule of Events :
Press View: 11am - 1pm Thursday 13 September
The event also includes a panel discussion which I believed has ended just and coinciding with the publication of a book (see below):
There will be a panel discussion moderated by exhibition co-curator Johan Kugelberg (Thursday 13 September at 7pm, £10) . Tickets can be purchased here.
The panel discussion at the Purcell Room, Southbank Centre will explore the provocative graphic art that developed alongside punk rock. Panelists will include Tony Drayton, editor of Ripped & Torn, one of the first UK punk fanzines, and Kill Your Pet Puppy - arguably one of the most aesthetically interesting anarcho-punk fanzines of the '80s; William Gibson, award winning writer and seminal cyberpunk novelist; John Holmstrom, writer, cartoonist and legendary editor of the iconic Punk magazine; and artist Gee Vaucher, whose record covers and newsletters for anarcho-punk band Crass in the late 1970s and early '80s influenced graphics for political protest as well as for music.
The exhibition coincides with the publication of Punk: An Aesthetic by Johan Kugelberg and Jon Savage, published by Rizzoli.
Then over the Channel in the Netherlands, an upcoming event, Incubate festival, which will be featuring Simon Reynolds, who is going to give a talk on DIY Culture (I presume of today). See link here. The suspiciously sounding "community art" smacks of top-down political, hegemony-reinforcement of the state while the above 2 events are bottom-up groundswell movements which feel more genuine and more truly "community" or "communitarian".
Existencil Press). Let us not forget Raymond Pettibon's controversial album/7 inch cover designs/posters for the legendary punk record label, SST Records (he is now a name in the institutionalised art world, with a Phaidon publication dedicated to him). How about Mike Kelly (R.I.P.) who also was deep in the freak/punk/DIY/art underground before he gained currency and art-world recognition from the 1980s onwards (also having a Phaidon book under his name).