The Riches Of The East.

 

 a penned mystic smIt may be said that Socrates was a rebel? He didn’t wish to follow no party line and when he was in 399 BC by 3 Athenian citizens of failing to worship the city’s gods, introducing religious novelties and corrupting the young men of Athens and told to renounce his philosophy in court, unshaken from his convictions despite being denounced as foolish by a large number of Athenians, he spoke,

“So long as I draw breath and have my faculties I shall never stop practicing philosophy and exhorting you and elucidating the truth for everyone that I meet…” (See Alain de Botton who says this promised him, ‘a counterweight’ to his own ‘supine tendency to follow socially sanctioned practices and ideas’ in his book The Consolations Of Philosophy). Botton goes on to say his ‘priority was to be liked rather than speak the truth. I didn’t publicly doubt ideas to which the majority was committed. I sought the approval of figures of authority and worried at length whether they thought me acceptable. but Socrates had not buckled before unpopularity and the condemnation of the state. he had not retracted his thoughts…he had [his] rational , as opposed to hysterical, confidence when faced with disapproval.’

All of my life, at least since I began to realize I was ‘here on Earth’ aged about 10 I have fought against that ‘supine tendency’. Maybe that’s what held back my progress in many situations in English society? My lack of conformity (or was it my face- it didn’t fit? or my choice of deodorant?) meant that I had to fight for almost every inch of ground I made.

Like Socrates I’ve been a renegade ever since ‘they’ rejected me at my secondary school, (‘they’ being the powers that be/the status quo holders who saw me as scum from a poor working class family who didn’t always agree with what they said) and I rarely if ever sought approval, especially not by altering my work and ideas. so, in simple words I paddled my own canoe. and my canoe took me to some strange and wonderful places, mainly in dream but also in some of my output. one renegade, the late great Jackie Leven, introduced me to Kabir and Robert Bly through his wonderful song Inside this clay jug. A lot of my work since hearing that song has been about the mysteries of life and mystical ideas. Some folk think mystical means ‘not for me that strange stuff’ but no, if you listen to Bowie’s music, at best, it has a mystical chime. It’s like searching for the lost chord and he found it sometimes like in Ashes to Ashes, China Girl and his last songs plus vids for Dark Star etc. Mystic is when you hear or glimpse that something which emanates from a place far away and deep inside you. Namaste. Om Mani Padme Hum. listen to Van’s Into the Mystic from his astral Weeks.

The wonder-full American artist Robert Smithson, who created The Spiral Jetty, on Great Salt Lake, Utah in 1970, was a renegade & a wordsmith too as witnessed in his Heap of Language sketch:

See http://www.robertsmithson.com/drawings/heap_p104_300.htm

and

http://www.robertsmithson.com/essays/heap.htm

“Smithson becomes exhibit A for the case that an eruption of the linguistic sign into art has fragmented beyond repair the traditional integrity of the object…” Thomas Crow in Prophetic Turns In The Life & Art Of Robert Smithson.

My writing also is part of my ‘art’, equally nowadays, as always, words play a role in my performance art. My 1975 buk, Apul-One, was a ‘work of art’ in its whole = images, words and book.

This renegade never did the obvious, rarely followed the rules and always bent them even if only a titsy witsy bit. Thereby he made it difficult, by not following the trend, the advice, the latest fad etc.

I remember going into Slade Prix de Rome scholar David Wild’s ‘life-study’ night classes and seeing a day student doing (copies of) hard edge American abstract painting by using masking tape to get straight lines on his canvas while I was learning how to observe and paint the figure. I made a conscious decision there and then I wouldn’t be doing no American abstract painting then nor not ever. (In fact a couple of years later I fell in love with Barnet Newman’s work in the big London retrospective of his work and did adopt some of his techniques, but in a way which used his ideas of fields of color which I then placed my images into with ‘zips’ (gaps) separating them. My images might be mimics of other Abstract expressionists set against realist images. So you see, I even broke every rule I set myself. The come uppance was that I kept my eyes open to different possibilities and I could be inspired by many things that the ‘mainstream’ art student would not look at cos it weren’t in fashion. Similarly, I liked Roy Orbison when the Beatles were all the rage, and Van Morrison when most folk hadn’t even heard of him.

Which takes me onto Hermann Hesse (HH), whose book Steppenwolf I saw in a Truro bookshop window in 1970 and on the cover was a Paul Klee painting so I was intrigued enough to buy and read it, so my journey into Hesse had begun. It was his writing which led me to the wonders from the East. Now when you looks at my recent works where I do things like poems inspired by Hesse and Dalai Lama you’ll agree they’re not the most fashionable icons nowadays, butti don’t care. It’s my art. Come back with me, to a day when the Upper Class (expletives omitted) led their campaigns for King & Country to conquer lands in Scotland, Ireland, Wales, South America, Africa, to asia minor & China they were, for the most part, looking for gold or jade etc and they gottit in abundance as they stripped whole countries of their inheritance. BUT in fact they missed the real treasures which eventually filtered thru to the west via the likes of HH and scholars who studied unknown languages like Hittite & Ghandaran. The real treasures are more lasting than gold, they’re spiritual. Things like yoga, tai chi, and meditation, the religions of old (like Hindu, Zoroaster) and in Tibet’s case, new – Padmasambhava brought Buddhism to Tibet in the 8th century AD. Insight into our place in the Universe is being enhanced daily by astronomy & science but we benefit from things brought to us by Tibetan Buddhism, Muslim Sufism, ancient Indian ideas about the cosmos and the place of us ubeings in it which they anchor down thru yoga, Chinese (&Malayan) Tai Chi does similar things with mind/body equilibrium. Who needs the gold that artists like Damien Hirst use?

on a better note

Here’s a lovely song of Bowies sung as a tribute to another renegade. Listen to her pre-amble, it’s lovely too

https://www.youtube.com/watch?v=zxGoZySud7k

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It’s For The People.

 

Going back to thoughts https://apulhed.wordpress.com/2016/01/10/a-lifelong-friend/ on my old friend for 60 years Trev*, initially it would trouble me that my words don’t reach people like him but, on consideration, I have spent 48 years developing my words & ideas which he neither followed nor kept up with my path, why should he? I don’t understand his zone either, he was an accountant, I don’t do money, ask HMRC they’d confirm that. *Good news is Trev got in touch and said he enjoyed my last blArt.

Here’s the first viewing of one of the Apulhed Comix c.1977 that never got published in the 1970s. By 1979 I had created Happy Apulhed, a much more friendly, less eerie character.

ahed sets off color sm

When I was doing Apulhed comics at college in the early 1970s my old mates back in Burnley could explain my work was beyond their experience by saying, “Pete’s gone off to college and is full of new-fangled ideas, he’s just a bit strange but we can tolerate that because he’s…” Now nearly 50 years later I have further widened the gap. Not vindictively, just by osmosis, as a result of my endeavours but it still begs the question- If my art cannot reach ‘normal’ folk, am I missing the mark?

Nonetheless folk from all over the world do find my art interesting. yesterday I had hits from Vietnam and Sweden and my total views is fast approaching 10K. Some write and say I write well or the blog is good. But more, I feel that when I do any more Performance Art (PA) I’d need to be able to communicate or ‘get’ to the public’s minds whilst neither condescending them, nor demeaning my ideas of course. There would always be an elephant of surprise and an unsettling feeling in the outcomes I produce to keep the onlookers’ attention. Don’t want youse all falling asleep now do we?

I have been looking again at Verena & Andrea’s (Vest & Page) stuff in the vids on their website. http://www.vest-and-page.de/#!selected-works/caf0 They show by their astounding work that by comparison my work is a mere blot on the floor left by a PA Baby in his swaddling bands. (‘Swaddling’ is an age-old practice of wrapping infants tightly in blankets or similar cloths so that movement of the limbs is tightly restricted. Swaddling bands were often used to further restrict the infant. At the moment I feel constrained as if by swaddling bands and only by ‘getting’ my work out there’ will I change my garment, or maybe relinquish [most of] them.) The good news is I’ve been invited onto the Book Arts Day for The Society of Bookbinders on Sat 5th March 2016 in little old London town to do some Performance Art. Right now I’m working on a new piece, ‘Brush’, using words from Colin Lloyd Tucker’s beautiful song ‘Brush’. My friends, the Townsend Twins are helping choreograph the movement. I may also include a new rendition of Clay Jug after the beautiful poem by Kabir.

And ‘PA Baby‘ is maybe another pseudonym for me as it cover the fact that I’m old enough in calendar years to be their grandpa yet in terms of my experience in the field of PA I’m just a baby. In fact whilst at IPA in October a lot of my work brought me, and indeed some observers, to tears. In my case because I was going back into my early experiences and re-living them and also seeing that at 64 years old I weren’t about to have certain experiences again and indeed the inevitability of the changes old age will bring also weighed down on me. I got my crying in first. Some watchers cried in sympathy, some because I touched a chord and others just cried cos they were incredibly tired after 8 days of full-on PA practice with a group of strangers to start with who fast became close bonds. I still find it so daunting to think of what is out there in the Performance Art field. But it’s silly to compare. It’s like comparing a little village’s pub band to the Rolling Stones but there again the greats do look at the new stuff coming thru and like V&P are very encouraging. My mate IEPW told me that David Bowie liked Arcade Fire so much that he requested to sing with them and they accepted his offer. https://www.youtube.com/watch?v=z6c9Ejfu-iU

Also he did this with them uploaded 2 Feb 2006 https://www.youtube.com/watch?v=EkCc_qiI7UA well now, David had another 10 years.

Deathday instead of Birthday celebrations?

Image053

A Big Cloud of Unknowing.

When I heard of the death of David Bowie I thought to myself, they should have a day each year to celebrate him, maybe his day of dying would be the best day for an annual remembering of his creative, original and inspirational, trend-setting (in its purest form) life. Undoubtedly he did set trends.

Image062

OM

The Dalai Lama has said, “Usually I don’t consider birthdays something important. In Tibet we consider the death anniversary more important. I think that’s quite wise. A person who made good contributions in life, then after [their] death, remember them in some anniversaries…as a Buddhist monk I believe every day is a new day, every day is birthday. The particles of our body momentarily changing, always become something new. Mental thinking, because of new knowledge & experience, also changes. So every day is a birthday. [If] we use our day in a proper way then the months & decades, whole life becomes meaningful. If you can help other, do it as much as you can. If you cannot do it, at least, restrain from harming others. That’s the essential of meaningful life.”

I’ll drink to that, nowadays my chosen drink is water.

 

A lifelong friend

A lifelong friend, Trevor C., said (3.1.16) ‘Happy New Year Pete. Even though I just about made it passed the first line [of your latest blog]! All the best to you and hope that your family are all well.’

He was referring to his lack of comprehension of my blog, but I had given him an in to his comment by saying ‘many folk may fall asleep after the first line’ in it.

The two working class boys shopping for their mum could be me and Trev but we weren’t born when this photo was taken in Glasgow (where I was in fact born two years later! Trev were born in Burnley where I settled in 1954).

gorbal boys by hardy

(image Bert Hardy 1948).

http://www.theguardian.com/world/gallery/2013/mar/24/bert-hardy-photographs-in-pictures

pete, an mates tod rd trio

Pete, Roy & Trev (capt.) drawn from a photo of Tod Road Juniors taken by Roy’s dad when we were about to play in the Centenary Cup Final as one of the top two primary school teams in Burnley in 1961.

 This blog is about relationships.

I’ve known Trev since we were 5 year olds. We played football together at Primary and Secondary schools then for NALGO and The Old Boys’ teams after we left school. We used to drink beer and chase girls together during our teens in his Wolseley Hornet, which can be seen in the background of this group photo.

pete bly boys 1971

Pete (sporting his six pack and Lennon-specs), Steve Hezzlewood, Trev
with Stuart in foreground at campsite near Woolacombe.

Steve and Pete in the sea off Polperro, shortly before we rescued Trev who had an attack of cramp. Steve was to die in his early forties from a congenital heart problem.

a wolesley hornet

Five of us were driven back from the great festival at Shepton Mallet in it in 1970!

For many years I always would visit him whenever I returned to my home town (which I hardly ever visit now since both of my parents died). He’s one of a handful of friends I’ve kept touch with since 1955. Those relationships are precious reminders of Burnley where I went to school.

Last week’s TED lecture flagged up the vital part good relationships play in longevity. Mutual support, community, compassion* and camaraderie help support a long healthy life. https://mail.google.com/mail/u/0/#section_query/in%3Ainbox/15203661e1e6c780

* In his chapter called ‘Monks In The Machine’ in The Wisdom Of Compassion Victor Chan reports finding out that Richard Davidson uses an fMRI machine to show activation in parts of the brain to explore brain functions when people think. Davidson discovered that people who have a high register of an electrical signal called ‘gamma’ tend to be in heightened feelings of happiness, joyful & optimistic. He found that one monk who had done over 34 thousand hours of meditation entered a state of euphoria when meditating on Compassion, joy and fulfilment permeated his entire nature. Most of the monks showed large increases in gamma waves in their left pre-frontal cortex- a sign that they were experiencing intense periods of well-being. It may be possible to intentionally cultivate positive traits such as empathy & kindness and use it as an antidote to anxiety & depression. The Dalai Lama’s insight after 80 years of meditation is that altruism is the surest way to bring about genuine life satisfaction.

 

Since the late sixties, when I began taking ‘art’ seriously, my relationship with ‘the gallery’ has been anything but healthy. In fact it’s been heartily non-existent. It’s interesting too that this week I went to talk with an accountant cos HMRC in its wisdom (not) decided I need to do self-assessment returns on the basis that a gallery put me on its wages forms in order to gain some tax allowance on the £100 bursary they gave me. The accountant laughed at my finances which show my outgoings to make my art are easily a hundred times greater than my incomings. Which brings up the question of what a fool believes. I believed for the past 50 years that one day my art would pay back all the time and effort. It hasn’t, not financially anyway. It has in terms of my learning, my extended skill base, my fairly prodigious output (most of which I retain) and of course my job as a teacher of art which kept the wolf from the door.

I’m working on re-viewing my attitudes and expectations in order to move thru my next phase in life. Not expecting ever to sell my art, never being made welcome in the gallery nor being asked to lecture at any higher level institution must be taken as a definite, it’s not what might occur, it happened already. By doing that I am no longer chasing what I call ‘wil o’ the wisps. I can just continue to make what pleases me, which is what I mostly did all along. I intend to complete the masters of several books I am designing most of which I have written and made images for already but I won’t create editions. I am doing them to prove to myself I can. I don’t wish to create more than the master any more, there’s no need, there’s no market. The resounding silence I have received for the 3 articles I wrote for some journals and the quiet noise my books have generated in the past 40 years indicates to me that people are not gagging to see them even less own them or even write columns about them. To those of you (I can count you on my two hands) who have gently expressed your liking for some product I created, thank you, but the remainders of past books and paintings, prints, bronzes etc indicates to me it’s time to retract. I am not sad, but just being realistic. I am changing my focus, I am reading the signs more clearly. I ploughed on regardless for 50 years thinking people would eventually understand, ‘get’ what I am saying and all. Now I am going to clear the clutter in various aspects of my life, stop chasing my dreams and start taking notice of the need to weed my ground, paint my house, cook some of our food and all the things that ‘normal’ folk do which I have neglected whilst chasing the dream.

Performance Artist (PA) Alastair MacLennan once said that ‘a society gets the art it deserves’ and it seems the society I lived in didn’t deserve my work because it didn’t ‘get’ (or receive) it. Individuals, other artists, players, writers all have ‘got’ my work but society at large, especially represented by the gallery, the media and the critics, didn’t ‘get’ it. Ironically the absence of accolade & ‘success’ for my werk aided my own freedom to explore my very own path & produce outcomes untrammelled by the expectations of others.

‘In a debate concerning freedom Karel Teige discussed the relationship between society and the production of art which he saw as ironic in a society primarily concerned with profit making’. (Slavka Sverakova, p10 in Alastair MacLennan Is No 1975-1988, 1988.) In 1985 MacLennan had said, ‘Realising the bottom line is never ideological, but human; that art is not in, of, or onto itself. It’s for people.’ (ibid)

Here I want to quote some more from Slavka’s preface because it seems to me to be a perfect manifesto for my own future-work:

‘MacLennan…insists that periphery is the cutting edge of culture’ [My work has always been on the periphery, it’s even on the outside of Outsider Art! I have always stood at the side watching, trying to get in, crying cos am rejected and all those emotions which everyone who ever tried to make art feels in varying degrees. Escher^, seems not to have bothered with the circuit and his stuff has had lasting quality, I must say it’s influenced my work on occasion. One example is my etching below. (^I mention Escher cos his art was all to do with transformation from one state into another, very much like what my PA is about, creating magic moments from seemingly mundane things through interesting juxtapositions

– I PK (or DAN I OOPAPA) said that, sounds profound to me!),]

etched scheffler part

Part of my etching about knowledge

MacLennan…’the art centre is wherever you are’. [compare with Jurgen Fritz, ‘Performance Art is what the Performer declares it to be’]

Plato in Timaeus formulated the idea that ‘human dignity does not depend on a hierarchy of wealth and power. ‘Plato’s Demiurge is not an object of worship he is a builder and maker, he puts things together, joins them, blends them, splits them up, divides them’ (ibid). [Isn’t that what I always do, done, did?]

MacLennan talks of, ‘What we perceive is a certain combination of shifting qualities in a certain place at a certain time.’ [this makes the ‘event’ the art. So many Performance Artists don’t like their work to be recorded. It is what it was at the moment it happened, it cannot be replicated. Beuys said that the event not the notes left on the piano was the art]

MacLennan says he performs, ‘Installed, sited action/ritual, evolving  thru stages of transition for pre-determined durations with content engaging political, social & cultural issues…highly sensual & chaotic…as Heidegger said ’the matter-form-structure content tends to be submerged in the creator’s own participation as the source of the object’s presence’. [There, my permit to place ‘me’, costumed, masked, or in my birthday suit, in my art, my go-ahead to bring my (past*) art & artefacts into my PA! And so it shall Be.]

*’past’, it’s always ‘past’ if you make it, no matter when you make it.

So, the artist who is ‘creative’, one who creates new ideas/product/challenge, has few outlets (if any). In PA, as Jurgen Fritz (JF) and Vest & Page (V&P) said during a discussion at IPA, in order to get paid venue work you have to more or less guarantee your product is of appeal to a potential audience, in other words, reliable in a predictable form. However, one of the excitements of PA is that it seeks out & thrives upon the unexpected. As JF and V&P all indicated, when the going gets difficult/tough/surprising/unpredictable “It has begun”. The very nature of creative art is that it is challenging and it can be (delightfully/scarily) surprising. MacLennan said, “Realising the bottom line is never ideological, but human; that art is not in, of, or onto itself. It is for people.”(Performance Mag 1985 No 37 p11)

Now I understand that when I do more PA I’d need to be able to communicate with or ‘get’ to the public mind, without demeaning my ideas nor intelligence & sensibility of the watchers of course.

I shall develop some of this in ma next blog.

They say The Duke if 70’s Cool died just after his 69th birthday. Respect, The Man Who Fell To Earth has returned to the Ether from whence he came to gift us with his Ziggy songs.

a sunset fer Bowie sm

So, to my tribute to the great innovator David (Jones) Bowie. I went to see him in Boscombe in summer 1972 just as he was developing his Ziggy character on a wing and a prayer. He wore a denim jacket with some fur embellishment on the collar, which style I adopted on my return to college for the jackets worn by the male dancers in St Luke’s College Performance ‘Catulli Carmina’ in the late autumn of that year. I love his China Girl stuff best. He’ll be walking along the beach with his mam again now. Here’s Ashes to Ashes and an unusual instrumental, just watch him dance 2.30 mins in. https://www.youtube.com/watch?v=T7KSM5j4-Zg . 

Lookin Back

October 27th 2015, on my 65th birthday, shortly after doing the IPA [International Performance Association] fortnight, I become an OAP (Old Age Pensioner) and realize that I am an also an OPA (Opsimath Performance Artist). For those what don’t know (like I didn’t before I accidentally discovered the word whilst checking the meaning of ‘opulent’) an ‘opsimath’ is ‘a person who learns late in life’ and I certainly realised my love of Performance Art (PArt) late in my 50 years as a artisbloke.

A new stage name, ‘DANI OOPAPA’ or ‘OMI OOPAPA’ maybe?

It may be an idea if you read this blog about my work watti dun in 2013, it’ll let you know where am coming from:

https://apulhed.wordpress.com/2013/11/07/my-past-pages-from-the-net/

The rest of this is about the last year (2015) & my ‘links’ (not) with some gallery spaces and it will soon go into my ‘about’ in my wordpress site. The knowledge, skills & experience I have accumulated did not come easily, it came as the result of determined effort and my desire to learn then apply my abilities. Colchester has been my cultural centre since 1975 and I have exhibited there several times; one man shows in Trinity Street gallery (1994), the main Library gallery (2000) and the Red Lion Bookshop (2014) and participation in several group shows in particular at the Minories as the Final show of my MA qualification (2013) followed by a solo ‘performance’ there.

Jan 26th 2015

On the basis of my thinking that it may be better to fill the walls with my work^, than close the gallery with the walls effectively empty I make an offer to Firstsite Gallery Colchester.

(^ work which has seen 25 solo shows in Essex since 1978 and has been loved by many of those who came into the shows who indicated their feelings in the visitors’ books),

‘Dear curators,[the head curator (MC, see below) had quit the gallery for a plum job in a big gallery in Germany leaving deputies i/c]

I was in firstsite on Saturday 17th January and I noticed the gallery is almost empty at the moment and one of the assistants told me it is not scheduled to have a new show until March- I feel impelled to ask you to give me the freedom of your walls and spaces and I’ll mount a big show based of the work I have produced in the past 48 years.

‘Dear Pete,

Thank you for your email and for sending your proposal for an exhibition at Firstsite.

I’m afraid that we are unable to host an exhibition of your work in the coming weeks. The galleries are committed to other activities during this period, including essential maintenance and a 5-week long residency by Maria Loboda, during which time she will fabricate a new work in situ. Furthermore, as I’m sure you are aware, our exhibitions are originated and developed over much longer periods of time and through extended conversations with the artist.

31 Jan 2015’

Shortly after sending me that short note she quit the gallery.

Here’s some links to the blArts (my word to combine my Blatherings on Art) I did about firstsite:

About Bruce McLean- https://apulhed.wordpress.com/2014/07/13/bruce-mclean-not-trendy-but-twitchy/

 

Bruce McLean said- https://apulhed.wordpress.com/2014/06/16/this-is-the-best-exhibition-of-my-work-ever/

 

Two part report on firstsite symposium- https://apulhed.wordpress.com/2014/06/06/so-we-live-in-a-digital-cage-part-2/

 

https://apulhed.wordpress.com/2014/06/01/so-we-live-in-the-digital-cybernetic-age-the-d-c-age-digital-cage/

 

Krzysztof Fijalkowski, Senior Lecturer in Fine Art, Norwich University of the Arts gives a  talk about Henri Chopin- https://apulhed.wordpress.com/2014/05/01/henri-chopin-and-others-who-got-forgot/

 

The Man from New York talk- https://apulhed.wordpress.com/2013/11/12/andrew-roths-talk-at-first-site-last-saturday/

 

Ann Stephen from Australia’s talk- https://apulhed.wordpress.com/2013/10/27/first-site-talk-success-but/

 

Feb 2015– The ‘free community place for arts’ in Colchester called Slack Space did a lovely ‘artists book’ show:

https://apulhed.wordpress.com/2015/02/08/artist-books-stories-at-slack-space/

&

https://apulhed.wordpress.com/2015/02/11/my-artists-books-from-slack-space-to-babe-11-12-april/

 

Also in February the Art Council withdrew the funding from Firstsite gallery and I did a blog about making an offer to help the crestfallen director who on his appointment had said on being announced as Firstsite’s new director in November 2012, “The positioning of Firstsite within the local community is essential to my new role. I hope to extend Firstsite’s mission in bringing excellent art to everyone, supporting artists from the region to develop their careers and demonstrating the value that contemporary visual art brings to society.”

“To Matthew Rowe

I would like to meet you and discuss some of the issues that abide with you and the wonderful firstsite gallery along with its inherited problems and its legacy. I once had a long chat with Michelle Cotton (MC) which she began reluctantly but gradually warmed to and eventually said, ‘You should meet the new director Pete’

I also had a small article in Venue which flagged up the wonderful work of Bruce McLean and how well it looked in the space. I had tried to get Michelle to inform me about which show would follow McLean so I could prepare a longer article for Venue.

I would like to help you to move the gallery forward, why because I have lived in Essex since 1973 and taught art for many years and I see the need for such a big and potentially great space for art(s). At present it is nowhere near reaching its potential and that for many reasons, many of which you know some you may not be aware of.

So, if you would like to meet so we can talk and see if there are ways I can help please respond.

Pete Kennedy MA, DMS, Adv Dip, etc (I didn’t inc. an honor bestowed on me c.2008 RA Doubtful!) 14.2.15”.

MR never bothered to answer my offer yet the local MP and the rep of the Art Council had answered me, somewhat condescendingly I’ll have you know, the MP was ousted at the next election.

My blog abart it:

https://apulhed.wordpress.com/2015/02/28/moving-on-letting-go/

In April Matthew Rowe Director left:

http://www.colchesterchronicle.co.uk/2015/04/08/fancy-a-firstsite-job/

my blog about it, ignore the title, that was not intended to rejoice, I felt sad about MR and MC and all them what tried to bring advanced art ideas to Colchester but their intent altho well-meant was not so well based on the needs of the local community which yes would benefit from ‘education’ into 20th century+ art but it’s ‘the way you tell ‘em’ which counts. BE WARNED there’s a lot about my work in this and all ma blogs:

https://apulhed.wordpress.com/2015/04/25/oh-bee-joy-full/

 

Saturday 11th and Sunday 12th April

I attend the BABE book art fair at the Arnolfini where I share a table with David Jury. On the Sunday I do my reading and dance about my poems which are featured in my two books called ‘Inside This Earthen Vessel’. It was performed in a room they call the lecture room but it had no atmosphere at all. Chris Leonard a friend of over 40 years who lives near Bristol turned up, my mate Dave Doughty came down from Essex to film it and two other folk came plus the gallery helper who had to be there. It was really hard mustering any enthusiasm in such circumstances but those who came all seemed to enjoy it (?). It was invaluable doing it with so little an audience because it brought home the maxim, “The Show must go on” and taught me by experience how to lift myself up when the chips seemed to be down. It was good practice too.

Ere’s ma blog on BABE.

4pm Pete Kennedy ‘readings’- Inspired by Kabir’s poem ‘Inside This Clay Jug’ (transformed from Rabindranath Tagore’s translation by Robert Bly and recited by Pete) Also, various renditions from the original book on Six Mystics- G Batch (G…iorgi Ivanovitch Gurdzhiev. B…euys Joseph. A…ngeli Silesii. T…enzin Gyatso. C…arl Gustav Jung & H…ermann Hesse.), Inside This Clay Jug and Inside This Great Jug.

https://apulhed.wordpress.com/?s=jug+talk+at+babe+%26+bukman+dances+on

 

April 2015, Interim Director Anthony Roberts takes over for a year, my blArt:

Triumphal Buzz

https://apulhed.wordpress.com/2015/06/13/91326/

I join a guided tour led by the new Director, blog:

https://apulhed.wordpress.com/?s=FIRSTSITE+NEW+BEGINNING%2C+PART+2.

July- I go to the BALTIC gallery Gateshead book fair and do my Outlaw Pete Intervention, everything begins to fall into place:

Baltic Artists Book Market 2015

https://apulhed.wordpress.com/?s=baltic+artists+book+market+2015

After my gig at BALTIC I realise I am only skirting around the edges of Performance Art these past 40 years so decide to join the IPA http://www.ipapress.i-pa.org/ in October which leads to possibly one of the most momentous shifts in my thinking and doing in my whole life as a artisbloke:

https://apulhed.wordpress.com/?s=2+weeks+doing+performance+art.

Then another blog, yes it HAS started:

https://apulhed.wordpress.com/2015/11/01/now-i-have-begun/

So, I start to try to get ‘out there’ into the PA community. I have to say sadly my initial tentative approach to LADA has been a damp squib and my attempt to contact the organisers of SPILL fest also hit the rocks. Here’s some blogs:

https://apulhed.wordpress.com/2015/11/29/lets-do-it-live-art/

https://apulhed.wordpress.com/2015/12/14/lets-dance/

My links to IPA have proved much more warm and rewarding. During the ‘pop up performances’ with IPA I return to the Arnolfini and do some much more well received performance art and we use the ‘lecture room’ as a base in which to change our clothes. I did an impromptu engagement with two little boys in a puddle outside the gallery thinking nobody was watching and I got these lovely words from two of our course leaders (Vest & Page) who happened to be in the café looking on proceedings as I splashed with the kids.

“Thanks for your warmth and smiles during the IPA days – we will always remember you jumping with the kid in the little water pond on the streets in front of Arnolfini.

Keep being magic and shining, V&A

v & p latex colord dancers

And I shall never forget their wonderful performance at Arnolfini! I was touched & inspired bigtime and I learned masses from observing them.

 

November I take part in the day of Performance Art at Firstsite gallery.

https://apulhed.wordpress.com/2015/11/09/the-frailty-of-being-human/

Next in November I had a table at the Hadleigh books fair:

https://apulhed.wordpress.com/2015/11/15/life-begins-at-65-now/

And here’s a blog about my first ever article in an American Journal (JAB):

https://apulhed.wordpress.com/2015/11/23/my-german-ghosts/

 

December– Interim Director Anthony Roberts leaves Firstsite before a year is up (with my artist’s math I make it 9 months, just long enuf for a babe to gestate?) BUT he managed to get over £2 million support from Art Council before he goes. Thanks Ant yer dun a great job cos you turned the old tanker around, now it’s headed in the right direction, let’s hope it don’t come aground again. What an end to the year and an era at Firstsite gallery in Colchester, these two events are the final things which Anthony Roberts oversaw as ‘interim’ Director before taking his leave! He left the space in a much better place than he had found it in.

https://apulhed.wordpress.com/2015/12/29/december-at-firstsite/

 

The future at Firstsite.

Now their work begins and they’ve a lot of work to do. The gallery is nowhere near a fully functioning gallery and socially inviting/accepted place. The budge that AR gave it is just that, a budge. It requires a mammoth transformation in its view of the world, local, national & international. Maybe more importantly the local council needs to sort out the locality, that in immediate proximity to the gallery as well as the whole town which over the past 10 years has sunk. It needs imagination and creativity, just as does the gallery. The roads around the gallery, especially the closing of entry into Queen St from the High St., need urgent attention vis a vis right to drive without impunity. The parking access near the gallery needs making available and accessible. The access to and from the car park in Priory St. needs sorting as does the total access and right to use the field outside the gallery. Visitors to the gallery should enjoy complete 360 degree access to the ground around the gallery.

 

Postscript- I can’t, or couldn’t, detach from the idea that my art was worthy and the world did me a dis-service by not attaching to it and giving me loads a money and praise and love and attachment. Then I look see what those results brought for the likes of Michael Jackson, John Lennon & Elvis the Pelvis and I can see I don’t want loads a money and praise and love and attachment. I am now more ready to give up my forlorn attempts to be up there with the famous ones! I think myself lucky that I never made it. I no longer ‘mind’, even if I did in the past. I have had my moments, I’ve had positive feedback which has gone into the burner and helped energise me as did criticisms cos often I’d not take them laying down, I’d up and at ‘em. I’d make my next ting beat better. All the time I wanted to improve. That’s why I find myself an opsimath, a ‘person who learns late in life’, or should that be an Opzzie-Mouth in praise of Ozzie Ozbourne?)

So you see my links to galleries in the past 50 yearns has been rather limited, you could say galleries are my limited company; Pete Kennedy Galleries Ltd. However, onwards and now I’m an Opsimath!  My next blog will be about relationships, according to TED they make your life last much longer if they’re good! Here’s my final blog for this lot:

https://apulhed.wordpress.com/2015/12/21/i-tried-to-change-the-world/

ta to Zelda Chappel fer this image via @Steve_Perfect, ta 2 yu 2 blue

a len bern on art