A lovely piece on the vaa diary blog

[Untitled] is a free artist led publication that celebrates Falkirk's voluntary and amateur art groups by providing an opportunity to showcase their work/events to a wider audience in an accessible format.

Created in 2011 by local artist Craig Allan [Untitled] to address the lack of exhibition or promotion opportunities for amateur artists throughout the area. This problem was made evident when speaking to numerous art groups who all spoke about the disgust for lack of exposure, the only current available space for groups to exhibit in was a gardening centre, something they and myself found unacceptable. Having previously submitted work and edited issues for another Glasgow/Carlisle based artist 'zine (Manifesto) that also acted as a portable exhibition space for emerging artists it was obvious this vehicle of promoting work could be translated into Falkirk art groups.

Manifesto #8

Working closely with art groups to find out and address the issues they felt were holding back their group, were the foundations on which [Untitled] started, growing organically to cover a wider range of topics. [Untitled] began with a black and white photocopied issue that displayed full pages of artist's work; drawings, design, paintings and text, whom were invited for to enter for free as long as they were Falkirk based artists working within an amateur arts group. Printed by the help of Voluntary Arts Schotland [Untitled] was distributed throughout the Falkirk area via willing retail units. Every issue of [Untitled] sold old meeting the target of reaching a wider audience as members of the public who would not normally consider Falkirk's art groups were exposed to their work.

Issue 2 of [Untitled] in full colour saw a development in the approach towards representing Falkirk's art groups, due to the increased audience range and interest from varied art groups willing to participate, a new design was created that allowed non visual art groups to enter,

[Untitled] #1

with spotlights on art groups, examples of written word as well as visual art, #2 also introduced advertisement space for groups to promote their upcoming events and press releases. Groups who submitted were; painting group Larbert's wee art group, Falkirk Camera Club and Grangemouth's Project Theatre with critical essays by sculptor Sam Smith and Craig Allan, accompanied by examples of fine art by Vic Firth, poetry from Karen French and photography by Kit Mead.

Issue 2 also saw the introduction of [Untitled]'s popular online content which includes a full downloadable copy of the publication, (something which has been downloaded over a thousand times). A blog, phone app, email newsletter and various social network plaftforms are now online and providing up to date relevant information on Falkirk's voluntary arts, containing a what's on, opportunities page, a Falkirk art map, the only database of art groups and special features on local events such as the Tryst Festival, Open Studios and Voluntary Arts Week.

Now on it's third issue and the first issue to have a set theme for artists to work towards, [Untitled] aims to showcase an even larger amount of art groups to a wider audience, with online content 

[Untitled] #2

firmly on place and a call for entries currently circulating the web on sites like Scottish Book Trust and Creative Scotland, the goal is in sight as numerous groups have expressed interest in submitting to next exciting issue. Issue 3 also aims to create a dialogue between Falkirk's art groups, local authorities and businesses to ensure that the work started with [Untitled] can be continued on a larger community scale and the groups get the exposure they deserve. Work to bring groups together has already begun by inviting groups to attend groups exhibitions and events, the last being the successful Voluntary Arts Week, which brought Tryst Theatre, Festival Chorus, Denny WASP, Larbert's Wee Art Group, FVRG and Sing Forth.

These exhibitions have drawn the attention and imagination of fellow art groups, for example Bonnybridge Camera Club now make frequent contact and express interest in taking part in most events, Falkirk Camera Club are now regularly exhibiting photographs throughout the area, something they were reluctant to do and individual artists within Larbert's Wee Art Group have been inspired to set up their own exhibitions or submit their work for events such as the Pittenween Art Festival.

The portable nature of [Untitled] has allowed these groups to be exposed to people they would not normally be able to reach, numerous copies are available throughout the area at the one time, this is the key to [Untitled]'s success. [Untitled]'s online content has been used in the promotion of art groups and is becoming one of the main port of calls for people discovering Falkirk's voluntary arts.

[Untitled] brief as seen on Creative Scotland

[Untitled] is currently seeking entries from art groups for the third issue, to find out the requirements and specifications on how to submit your work please visit the [Untitled] blog - click here

To find out more up to date information on Falkirk's art groups like [Untitled] on Facebook

To download the fantastic second issue of [Untitled] click here

For any more enquiries or questions email vaa-falkirk@vascotland.org.uk

http://vaafalkirk.blogspot.co.uk/

Transmitted Live: Nam June Paik Resounds

As a practicing artist with an interest in sculpture and performance work I was naturally going to be excited about Scotland's first exhibition of Korea's Nam June Piak at Talbot Rice in Edinburgh.

Combining technology with art making processes Paik prophesied about the role of the artist and the world itself in the future, portrayed in his seminal 1963 works Participation TV and Random Access Information. Celebrating 50 years since Paik's first solo show, Exposition of Music - Electronic Televsion at Wuppertal in 1963, Transmitted Live: Nam June Paik Resounds documents the ideas of counter-culture movements of the 60's and Paik's belief that technology should be treated as a material within an artist's repertoire, televisions, lasers, video and satellites feature heavily within his work.

TV Cello - Nam June Piak

The main floor of Talbot Rice contains an bizarre bazaar array of work that includes homemade robots created from television robots that are seen socialising with Duchamp and Beuys who feature within a series of documentary videos. His iconic TV Cello (1971) sits along side video work that represents Paik's collaborative work with the likes of John Cage and Merce Cunnigham. Upstairs contains a wide range of work and includes exhibition memorabilia creating an intimate portrait of a man at the height of his powers. The round room is home to his trademark TV Buddha (1974) sits alone in a self reflecting meditation. In contrast the Gregorian gallery is filled with the sounds and sights of Global Groove (1973) that juxtaposes catchy pop hits and dancing with avante garde performance and rituals coupled with the dangling wires and televisions of Video Chandelier No. 1.

Global Groove - Nam June Piak

The work selected for display at Talbot Rice is what any fan of Piak would hope to see and hear, however the curation of these works is suspect, TV Cello sat on a plinth, objects created work displayed behind glass, posters and photographs of previous exhibitions presented as if they were equal to the performances themselves, therefore creating a sssh don't touch atmosphere that was not incorporated in the original works, TV Cello was made to be played, synthesizers were to be used and the posters for promotion only. On the upper floor sits a piece in which the audience is encouraged to speak into a microphone in which the pitch of their voices changes the shape on the screen accordingly that harks back to the original use of the work. Several photographs of the artist with fellow Flux member Yoko Ono and John Lennon, works with John Cage act as a justification to unfamiliar Fringe audience members as to why Talbot Rice should show this retrospective. The result of this is that instead of celebrating the genius of Piak the show merely documents a period in time, the old fashioned technology displayed in cabinets is reminiscent of a museum that depicts ancient artifacts.

The Poet Speaks

Two giants of contemporary music come together for an intimate recital of poetry and song in tribute to their friend and seminal beat poet Allen Ginsberg. Punk poet Patti Smith performs both her own and her favourite Ginsberg poems, as well as reciting the work of Robert Louis Stevenson, with accompaniment and solo pieces for piano by "minimalist" composer Philip Glass.

Photo courtesy of Eoin Carey

A long with his friends Jack Kerouac and Bill Burroughs, Ginsberg were the originators of the Beat Generation. Inspired by his friends Ginsberg's poetry hails their contribution, spirituality and the fury of growing up in 1930's/40's America. Acclaimed for his poems such as; Wichita Vortex Sutra, Kaddish andHowl. Although not all music and poems were about Ginsberg his presence was felt through the entire performance and theatre. As a back drop to the event Glass and Smith curated photographs and images of and inspired by their friend that reveal his diverse achievements. A slow progression of black and white images of a man in different stages in life, a young man socialising with beat friends in what appears to be a diner to sophisticated man sporting an electrifying beard on his visits abroad.

Photo courtesy of Eoin Carey

The set up was simple, Glass at a black grand piano, Smith at a microphone dressed in mostly black, beginning withWichita Vortex Sutra that was accompanied by piano music composed Glass, later complimented by Smith's own poem The Blue Thangka, a poem about the death of an old man watched over by his faithful dog. Separating for their own individual sections of the performance, Smith joined on stage by Tony Shanahan play acoustic guitar versions of Dancing barefoot and pissing in a river and a rendition of John Lennon's Beautiful Boy. In contrast Glass plays three piano pieces as one that included two of his "Etudes" and the only break in the spoken word throughout the evening. Although the three elements work successfully on their own, bringing them together brought about something special, something sensual and something that will be remembered for a while to come.

The beat of Holy, Holy, Holy, Holy, Holy, the final segment of Ginsberg's trademark piece Howlbrought the evening to an end, which resulted in a standing ovation from the crowd, with an encore of People have the power. The audience were left in awe and possible witnessed the best show of the festival