Public Performance

Heather & Ivan Morison | The Black Cloud barn-raising


The Black Cloud in production at Spike Island, Bristol from situations.org.uk

Heather and Ivan Morison’s The Shape of Things To Come: The Black Cloud barn-raising takes place on Saturday July 25 in Victoria Park, Bristol. Continuing their run of pavilions for a fragile future that, includes I’m So Sorry. Goodbye at Radical Nature, they’re creating a shelter for public performance and debate, based partly on the shabono communal huts built by the Amazonian Yanomamo – the “fierce people” of the Amazon. More about that on the Situations website. Situations are still looking for volunteers to help record the day.

Go to RSA Arts & Ecology

The Fourth Plinth: a call to artists

This is my blatant call to artists to use the Fourth Plinth – particularly with respect to bringing fresh ways of exploring social issues in what you could argue is the country’s most central space of debate – Trafalgar Square. I’m not at all sure I want to see myself as the Linda Snell of the RSA but I have a similar yearning for public performance and spectacle – but by artists!

Go to www.oneandother.co.uk and press the “Register your interest” button.

It’s interesting to see that Antony Gormley’s Fourth Plinth project is rapidly becoming a lobbying prospect. The idea of using the plinth as a site for contemporary art was initiated by the RSA , no mean feat as it turned out and we learned a lot about the complexity and the ambiguities of the word “public” with respect to both public space and public art.

William Shaw will shortly be interviewing Bob & Roberta Smith for the website. His idea for the Plinth was shown at the National Gallery last year – very much referencing environmental issues, as does his current work at TATE’s Altermodern exhibition. I went round this yesterday. Bob is having a weekly conversation with the show’s curator Nicholas Bourriard and then makes a new work replacing the previous week’s piece. This latest work addresses climate change and as ever his work debunks – it puts the public into art with no affectation and no patronising – with a directness that is exhilarating.

Go to RSA Arts & Ecology