IN CON with(14)…Neil Ferguson & Calum Storrie, TING FOR DOT, June 7 & 8, 2019 Redacting texts,…applying thinglyness to “things”. Ferguson and Storrie have redacted a variety of publications from Beckett plays and short stories to free gallery handout sheets, cookbooks and detective novels. …TING FOR DOT is an interactive event where the audience will be asked to apply their own redacting systems to TING FOR DOT texts. Tools and text to redact will be supplied. …organizing meaninglessness in “things”?
INCON with(13)… at CAVESPACE,
“THE Same but different “…,
81 Tachbrook Street, Pimlico, SW1V 2QP, 25 – 28th October 2018
INCON with(12)… at IN Conversation with…
“THE Same but different “…,
Saturday 13th October 2018, 5.00pm to 9.00pm
Sunday 14th 2.30pm – 5.00pm.
In Conversation with(6)…Neil Ferguson, Peter Bromley & Matthew Vincent-Townend.
Saturday 12th November, 4-8pm, Sunday 13th November 2.30-5.30. Discussion 4-5.
DuchampING will be an interactive art event forming part of the documentary film, “Vous pour moi.”, involving Bromley, Ferguson & Vincent-Townend currently in production. DuchampING will be making your own Duchamps.
IN Conversation is in Ivy Road, Brockley,London SE4 1YR.
In Conversation with…(5)
Neil Ferguson, Maciej Blazejewski & Fred Vernon.
Saturday October 1,2016. 3.00-8.00pm
Sunday October 2, 2016 2.30 – 5.30pm, Discussion, 2.30-3.30.
“Episto-graphing” encourages the need for drawings to be compiled and collected from a population of logically illogical thinking that may be too complex to be accurately classified, or too easily dismissed as nonsense?
THERE WILL BE a £5 charge for an Episto-graphing booklet.
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Neil Ferguson In Conversation with (1)…Fred Vernon
Sunday 18th October, 2.30 to 3.30.
Working collaboratively on the production of an artwork arguably requires specific rules to be laid down and roles adopted to allow decisions about the work to be made.
These rules initially form a working understanding, perhaps a place to go back to? But what compromises are made and why?
Teamwork and collaborative working is regularly the norm in the wider fields of the arts and so the discussions will focus on the work produced for the event to consider the implications of collaborative thinking and selection.
The discussion further aims to consider where compromise and restriction takes place through censorship and self-censorship in it’s production.
What rules of censorship are applied to images and style?
What is the form of their construction?
How does style censor?
Do images offend?
What images are allowable and what are not?
Is censorship inevitable?
Are forms of self-censorship inevitable?
What approaches to art language become important in dealing with perceptions of censorship and self-censorship without becoming self-censoring obstacles themselves?