Posts Tagged ‘Pete Horobin’

The Psychogeography Of Dundee – or, Ae Phor Ain’t Here!

Saturday, October 8th, 2011

I’ve always been rather fond of the psychogeographical device known as ‘the possible appointment’, and so I’m generally willing to make that extra bit of effort in order to fail to meet someone. Yesterday I went to Dundee where I narrowly missed hooking up with Ae Phor. To explain what happened I need to backtrack a bit.

In April 1984 I met Dundee based artist Pete Horobin in London, and started to collaborate with him on various projects. As a result,  from 1984 onwards I’ve visited Dundee on a fairly regular basis.  I liked the city and in the eighties I’d go there to pick up used books and vinyl for a fraction of the price they’d cost me in London. I’d often stay in Horobin’s flat, The Data Attic  on Union Street, right in the centre of town. When in Dundee I’d make durational videos,  sound pieces and other stuff, both with Horobin and on my own – and when I got fed up doing that I’d wander all over the town.

Horobin spent the eighties building up a vast archive of bizarre and banal material which he classified as ‘data’. He hoarded everything that crossed his path, since to him it was all ‘data’. More recently this material has been dispersed across Europe. What couldn’t be placed with archives such as Art Pool (Budapest) has been returned to those who’d made it. In recent years, various materials I’d either left in or send to the Data Attic were given back to me by a shadowy figure calling himself Haining. Six days ago I received an email message from an individual who identified himself Ae Phor stating that the Data Attic was being emptied in preparation for its sale, and that he wanted to make arrangements to pass back to me “a VHS video cassette + photos” . By way of reply, I proposed a final visit to 37 Union Street so that I could collect these goodies in person.

My initial suggestion was that I should travel to Dundee between Friday 7 October and Monday 10 October, and that I would drop in on the Data Attic for an hour or two. By the time Ae Phor got back to me suggesting I come on Monday (because on Friday he was planning to cycle across Fife, and would be away all weekend) my schedule had changed and I was only free to hang out in Dundee on 7 October. I emailed suggesting I arrive early on the Friday.  I heard nothing back (and when I phoned and sent texts there was still no reply) but in the true spirit of psychogeographical exploration, I decided to make the journey anyway. I considered it a ‘possible appointment’ .

According to the original 1950s psychogeorgraphers of the Lettrist International, the possible appointment was when a subject was asked to find themselves alone, at a precise time, in a preordained place. No one was there to meet them. Other variations include arranging to meet an unknown person, which it was claimed led to interesting interactions with strangers. I arrived at the downstairs street door of the Data Attic before nine in the morning. There was no reply when I rang the bell. Since I was keen to climb the steps to the top floor one final time, I decided to walk around and come back later.

I had a heavy cold and so I rejected the notion of walking up to the top of the Law Hill, or across the Tay Road Bridge into Fife, both things I’d done many times in the past. Instead I headed up to the Wellgate Centre. It was a curious experience since the recession had taken a heavy toll on Dundee. One of the pound shops at the entrance to this particular shopping mall had closed (it hadn’t been open very long, the unit was previously an outlet for Head and before that the bankrupt Virgin Records) and many other units were empty too – including one on the third level that until recently had been occupied by another bankrupt bargain bin chain called T. J. Hughes.

There is a Poundland on level two of The Wellgate, and there I also found a big new branch of the charity shop (thrift store) The British Heart Foundation, and another cut-price operation I’d not come across before – Home Bargains.  This outfit was occupying about half of the space previously used by the defunct chain Woolworths, the rest of it was still empty and boarded up.  On their website Home Bargains say they have more than 250 stores in the UK and they run the slogan Top Brands – Bottom Prices immediately beneath their name. Having looked at their Dundee store, I’d say this company was talking out of its arsehole with the claim about ‘top brands’.

That said, I did become mildly excited when I noticed Home Bargains were selling unicycles for £29.99. Since I’ve recently been doing readings from my books while standing on my head, I wondered if I could move on to riding a unicycle onstage while reciting my fiction. It took me a few seconds to realise that the continual movement necessary to avoid falling off the unicycle would prove distracting, and so it just wouldn’t work as an additional prop to my readings. I then moved on to wondering how a bargain store selling £29.99 unicycles in Dundee could possibly be a viable business…. It was a surreal proposition and left me wondering how long the chain would survive.

Two months earlier, filling in time while waiting to get a bus to Kaunas airport in Lithuania, I’d spent an hour or so in the Akropolis Shopping Centre, and it quickly became clear that Kaunas was another town that had been visibly devastated by the economic downturn. The Akropolis appeared even less financially viable than The Wellgate Centre in Dundee, since it was virtually empty; in every unit I entered there’d be no shoppers but several assistants, who’d descent like vultures asking if I needed help the moment I stepped through their door. In the end I fled and hung out at the bus station to avoid being harassed.

Returning to my trip to Dundee, I next checked out The Forum Shopping Centre and that was in even more of a sorry state than the Wellgate, with loads of empty units and no one looking like they were doing any business. I decided to skip the Overgate mall and head straight to Grouchos, my favourite used record store in the world! It has been interesting watching them shift back to selling more vinyl and reducing their stock of CDs and DVDs in recent years. Despite this, I didn’t have much luck finding any sounds I wanted. Grouchos did have a copy of Chuck Brown Live 87, the double album on Rhythm King, but they wanted £8.99 for it – and I knew I’d be able to find it online for under a fiver, so I gave it a miss. I’ve had some amazing vinyl bargains out of Grouchos over the past 27 years, but yesterday I left the store  bereft of vinyl.

By this time I had a slight fever and was starting to  hallucinate – what I though at first glance were rare 45s, turned out on examination to be worthless dreck- so I thought it might be a good idea to sit down and eat. I went to The Capitol – a Wetherspoons pub handily close to the bus station – and ordered a regular vegetarian breakfast for £3.10. When the platter arrived, it was a £4.20 large breakfast. There was way to much food, more than I’d paid for, but me being me I ate everything on my plate anyway. This is the story of my life, I’m always being given extra food; one time when I was staying in a hotel in Paris a waitress gave me two breakfasts every morning, one after the other, but nobody else was given double portions… I was very skinny and in my late-teens, I must have looked like I needed feeding up.

Eating too much and getting to sit down made me feel better. There was also free wi fi in The Capitol, unlike  some of the local cafes. When I checked my email I found a message from Ae Phor that had been sent while I was ordering my breakfast. It said: “this morning I left The Attic at 08.45 to cycle to Cupar via Leuchars. All of which indicates that we are fated not to see each other…” I’d missed Ae Phor by about 5 minutes, and then coming out of The Capitol I saw the bus I’d intended to catch whizzing down the street. Before I finally got out of Dundee, a distraught woman asked me if I could call her mobile because she’d lost it. I dialled the number from my phone and her mobile turned out to be in the front pocket of her handbag, which she’d not looked inside. I met another flustered woman standing outside a supermarket a bit later on. She stopped me and asked if I’d carry a chair she’d just bought – she said she thought she’d be able to lug it home but it was too heavy for her. I suggested she call a cab….

Later, checking my email again, I found a message from Laura Simpson of The Cooper Gallery in Dundee. She’d sent me a link to the Retro Dundee blog and specifically a post about The Data Attic. Now that’s what I call psychogeography!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

The Attic Archive at the Cupar Arts Festival

Wednesday, October 14th, 2009

The Cupar Arts Festival went head to head with The Frieze Art Fair once again this year, and for me there was no contest in terms of prioritising one over the other. I headed out of London and away from Frieze to Cupar in Fife (Scotland). The main attraction was The Attic Archive on at The Y (Marathon House, Bonnygate, Cupar, Fife KY15 4LG). The Attic is a private space on Dundee’s Union Street that has been an international centre for marginal art collaborations since the early 1970s; the Cupar Arts Festival exhibition provides a rare chance for the general public to get a sense of what’s been going on there all that time.

On display is a slew of works by malcontents ranging from international  mail artists like David Zack and Carlo Pittore, via oppositional Scottish painters/sculptors such as Karen Strang and Andy Stenhouse to erm, people from London like Stefan Szczelkun and me! A lot of the material is in the medium of print and short run cassettes/CDrs (indeed some are one-offs), but there are also remnants from performances (including a hat set on fire by legendary American Neoist John Berndt, who was wearing it at the time it burnt,  and clothes worn by Pete Horobin during his 10 year Data Project).

Causing intense excitement are a series of washing powder boxes (Lux, Ariel and Drive) that had housed the soap Pete Horobin used to clean his clothes during the 1980s. They bring back memories of old commodity packaging, and are a hot topic of conversation among visitors. The soap boxes are displayed on the top of various sets of industrial shelving, while beneath are hundreds of publications that can be picked up and read; and there is an armchair sprayed gold and painted with the name ‘Monty Cantsin’ in which visitors can settle and peruse some very obscure magazines and catalogues.

Peter Haining is on hand to talk about all this material, and will play any of the hand assembled CDrs or cassettes on display, if requested to do so. He also made me a pot of tea when I demanded one about two minutes after walking in – and it came in a Lotte Glob teapot. This environment and the work it houses clearly emerge from fluxus and conceptual art, and might more correctly by labelled as neoist, but some visitors will also see in it a reflection of post-slacker aesthetics. That said, the room was freshly painted, carpeted and well heated (all in all very comfortable)… even if the packaging used to transport everything is on display too! Make sure you don’t miss this show (on until 25 October, closed Mondays) because it is a rare opportunity to dig into the international anti-art underground of the 1970s, 1980s and beyond; and it will take you in even deeper than the recent and current London retrospectives of Ray Johnson and Gustav Metzger!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Gazwrx: The films of Jeff Keen

Tuesday, March 3rd, 2009

The BFI have just done us proud with a box set of Jeff Keen films entitled Gazwrx, not to mention various screenings of his works – and all from brand spanking new prints! Keen was one of the earliest and best British underground film-makers. He was largely self-taught and is blessed with a beatnik sensibility that converges with the hippie scene of the later sixties but remains a distinctive strand within it. As a starting point for all this, imagine a surrealist remake of Robert Frank’s Pull My Daisy (1959) set in Brighton and you’re not a million miles away from Like The Time Is Now (1961); except, of course, the comparison glosses over Jeff Keen’s singularity. Wail (1960) is probably more typical of Keen’s cinematic sensibility; a crazy mix of animation and live action footage featuring Hollywood werewolves, high art and gang violence. Using 8mm film, Keen created scratch video 20 years before anyone else had thought of it. The resultant mix and match of high art and lowbrow popular culture runs through forty years of his film work.

From the early sixties right through to the late seventies Keen worked with an ensemble of players who might be compared to the troupe John Waters deployed in his midnight movie hits before making the transition to Hollywood director. Although both men clearly set out to entertain their audiences, the similarities pretty much stop there because Keen created shorts not features, had no time for narrative and made extensive use of animation and double exposure. So the results are closer to Ira Cohen’s Invasion of Thunderbolt Pagoda (1968) than Pink Flamingos (1972). But as in John Waters’ far more conventional flicks, Keen’s ensemble of actors liked to dress up and act out as exaggerated comic book versions of themselves: and some of them were rather fond of taking their clothes off too, particularly Jeff’s wife Jackie Keen. One can sense from the films that there were sexual shenanigans going on off-screen that fuelled the bad craziness caught on celluloid. But if sex and nudity don’t do it for you, there are also cardboard ray guns, monsters, endless explosions of paint and other pyrotechnics. The titles of the films in the Gaswrx box provide a good indication of their content: Cineblatz, Marvo Movie, Meatdaze, The Cartoon Theatre of Dr Gaz, Return of Silver Head, Victory Thru Film Power, Kino Pulveriso, The Dreams and Past Crimes of the Archduke, Omozap, Artwar Fallout, Plasticator etc.

One of the great things about this BFI box set is that it allows you to follow Keen’s development from 1960 to 2000, and thereby see how he adapted his singular sensibility to different technologies (8mm, 16mm, video) and changing times. There is a major shift in his work that occurs at the end of the 1970s, when rather than a tribal ensemble acting out before the camera, Jeff himself in a paint splattered boiler suit becomes the main focus of attention (with much of the camerawork handled by his daughter Stella Starr, who also appears in many of the movies from a young age). My own preference is for the earlier work, and my favourite piece by Keen is the 33 minutes of madness known as White Dust (1972).  That said, the later shorts show Keen at his most aggressive. Although he is always entertaining and quick to offer his audience visual jokes, by the eighties a sense of frustration enters Keen’s work, and alongside it there seems to be a desire to punish those viewers who try to passively consume his movies as mere divertissements. Reaganomics possibly had something to do with this, because a similar anger bubbles through much underground art video produced in this period; the work of Pete Horobin, for example, also tests the limits of the viewer’s endurance, albeit in very different ways to Keen. Putting the focus firmly back on Jeff Keen, his films are always entertaining but are also far more complex and referential than they might at first appear to a casual – or indeed, an attentive – viewer. While having having read André Breton’s surrealist novel Nadja isn’t an essential requirement for the enjoyment of Keen’s exuberance ouvre, it is just one of many many things that he explicitly references.

Jeff is still alive and well and living in a two room flat in Brighton, but at 85 he seems to have retired from active film-making. The closest figure we have to Keen currently making movies is Damon Packard; although, of course, the younger man substitutes Keen’s love of science fiction with slasher film obsessions. Packard is also at a serious disadvantage in that the cinema clubs and underground art centres where Keen’s films played in chaotic but sociable environments to audiences who were often bombed out of their minds on drugs, no longer exist. The nearest you’ll come to that now is inviting some friends over to your pad to watch highlights from the Gazwrx set while enjoying something that might well be more intoxicating than beer! And if that proves a success why not follow it up with a midnight home screening of Packard’s Reflections of Evil (2002)?

Gazwrx: The Films of Jeff Keen was released by the BFI on 23 February 2009 in both DVD and Blu-ray editions with a list price of £34.99 for 570 minutes of footage!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!