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Ripples_rn03Rosalind Nashashibi
Ripples on the Pond
Thursday 21 April 2016
6 – 7.30 pm

Last night was the final event in the Ripples on the Pond programme before the exhibition closes. It was a beautiful screening programmed by Modern Edinburgh Film School in discussion with Nashashibi and thank you very much to everyone who came along to witness the works in the exhibition. A huge thank you to Rosalind Nashashibi and LUX, London for the chance to screen these works in the exhibition. Thank you also to Luke Collins for his calm and collected work as projectionist on the night, Rob Kennedy for his help with the gallery’s projector and foresight about the spare bulb! and Alex Hetherington for A Poetic Measurement in Ripples on the Pond.

The following is an edit of Alex Hetherington’s introduction.

My communications with Rosalind surrounded siting the works off-site, at the temporary studio and lecture spaces at Tontine House, in Trongate, and a wonderful idea that one of those spaces might be the room where Glasgow City Council once repaired its street lighting. This off-site idea, away from the gallery, away from the principal site of the art school made me interested in paring back the material behaviour of the museum and conduct her talk as a kind of spoken-word performance, through and with a selection of her films including Electrical Gaza (2015), and definitely an expansion on Carlo’s Vision (2011), so eloquently and magically expressed at An Endless Theatre. An Endless Theatre; the convergence of contemporary art and anthropology in observational cinema was a screening event and symposium at the University of Edinburgh programmed by the artist Karen Cunningham and Richard Braxtrom, a lecturer in film and anthropology. Rosalind screened Carlo’s Vision and then spoke about her work. I observed that thinking/speaking thing that I sense I might have, but to a different degree.

I envisaged the screening with Rosalind would be a studio discussion, masterclass and intimate portrait using conversation, film, stills, stopping the projector, moving between projectors, and microphones, and a relaxed sensibility, reproducing the agility of her thinking and talking as she discusses the development of her practice and its place alongside and within moving image histories, its generations and ideas and developments . The project here is part screening, part unfolding of a film essay, A Poetic Measurement,* the sister-collection that brings from the page and into the space of this collection. How Rosalind’s works work with the material in the exhibition, what it expands, voices, layers, changes and disrupts, how her eye becomes a camera. The film programme would have brought films by Nashashibi/Skaer, and discuss how artists might work with film as a medium together, but we decided to focus on three works from her practice. I wanted to also allow film to be seen in the place of drawing and for correlations to be revealed, as part of this year of discussion on film and works on paper, in this short event, and finally with the editions to allow film to return to works on paper, and to allow them to be distributed and remembered through that form.
* Commissioned for GoMA by Affiliate: Rethinking Collections, (a University of Glasgow programme funded by Creative Scotland)

The Screening

The Painter (2013)
An artist is at work in The Painter (2013)—uniformed elegantly in paint-splattered shoes and work-wear—yet another unseen artist is observing, directing, framing off-screen. Nashashibi films more than the work itself, and large, muscular, abstract paintings emerge from a combination of energetic and economic gestures. With unflinching pragmatism, the painter pushes and pours muted viscous matter, surprisingly, with a mop. Eventually, the focus shifts to a drawing of a smiling girl atop a horse—tail raised, issuing a pile of dung. It’s by the painter’s daughter. – See more here

Carlo’s Vision (2011)
“There is a young man, The Shit, and his fiancée, whose name, it seems, is Cinzia. At the start of the Vision these two young people are passing the traffic lights at the intersections of Via Casilina and Via di Torpignattara. Carlo, the one who is watching, observes them coming toward him: in fact, he is in the middle of Via di Torpignattara, on a cart with cork wheels, exactly like a director on a dolly. There is a long, slow backward tracking shot. Pulling the cart . . . are three Gods, whom Carlo, however, sitting on the tailgate, with his back to the shaft, cannot see.”
— Pier Paolo Pasolini, Petrolio.

So reads a passage from Pasolini’s sprawling, epic novel, Petrolio, first published in unfinished form seventeen years after his murder in 1975. Inspired by the film treatment style of this section of the novel, Nashashibi has taken the protagonists, the props and the location, transported them into the present day and used them as the departure point for her 16mm film,Carlo’s Vision. The result is a mixture of observational documentary and fiction, in which Carlo, contemplates the long march of a young man and his fiancée, while being towed backwards by three gods, two speaking and one silent. Although he has his back to them he can hear what they are thinking, as two distinct interior monologues. The two prophetic figures provide an interpretation of what Carlo is witnessing, commenting on the past and present governance of Rome, and focusing on class and sexuality as manipulated today by Italy’s power structures.

Jack Straw’s Castle (2009)
Jack Straw’s Castle – the title is itself a ruse: the film is named for a Hampstead pub, not the UK’s Secretary of State for Justice – is all about the time and space of rehearsal: in both halves of the film, the milieu is male and the rules of the ritual being enacted remain enigmatic to the viewer, whose gaze is both an invasion of privacy and an invitation to perform. (Nashashibi’s own mother appears in the second half of the film, apparently playing the director for whom the whole spectacle is being composed). A theatrical rehearsal, as Shakespeare’s ‘rude mechanicals’ discover, is a curious space and time in which one performs the role of actor and acted – the mask slips, unfinished scenery fails to convince, timings are botched and bathos or obscenity intrudes: ‘I kiss the wall’s hole, not your lips at all.’ The film folds back on itself, suggesting that its verité first half is a carefully erected sham.

As part of Nashashibi’s most expansive solo show to date, in 2009, Jack Straw’s Castle was the more suggestive of two new works concerned with aspects of rehearsal and performance.

Rollcall of Thanks
I had a wonderful talk with Rosalind in her studio at Bluecoat in Liverpool and the structure for the screening came out of that conversation.

I’d also like to thank Katie Bruce, everyone at GoMA, LUX, LUX Scotland, Tina Fiske, Sarah Neely, Richard Taylor, Ainslie Roddick, Francis McKee, Luke Collins, Ben Cook, everyone at GSS, everyone at CCA, especially Kenny Christie, the team at Old Hairdressers, Jenny Brownrigg at GSA, Laura Edbrook and MAP, and the artists Catherine Street, Allison Gibbs, Rosalind Nashashibi, Anne-Marie Copestake, Mairi Lafferty, Annabel Nicholson, Ruth Barker, Karen Cunningham, Sarah Forrest, Lauren Gault and Anne Colvin for hard work, generosity, space and time, insights, wonderful events and total confidence in the project and me; equally to the speakers Iain Morrison, Glyn Davis, Suzanne van der Lingen and Angela McClanahan. Also to artists like Oliver Mezger, Lucy Reynolds and to Richard Taylor for offering up insights into the practice of writing about and speaking about moving image. A special thanks to the audiences who came and came back to the gallery and its events.

Alex Hetherington, April 2015

Rosalind Nashashibi Biography

Rosalind Nashashibi, born 1973 in Croydon, UK, studied at Glasgow School of Art. She has had numerous solo shows including those at Tate Britain; Chisenhale Gallery, London; Presentation House Gallery, Vancouver; ICA London; Bergen Kunsthall; Berkeley Art Museum. She represented Scotland at the 52nd Venice Biennale, and has participated in Manifesta 7, Sharjah 10 and the 5th Berlin Biennial with Lucy Skaer in their collaboration as Nashashibi/Skaer. She presented a solo show at Objectif Exhibitions in Antwerp in 2014 and an Imperial War Museum commission on Gaza in 2015. She lives and works in Liverpool.

Rosalind Nashashibi works with film, sculpture, print and photography. Her films combine close observation of everyday life with dramatically constructed scenes, in order to reveal the friction that occurs between the real and the fantastical or mythological. Her works often explore issues of control, internalized in citizens or exerted by the state.

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Upcoming short films by volunteers
Ripples on the Pond Film Group

Glasgow Women’s Library has created the Ripples on the Pond Film Group. Under the direction of Glasgow based artist, Helen de Main, we are currently making a selection of short documentaries on artists who are exhibiting at the Gallery of Modern Art (GOMA) in the Ripples on the Pond exhibition. Many of these artists also featured in the 21 Revolutions art book produced by GWL.

Our group consists of a diverse selection of volunteers: some are GWL veterans who have been involved in lots of projects, some are from the Young Critics scheme, and some are first time volunteers are the library.

So far, we are still in the production stage. The past few weeks have taken us out and about in Glasgow as part of our research. We visited GOMA to have a guided tour from Katie Bruce, the curator of the exhibition, which provided some excellent insight into the art works. We also got a tour of Glasgow print studio where we saw many artists at work producing prints, and there we bumped into Ciera Phillips, also a 21 Revolutions artist, who gave us an informal chat about her processes. We were also lucky enough to have an archivist show us some original artworks that the library have in their collection, and Helen de Main complemented this by showing us some clips of interviews with some of the artists. I’ve been busy collating all of our research in a separate film-group blog that we can refer to.

Helena Öhman, who recently made the Sex in the Women’s Library short film, provided us with camera and sound training on GWL’s in-house filming equipment. Lou Mcloughlin, an independent filmmaker, and also a GWL volunteer, hosted an interview techniques session where we got to look at a variety of interview techniques.  In the next week or so we will be getting some training on the editing software Final Cut Pro.

It’s pretty staggering how much learning we’ve managed to cram into our weekly meetings and the opportunities we’ve had in meeting lots of people from Glasgow’s art world has been very exciting. It’s also nice to see friendships forming in the group as we share our skills and knowledge. I think it’s great that this environment allows us to share our differing levels of experience so freely with each other.

Our first filming session is this coming Wednesday and I think we’re all fairly excited about getting some footage although this is when the work really begins. Once we’ve filmed our interviews we will set about editing them: always the most time consuming element of filming. Our goal is to have the films finished by the end of the year so that they can be shown alongside the original artworks in GOMA. I think I speak for everyone when I say how privileged we feel to help document the work being done by prominent women artists working in Scotland today and I look forward to writing another update as our project crosses the finishing line!

Melanie Bestel
Ripples on the Pond Film Group

Originally posted on the Glasgow Women’s Library Blog 

Installation shot of Ripples on the Pond, Gallery 4, GoMA

Installation shot of Ripples on the Pond, Gallery 4, GoMA

Ciara Phillips compelled us to ‘Give a Damn!’ the other night when Gallery 4’s doors swung open for Ripples on the Pond – the latest exhibition of work from the Glasgow Museums Collection. It was wonderful to see the support from all those who attended the opening and to share in a mutual celebration of works on paper, photography and moving image by women artists. I am just finishing up an internship at GoMA as part of my Modern and Contemporary Art: History, Curating and Criticism Master’s programme at the University of Edinburgh, and having heard about Ripples on the Pond from its conceptual beginnings, it was great to see it brought into reality.

The selection of work stemmed from recent acquisitions from 21 Revolutions, a project conducted to mark the first two decades of Scotland’s only women’s library. Indeed, Ripples on the Pond takes its name from Helen de Main’s January 1987, from 21 Spare Ribs (2012), one of a number of works created when Glasgow Women’s Library (GWL) commissioned 21 female Glasgow-based artists to create work inspired by the library’s archive. I got the opportunity to meet a few of the lovely staff at the library and have a browse through a small part of their vast and diverse collection, which includes everything from second-wave feminist journals and zines to personal papers of activists, lesbian pulp fiction, knitting patterns and assorted ephemera from the Women’s Suffrage Collection. Much of their collection is donated, and GWL grew from an unfunded, grassroots initiative created to preserve the documentation of the activities of Women in Profile – set up in 1987 to ensure the representation of women’s culture in Glasgow during the European City of Culture in 1990. For more info on Glasgow Women’s Library, visit their website: womenslibrary.org.uk/.

Installation shot of Ripples on the Pond, Gallery 4, GoMA

Installation shot of Ripples on the Pond, Gallery 4, GoMA

Ripples on the Pond’s reading room and changing film programme allows for an ongoing discussion, of which visitors are invited to join. Through bringing together divergent artistic practices and positioning and arranging them within this space, a relationship is staged between the works, the starting point for this conversation. As themes of social justice, feminism, play, landscape, place and visibility are explored; they will be rethought, re-imagined and reinvigorated throughout the life of the exhibition. I had the pleasure of conducting some research into the working practices, history and influences of contributing artists Kate Davis, Ciara Phillips and Jo Spence, to discover the significance of their practice within the wider context of women artists active today. Two works from Jo Spence’s Final Project are on display, ‘What 1991 looked like… (most of the time)’ (1991) and ‘Return to Nature (Version Two)’ (1991-2). Greatly informed by feminist politics, Spence explored the empowering capacity of photography through courageous self-documentation, to reposition the voice of the photographic subject and examine personal representation. Many of her photographic works centred on visibility, that of illustrating issues neglected by mainstream representation. Through putting herself in the image, Spence created a public exposure of the intimate suffering of her battles with first breast cancer and subsequently, leukaemia. As a confrontation of stereotypical portraits of sick patients, she reached out to others in similar positions of dis-empowerment. The two works included in Ripples on the Pond were taken shortly before she died of leukaemia in 1992. Kate Davis (whose piece Not Just the Perfect Moments [2012] includes a drawing of the cover of Spence’s autobiographical text, Putting Myself in the Picture) explores, similarly to Spence, representational practices and the construction of the female body.

I am excited to watch the evolution of this exhibition, how its curation as a conversation will create connections, comparisons and new insights to the work and how the invitation and collaboration with Modern Edinburgh Film School and LUX Scotland will further this response and critique. I also would like to take the opportunity to thank Katie Bruce for providing me with a fascinating insight into the development of this exhibition and to congratulate her, and the entire GoMA team on the opening of this great exhibition. Ripples on the Pond is open now in Gallery 4 – opening hours vary , do leave us some feedback and join the conversation.

Alix Rothnie, Modern & Contemporary Art: History, Curating & Criticism MSc at the University of Edinburgh

Dark Days talk with Ellie Harrison and Anna McLauchlan and Film Screening with Lock Up Your Daughters filmmaking collective

Dark Days talk with Ellie Harrison and Anna McLauchlan and Film Screening with Lock Up Your Daughters filmmaking collective

On 6 March, I attended the Dark Days Film Screening & Artist’s Talk, and the first thing I noticed when I walked into Gallery 2 at the GoMA were the lack of chairs available. Yes, maybe I should have gotten there earlier, but I didn’t know that “chairs” would be a recurring theme to the events after Dark Days. Is this what we are to expect in our future – a world without chairs?! Luckily, just as I was planning on setting up camp on the floor, some lovely GoMA staff came and brought chairs. Crisis averted – for now. Wait until the event on March 14th at Tramway.

At the Dark Days event Ellie remained quiet when people asked her about the work – I guess because she wanted to see how the event played out since no one really seemed to know what to expect, as well as trying to have as little influence over the evening as possible. How would almost a hundred people create a pop-up community in one night? The film screening and artist’s talk helped to clarify Ellie’s ideas behind the event and provided a much needed opportunity of reflection for many of the participants.

Ellie contextualised Dark Days within her broader spectrum of work. Her earlier work was more solitary where she documented her everyday routine in projects including Tea Blog , Eat 22 and Gold Card Adventures . Ellie began to move away from these more introspective projects in her art work to focus on broader social and political issues. One of the most potent parts of the talk for me was when Ellie discussed wanting to create some kind of positive change with art but was unsure of how to do that. Can art create change? For myself this is an ever recurring theme in my own research. Other works by Ellie include The Other Forecast  where she parodies a weather forecast with the consequences that are arising from the unequal distribution of wealth around the planet under the capitalist system and its impending effects on the environment. Ellie has also exhibited work at the GoMA before with Early Warning Signs. In 2014 the GoMA adopted the green on black sign and this year have the blue on white sign for Glasgow’s Green Year 2015. The signs aim to highlight climate change by using the same techniques for advertising as many high-street vendors. The project comments on climate change resulting from the over-consumptive nature and use of non-renewable sources of energy by many countries in the West.

Then we finally came to Dark Days and its inception. Dark Days began with Ellie coming up to Katie Bruce, GoMA’s producer curator, at a conference and gleefully telling Katie about her idea to have a group of people sleep over at the GoMA and form a pop-up community. A great idea but would this be feasible? How many people would you want for the event? Ellie apparently randomly chose on the spot to have one hundred people, which GoMA agreed to and emphasised that no more people could come. Ironically now looking back, Ellie wondered how she would get one hundred people to attend but as we found out during the registration period, the event had no problem attracting people – over eight hundred people applied to participate in Dark Days.

Ellie discussed inspiration that she gained on how to plan the Dark Days event from her experiences at the ‘Reclaim the Power: Anti-Fracking Action Camp’ (). The event was very well organised, contained a number of house rules that need to be followed if you wanted to stay and was overall very inviting. All traits that she wanted to bring to Dark Days.

The film screening by Lock Up Your Daughters film collective was fantastic! They captured the whole event wonderfully, beginning with short interviews as participants entered Dark Days and asking about their expectations for the evening – which for all the interviewees seemed to be a unanimous “no expectations”. They documented the event step by step as we went from the ‘getting to know you exercises’ to the consensus decision making workshops to our own consensus decision on how we were going to spend the evening together. They got the overall feel of the evening – in one camera shot swinging from the more serious manifesto discussion to the free dancing people. They even managed to include the snoring that went on during the night!

After the film screening there was a question and answers opportunity. Anna McLauchlan asked Ellie to elaborate on a number of topics including the application process, the ephemeral nature of Dark Days and the continuing dependency on technology today. Regarding the application process and how Ellie selected the applicants, Ellie discussed that she aimed to get a great diversity of applicants including fifty female and fifty male participants. In the end there were forty-five female and forty-four male participants so this worked out very well. From my own experiences that evening I met so many different people, which without the event I probably would never meet in my everyday experiences as a student. It was wonderful how the event helped open up people’s horizons.

A question arose about the ephemeral nature of Dark Days and whether the art work becomes the documentary made by Lock up your Daughters or if they remain separate entities. In the art world there is an ever-increasing focus on the document as an art in itself or as a form of ephemeral art such as performance art or in this case Dark Days. From Ellie’s point of view the art work was what the participants experienced at the Dark Days event and the documentary of the event is not Ellie’s art work but Lock Up Your Daughters.

The discussion on the documentation of the event lead into a discussion on the increasing dependency of screen based technologies today and the continual archival of art works. Many of Ellie’s works are archived on the web, not encroaching on the limited space that we have on this planet but rather the infinite space of the internet. Yet, this process highlights Ellie’s own dependency on technology and brought up the question of what would she do if all her work was lost by technology? Ellie seemed fine her work being lost as we don’t need to be archiving everything. Many tangible art works such as paintings are often kept in storage depots for decades without having a single person from the public view the work. What is the point in archiving works of art if no one can ever see it? Then again, through archiving art you are still allowing an opportunity in the future to exhibit the work.

Dark Days provided insight into a utopian post-apocalyptic world without technology. Instead it offered the participants a chance to enjoy each other’s company without technological distractions and form a pop-up community with people that we might never otherwise have met.

Rhona MacGuire
Modern & Contemporary Art: History, Curating & Criticism MSc at the University of Edinburgh

Dark Days talk with Ellie Harrison and Anna McLauchlan and Film Screening with Lock Up Your Daughters filmmaking collective

Dark Days talk with Ellie Harrison and Anna McLauchlan and Film Screening with Lock Up Your Daughters filmmaking collective

This gallery contains 10 photos.

After dinner it was time to make a consensus as a whole group on how to spend the evening together. Everyone brainstormed and ideas such as make something, music and dancing, write a manifesto, discuss the “Dark Days” topic, quiz night, games, no set plan, make a “tower of awesome” i.e. a chair tower, etc. …

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Exactly a month ago today, the final arrangements were underway for the Dark Days event. One hundred CAMP MANUALS ( camp-manualFINAL-print ) were printed, stapled and folded, GoMA’s gallery one space was being cleaned, Tripod were preparing their flip charts, Lock Up Your Daughters were getting ready for filming, the photographers were setting up their cameras and chairs were running out. What seemed to be on everyone’s mind was the question: What was going to happen?

As the clock struck six participants flooded through the doors. People were already forming orderly lines and mingling as participants began chatting to each other about the event and what was to be expected or unexpected! I had the fun job of registering everyone in the event and checking if people had any allergies that we needed to know about. Surprisingly a lot of people seemed to be allergic to penicillin like myself, but we reassured one another that unless someone was to randomly bring in penicillin we should be fine for the night.

The event began with a warm introduction from the camp team, as well as an overview of the evening. The first part of the evening would be structured through the facilitators, Tripod, and their planned activities with consensus decision making. While the second part of the evening would be left up to the participants and the ultimate question of “How do you want to spend the evening?” In the introduction it also became clear that there were not enough chairs for the number of participants, which would lead to many discussions about the chairs throughout the entire evening. Chairs? Yes, chairs. Apparently hierarchy can even be instilled through chairs.

To break the ice of being in a room with one hundred strangers, Tripod got us to warm up with the aptly named ‘getting to know you exercises’ where people would form a random group of three or more people and find something in common. Sometimes this was easy and sometimes not so much – but in the end you could always find something.

After the initial trepidation wore off and people became more relaxed, we came together as a whole group while Tripod ran a workshop on consensus decision making. Consensus decision making is a creative and dynamic way of reaching agreement between all members of a group. Instead of simply voting for an item and having the majority of the group getting their way, a consensus group is committed to finding solutions that everyone actively supports – or at least can live with. Some of the key aims that everyone would need to share to reach a consensus were commitment to reaching a consensus, an open mind, respect, a safe space, a non-hierarchical structure and allowing everyone to speak if they wished. (For more information on consensus decision making go to http://www.seedsforchange.org.uk). Before the event I have to admit that I was a bit hesitant about the consensus decision making process. For me the first example that came to mind when I thought of consensus decision making was the Occupy Movement and its ensuing dissipation and ineffectiveness. It appeared quite a utopian approach – I wondered if it didn’t work for the Occupy Movement how was it going to work for us? How would it be possible to create a complete consensus with one hundred strangers? However, I was pleasantly surprised at how it worked at the Dark Days event.

After the workshop, it was time to put the consensus decision making workshop into practice! The group was split in half and eight volunteers from each group were provided a topic from Tripod to discuss and hopefully reach a consensus, while the rest of the group observed. The topic was: A stow-away has entered GoMA during the Dark Days event but is one of the participant’s friends. Should they stay? The volunteers were allowed to discuss the topic for ten minutes and would aim to reach a consensus by the end of this time. The group I was in came to a consensus quite quickly as everyone seemed to agree that the stowaway should stay as long as they are not causing trouble. Nonetheless, the process highlighted some of the problems that arise with consensus decision making. Although the process proceeded in a very orderly manner as we went around in a circle and everyone offered their opinions on the matter, as we got nearer to the end of the circle the people at the end mentioned afterwards in our discussion that they almost felt obliged to form a consensus with everyone else before them as otherwise they would be the reason for not reaching a consensus. Furthermore, the time constraint meant that there was not enough time to explore and delve into deeper discussion. For instance, questions such as: how does the stowaway illegally coming into the space change the situation? Does it change the situation? What should be done? Who is going to interact with the stowaway and then mediate between them and the organisers? However, in reality more often than not there are time restraints and so it is better that people would be trained under these conditions. Also questions after the consensus decision making process arose about the role of the facilitator and what authority (if any) is granted to you when you are facilitator? Nevertheless, our group ultimately did reach a consensus, everyone was free to speak, everyone listened attentively and the space remained one of respect.

After this it was finally time for dinner (just as well considering my stomach had started to rumble near the end of the consensus decision making – I know I wasn’t the only one)! People brought and shared food, got to know one another and ultimately had a good old chat.

Rhona MacGuire
Modern & Contemporary Art: History, Curating & Criticism MSc at the University of Edinburgh

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I was particularly interested in Ellie Harrison’s Dark Days project when applying for the placement position* at GoMA because of the intersecting of art, society and science within Harrison’s work. Dark Days shows the potential of art as a cultural vehicle and platform to create awareness about climate change and the role of public space.

It’s now only a week to go until Dark Days event at GoMA and all planning seems well underway! Over 100 participants have been contacted now with how to commit to the project and have been issued with the camp manuals, so now it is just the fine details. Once the final 100 are signed up, the remainder of the 800 applicants will be contacted by Tuesday 10 February. Dark Days will (hopefully!) explore the potential re-use of public buildings and public spaces in the future. It will examine how 100 people form a pop-up community and the politics that arise with communal living within the great hall.

Workshops such as consensus decision-making are organised by trained facilitators, Tripod, for the evening. Consensus decision-making aims to be non-hierarchical, where rather than voting for decisions, which leads to a majority’s support; consensus decision-making aims to provide everyone with an equal voice, resulting in a decision that everyone can agree with or at least cooperate with. This in itself highlights the utopian vision of consensus decision making, but the effectiveness of such a technique will be explored on the night. This is the first public overnight stay at the GoMA, so the possibilities of what could transpire are very exciting!

Dark Days is an outcome of Harrison’s year as one of the associate artists at the GoMA, as well as her Early Warning Signs project, which is running for a second year at the GoMA. The Early Warning Signs project is comprised of four signs all stating ‘Climate Change’. Each year they go to separate venues to promote consciousness of climate change and form discussions about methods for a more environmentally friendly environment. 2015 is also Glasgow’s Green Year focusing on sustainability, where the city ultimately strives to become a European leader in environmental, social and economic sustainability, resulting in the perfect time for Harrison’s work.

Rhona MacGuire

* This is part of my  Modern & Contemporary Art: History, Curating & Criticism MSc at the University of Edinburgh

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