Openings: Festival Iminente (London)
Festival Iminente (previewed) opens today and will bring two days of art and music to London’s Brick Lane. The festival serves as both a celebration of Portuguese and pan-European culture and a warning of what may be lost as a result of the UK’s exit from the European Union. Vhil‘s cast concrete sculpture is based upon a sketch which he drew on a previous trip to the capital. The portrait is surrounded and interwoven with fragments of a city as viewed from above and the crevices created by the metropolis’ roads and alleyways which are interwoven with the facial features. Our cities, perhaps more visibly than anywhere else, display the richness that is created when different cultures and nationalities coalesce. Aside from curating, Vhils’ other major contribution to the event is part of a large collaborative work which forms the centrepiece of the outside space and also features the typography of Halfstudio, the portraiture of Draw+Contra and the illustration-influenced work of The Caver. This large-scale collaboration underlines the importance of cooperation, which in the European Union has benefited areas as diverse as national security, scientific research and environmental issues. Visitors enter the festival via Mais Menos‘ border control post which is strongly reminiscent of Checkpoint Charlie, which for decades stood on the border in central Berlin when Europe was divided during the Cold War. Elsewhere, Mais Menos uses simple but effective wordplay to highlight other challenges which face the continent; the slogan ‘Leave Us A Loan’ looms large over the festival and the words ‘Private Poverty’ adorn his border fence which encircles the site. Eine‘s piece is appropriately rendered in his trademark-style Circus font and strikes a more ambiguous tone; ‘The Circus’ to which it refers could easily be the behaviour of fractions on either side of the Brexit debates or the media through which that debate has been channelled. Conor Harrington‘s large scale painting is suggestive of the UK pulling the plug on the European project and putting an end to 44 years of endeavours; the work is rendered in the blue and gold colours of the EU and the subject’s weathered face speaks of all the effort which has been put in and which are now going down the proverbial plughole. Sickboy‘s Italo Disco-flavored installation features a comatose skeleton, a giant glitter ball and a giant speaker in the shape of a crucifix and Wasted Rita‘s sloganeering installation proudly proclaims ‘Sex Toys Before Boys’ and that ‘All Feminists Go To Heaven’. In addition to a pop-up gallery presented by Underdogs Gallery, the festival also includes contributions from Add Fuel, AkaCorleone, André da Loba, Bordalo II and Mar. The festival is being supported by Super Bock and will run (2pm to 3am) Friday 28th and Saturday 29th July 2017 at 93 Feet East, Old Truman Brewery, 91 Brick Lane, London, E1 6QL. Tickets are available now from festivaliminente.com. Photo credit: @feralthings http://arrestedmotion.com
Previews/Interviews: Vhils // Festival Iminente (London)
Festival Iminente will be bringing a taste of Portuguese culture to East London at the end of the month. The event is being curated by Vhils and the Underdogs Gallery which he established in 2013. The festival debuted in Lisbon’s Oeiras district last autumn and this latest iteration carries a particularly contemporary theme with the subtitle Art Before Brexit. The participating artists’ individual contributions address some of the specific issues which dominated the public conversation around Brexit. For example, Mais Menos’ installation is concerned with border controls and the free movement of people. However, the Brexit vote also laid bare the larger, but less directly discussed, existential divide in British society between those with an inward looking, conservative outlook and a younger generation with a more inclusive, outward looking world view. It is this positive perspective on life which Festival Iminente taps into with their celebration of art and music with a distinctly Portuguese flavor. The event will facilitate a cross border exchange of ideas and creativity at a time when the UK is severing many of its links with its European neighbours. Sickboy’s contribution references Italo Disco, the genre of dance music which took inspiration from American disco and in turn went on to influence British bands like New Order; as such, the genre demonstrates the richness that flows across borders. The festival also features the work of Add Fuel, AkaCorleone, André da Loba, Ben Eine, Bordalo II, Conor Harrington, Draw+Contra, Halfstudio, Mar, Pixel Pancho, The Caver, and Wasted Rita. Vhils is no stranger to bringing music and art together, having previously created a spellbinding music video for Orlha Negra. The festival will bring the sounds of a raft of Portugese DJs including Batida, DJ Firmeza and DJ Ride to Brick Lane throughout the afternoon and night. Arrested Motion recently caught up with Vhils for a chat ahead of the festival:
Arrested Motion (AM): History has always been a central concern in your work, so how significant do you see this moment being in the history of the UK and the EU?
Vhils: The big concern here is that no one knows how this is going to play out, either for the UK or for the rest of Europe. We can clearly see that for most of the time over the last 70 years Europe has been at peace with itself and, like it or not, we have to admit that the EU played a huge role in this. I think that, despite all of its defects, a lot has been achieved through the EU. It’s not a perfect model, it’s swamped with bureaucracy, it has failed to resolve many serious issues – from the wars in the former Yugoslavia in the 1990s to the 2008 financial crisis, the ensuing sovereign debt crisis and the current so-called migration crisis, among many others – but it’s the only organisation we have to settle our differences amongst ourselves and work together. Whatever its faults – and I believe these can and should be worked on from within – the EU has served this purpose very well. Even though I don’t agree with the positions that led to Brexit, I respect the people’s desire to try to change things. The problem here is that Brexit is not an attempt to change things constructively. For most of us in Europe, and I believe for many in the UK also, Brexit looks like an ill-thought out tantrum thrown by manipulative self-serving political forces. It’s like someone who uses a suicide attempt to call out for attention while banking on the fact that someone will reach out to them in time. Yet, in this case, the emergency services arrived a little too late. The UK has always had the power to hold a prominent position within the EU but has always chosen to be a half-hearted member instead. Cooperation is obviously about consensus and this is only achieved through some form of compromise which ensures mutual benefits. The idea that the UK has been the victim of a European conspiracy that has exploited it to the benefit of the rest of the continent is absurd. The irony, of course, is that all the major issues that led people to vote for Brexit – mainly this idea of “taking back control of our borders” and stopping the “swarm” of marauding migrants – will not be affected in the least by this decision. Yes, Europe is facing serious issues. Yes, the EU needs major changes, but the level of polarisation and fear-mongering which is being fomented by the extremists from within is much more serious and threatening to our well-being than any other issue. Working together has always been the best way to settle differences. Despite the fact that art and music are universal languages and therefore can easily foster connections and cooperation, artists and musicians clearly show how powerful we can be when we achieve this, and this is one of the purposes of Iminente. To show that, despite our differences, we can and should work together.
AM: In a sense, you’re a child of the modern Europe having grown up in Portugal and having studied here in London, so how has the Brexit vote made you feel on a personal level?
Vhils: To be honest, it came as a shock. I feel that I was a pretty lucky European to have grown up during a time when this interaction was possible with the UK. What the future will hold nobody knows, but despite all its shortcomings, the EU created the conditions to make this interaction possible among its member states. People tend to focus on politics and the economy, but this interaction has been very positive for artists and other creatives working in various fields. My generation was given access to these amazing privileges, which are very easy to forget when you take them for granted. For each solution a thousand problems are created. We may have serious problems to solve here, but I don’t think we have really evaluated properly what problems will arise from this particular solution. Regardless of the outcome, we all stand to lose both in the UK and the rest of Europe.
AM: What do you think it is about politics and political imagery that has made them such enduring influences on your work?
Vhils: I look at my work as being more concerned with social issues than political issues, but I can also see how easily these can be connected. My main concern is to create a reflection on how the fast changes brought about by the model of socio-economic development we’re following without much critical consideration are affecting individual and cultural identities. How, while we are growing increasingly connected, we are also witnessing the erosion of the differences that made each culture unique. Working as I do with the material layers of our cultures that have sedimented over time, the act of digging into them and bringing to light fragments from the past can be seen as a statement on this loss, and how our collective memory tends to forget things very quickly.
AM: Can you tell us a bit about why you’ve chosen this particular group of artists for Festival Iminente?
Vhils: All of these are essentially artists whose work I both respect and admire. It’s as simple as that. I wish we could have more artists, but that would affect the spirit of the festival, which is meant to be a very low-key and intimate experience. What they share in common is that they all come from Europe, they are all breaking new ground in their respective ways, they all have something interesting to say and in essence they all represent a utopian view of what a real European community can look like. We are all very different people but what separates us is nothing compared with what brings us together. In this respect we share a sort of identity amongst us. And this is the key issue here.
The festival is being supported by Super Bock and will run (2pm to 3am) Friday 28th and Saturday 29th July 2017 at 93 Feet East, Old Truman Brewery, 91 Brick Lane, London, E1 6QL. Tickets are available now from festivaliminente.com.
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