WEBVTT 1 00:00:00.560 --> 00:00:05.980 Welcome to Clarendon Creative Progressive Dinner Party report, feedback. 2 00:00:06.840 --> 00:00:13.720 And my name's Amy, this is Dr Marnie, and Nicholas is also sitting on the left there. 3 00:00:15.140 --> 00:00:20.620 Marnie's flown in today from Melbourne to tell us about the power of creative residencies. 4 00:00:21.620 --> 00:00:24.660 And I'm going to just give you a little bit of a back story. 5 00:00:24.660 --> 00:00:31.200 I have been looking after Clarendon House, or as it's coming to be known now, Clarendon Creative. 6 00:00:32.120 --> 00:00:42.860 In 2016, Noella Hjorth, who is Larissa Hjorth's mum, and the owner of Clarendon House, had tripped off the mortal coil. 7 00:00:43.300 --> 00:00:54.120 And as a result, in regards to maybe Larissa's grief and also being in Melbourne, asked me to step in. 8 00:00:54.200 --> 00:00:54.640 And... 9 00:00:54.660 --> 00:00:56.840 And be a part of its new life. 10 00:00:57.080 --> 00:00:59.940 At that stage, we didn't really know what the new life was. 11 00:01:01.060 --> 00:01:08.640 But over time, it's becoming clear that Larissa would like to turn this into a creative residency. 12 00:01:08.960 --> 00:01:16.580 Or a place where people can go to think, to be creative, and to take respite and heal. 13 00:01:18.180 --> 00:01:24.200 So, through the Adelaide Festival of Ideas, Sandy Fershaw, I'd said that I was working on this project. 14 00:01:24.660 --> 00:01:28.640 And she said, this might be a great opportunity for us to host something in the festival. 15 00:01:29.360 --> 00:01:30.660 Tremendous idea, I thought. 16 00:01:30.900 --> 00:01:32.840 Let's just have a few drinks. 17 00:01:33.100 --> 00:01:36.720 So, over time, this few drinks grew and grew and grew. 18 00:01:36.940 --> 00:01:44.240 And it turned into a creative collaboration with 40 people, 40 tremendous creatives and thinkers. 19 00:01:44.380 --> 00:01:52.260 And also, the diverse members of the public, of which there were scumblers and anesthetists. 20 00:01:53.280 --> 00:01:53.300 And... 21 00:02:15.980 --> 00:02:16.080 . 22 00:02:16.080 --> 00:02:16.780 . 23 00:02:16.780 --> 00:02:18.520 . 24 00:02:18.520 --> 00:02:18.620 . 25 00:02:18.620 --> 00:02:25.180 Marni Varm, who is going to take you through the journey of creative residencies. 26 00:02:26.400 --> 00:02:31.980 Welcome everyone. Before I get too deep into this, I want to acknowledge that we're meeting 27 00:02:31.980 --> 00:02:37.120 on the traditional lands of the Paramang and Ghana people, and we recognise their connection 28 00:02:37.120 --> 00:02:43.060 with the land. Thanks Amy, and thanks Nick for being here, and all you wonderful people 29 00:02:43.060 --> 00:02:50.200 who are involved in the night, an army of helpers and collaborators, and a great team 30 00:02:50.200 --> 00:02:57.920 of collaborating participants and dinner guests. Noella was a prolific and astonishing artist 31 00:02:57.920 --> 00:03:04.800 of many disciplines. Her reoccurring themes were the divine feminine and mysticism. This 32 00:03:04.800 --> 00:03:10.500 can be felt when standing in the grounds. She made what she called living sculptures. 33 00:03:11.520 --> 00:03:13.040 To launch the retreat, she was a member of the Paramang and Ghana people, and she was 34 00:03:13.060 --> 00:03:13.140 a member of the Paramang and Ghana community. 35 00:03:13.140 --> 00:03:18.540 To launch the retreat, we decided to host a dinner party for 40, exactly 40, of the 36 00:03:18.540 --> 00:03:24.340 most interesting people in the region. Some were self-determined as the most interesting, 37 00:03:24.460 --> 00:03:32.400 and others were invited. Also, thinking about who might contribute to the future of this 38 00:03:32.400 --> 00:03:39.320 creative residency, the future vision of Clarendon Creative. So this wasn't just any dinner 39 00:03:39.320 --> 00:03:42.680 party, it was a choreographed, progressive dinner party. 40 00:03:43.060 --> 00:03:59.220 The event was a way for us to explore and inhabit the property and grounds, but also to actively think about sustainability in its broadest sense, in terms of our social, cultural, economic, and ecological futures through food, conversation, and play. 41 00:04:00.500 --> 00:04:03.900 So that game is how we're going to end the session today. 42 00:04:04.160 --> 00:04:05.560 What was played on the night? 43 00:04:05.660 --> 00:04:06.680 Nick's going to give us a hand. 44 00:04:06.680 --> 00:04:15.380 But before that, I'm going to share with you some of my research, which is the context for the thinking about the development of Claritin Creative. 45 00:04:15.880 --> 00:04:22.040 So I met Amy on the phone from Canada about four weeks ago. 46 00:04:23.320 --> 00:04:33.280 And we both had been tapped on the shoulder by Larissa to think about how we could engage people in Claritin and Adelaide in thinking about the future of Claritin Creative. 47 00:04:33.800 --> 00:04:36.020 So we cooked up this idea. 48 00:04:36.680 --> 00:04:37.200 We had a dinner party. 49 00:04:37.700 --> 00:04:47.940 I believe Larissa thought it would be of interest to me with my current research on artist residencies and sustainability, socially engaged arts practice. 50 00:04:48.560 --> 00:04:53.760 So I'll give you a bit of that theoretical and practical thinking that I'm working on. 51 00:04:54.000 --> 00:04:59.920 Then I'll share with you the video that we made from last week's event and talk a bit more about the detail. 52 00:05:00.120 --> 00:05:04.120 And then finally we'll wrap up with the game, the thing for the future. 53 00:05:05.440 --> 00:05:06.560 So residencies. 54 00:05:06.680 --> 00:05:15.480 Typically provide artists with time required and space away from their obligations of everyday life to research, develop and produce new creative work. 55 00:05:16.340 --> 00:05:22.400 Over the past two decades, there's been a worldwide explosion in the number of residencies and their diverse forms. 56 00:05:22.980 --> 00:05:34.640 My current research focuses on what I call the social life of artist residencies by drawing attention to the communal relationships that can be built between artists, communities and institutions, 57 00:05:34.900 --> 00:05:36.660 which wish to work together. 58 00:05:47.640 --> 00:05:54.700 The visibility of these institutions ultimately 59 00:06:04.360 --> 00:06:09.240 for socially and politically motivated artists to develop site-responsive projects 60 00:06:09.240 --> 00:06:12.400 for public interaction with community members. 61 00:06:13.280 --> 00:06:18.900 Forms of today's sharing economy rely on communal interests of tenants, travelers, and hosts 62 00:06:18.900 --> 00:06:22.940 to live in cooperative and intentional community lifestyles with neighbors 63 00:06:22.940 --> 00:06:27.960 who share similar values, serving as social alternatives to mainstream cultural economies. 64 00:06:27.960 --> 00:06:34.540 Under historic systems of sponsorship, artists sought retreat from everyday life 65 00:06:34.540 --> 00:06:39.320 with an interest in isolation and to find good working conditions. 66 00:06:40.300 --> 00:06:44.520 Colonies are often built in these natural settings with artists working side by side 67 00:06:44.520 --> 00:06:49.500 with their physical requirements supported in the form of shared meals and basic lodging. 68 00:06:50.140 --> 00:06:54.960 These social forms have functioned under systems of patronage, shared labor, 69 00:06:55.240 --> 00:06:57.940 and often untraditional yet practical work lives. 70 00:06:59.540 --> 00:07:05.040 Internationally, there are hundreds of residential centers founded as artistic communal or intentional communities. 71 00:07:05.740 --> 00:07:11.960 More than 100 years ago, a farmhouse was erected on the woodlands of the New Hampshire woodlands 72 00:07:13.000 --> 00:07:15.440 to become the infamous McDowell Colony. 73 00:07:15.680 --> 00:07:23.000 This incubator for the creative arts was built on the composer Edward McDowell's vision and his wife, Marian. 74 00:07:23.660 --> 00:07:27.780 It was founded on the premise and maintained that this home would be a colony 75 00:07:27.780 --> 00:07:27.940 for the artists. 76 00:07:27.960 --> 00:07:28.420 The colony was built in the form of a small, 77 00:07:28.420 --> 00:07:33.160 where working conditions most favorable to the production of enduring works of the imagination 78 00:07:33.160 --> 00:07:35.800 shall be provided for creative artists. 79 00:07:36.600 --> 00:07:39.580 Slowly building each studio one at a time, 80 00:07:39.700 --> 00:07:42.340 the McDowell Colony resulted in 32 studios, 81 00:07:42.520 --> 00:07:47.040 which remain scattered across the 450 acres of meadow and forest today. 82 00:07:47.980 --> 00:07:49.500 Nearby in the Rocky Mountains, 83 00:07:49.740 --> 00:07:54.400 the Banff Center for the Arts and Creativity is arguably host to one of the world's largest 84 00:07:54.400 --> 00:07:57.860 and most diverse multidisciplinary residency programs. 85 00:07:58.380 --> 00:08:03.700 With systems of artist paid tuition and philanthropic government and business sponsorship, 86 00:08:04.120 --> 00:08:11.820 the center offers a range of models including themed group pedagogic experiences for socially engaged artists. 87 00:08:12.260 --> 00:08:15.240 However, still sheltered away in the woods of the campus, 88 00:08:15.240 --> 00:08:18.500 the latent artist colony hosts self-directed residencies. 89 00:08:18.900 --> 00:08:24.400 Time at the colony offers artists the ability to delve into their work as a solitary retreat, 90 00:08:24.760 --> 00:08:29.640 as well as the option to engage with the larger artistic community and surrounding community. 91 00:08:30.600 --> 00:08:33.980 Colonies illustrate reliance on the investment of patrons, 92 00:08:34.100 --> 00:08:37.980 but also commodity exchange with artists, amongst artists. 93 00:08:38.460 --> 00:08:44.480 And today, time working in a colony or a residency is an important professional step in many artists' development. 94 00:08:44.480 --> 00:08:51.320 Socially engaged arts practice was initiated formally in the latter half of the 20th century 95 00:08:51.320 --> 00:08:57.500 in Western governments who aimed to connect a wider range of audiences through the democratization of the arts. 96 00:08:58.800 --> 00:09:07.040 Recognition of this broader social role of art and society and inclusion also expanded who might be a maker of art. 97 00:09:07.860 --> 00:09:12.940 Following programs like community arts and cultural development here in Australia and the UK, 98 00:09:12.940 --> 00:09:15.780 or the New Deal program in post-war America, 99 00:09:16.060 --> 00:09:23.460 government subsidy for artists emphasized regionalism, social realism, working class aesthetics, and audience participation. 100 00:09:24.260 --> 00:09:26.980 With movement towards cultural democracy ideals, 101 00:09:27.440 --> 00:09:33.620 the mainstream aesthetic became diversified and community began to permeate the world, the art world. 102 00:09:35.060 --> 00:09:36.840 This is Meryl Lederman Kelly. 103 00:09:37.020 --> 00:09:41.680 She was the artist in residence for the New York Sanitation Department for 40 years. 104 00:09:41.680 --> 00:09:44.100 This piece is called Touch Sanitation. 105 00:09:44.640 --> 00:09:52.040 And her social practice was shaking the hands of every maintenance worker, saying thank you for keeping our city safe. 106 00:09:52.860 --> 00:09:55.440 This is another great project if you ever want to Google it. 107 00:09:55.620 --> 00:09:58.760 It's called Neighborhood Time Residency in Philadelphia, 108 00:09:59.680 --> 00:10:07.420 where artists exchange professional and technical skills in a storefront shop to gain access to working space. 109 00:10:07.720 --> 00:10:11.660 So they trade their time for labor, or labor for labor. 110 00:10:11.680 --> 00:10:18.920 So these types of programs include funding from government to pay artists to work on their own practice, 111 00:10:19.240 --> 00:10:23.500 but also are committed to community engagement. 112 00:10:23.960 --> 00:10:27.800 They're played out often in non-art settings through intersectoral partnerships, 113 00:10:28.340 --> 00:10:32.820 with areas such as justice, education, science, health, and so on. 114 00:10:33.020 --> 00:10:38.680 My own art practice has taken me into prisons, palliative care, national parks, and homeless shelters. 115 00:10:39.380 --> 00:10:41.660 So this expanded role of the arts has been a key part of my life. 116 00:10:41.680 --> 00:10:45.060 The visibility of these arts into society has implications for the capacity of artists 117 00:10:45.060 --> 00:10:48.020 and the skills they now require to work in the public realm. 118 00:10:48.580 --> 00:10:53.320 Curator Neydo Thompson claims that artists now function like ethnographers, 119 00:10:54.080 --> 00:10:59.440 anthropologists, community workers, or organizational consultants within real world situations. 120 00:11:00.420 --> 00:11:04.540 Pablo Helguera expects, he's an educator in the States, 121 00:11:04.740 --> 00:11:11.240 this disciplinary ambiguity can enable unexpected possibilities for social transformation to emerge. 122 00:11:11.680 --> 00:11:16.600 With this recent turn to community in the arts across government and institutional context, 123 00:11:16.920 --> 00:11:20.680 there's a number of programs where artists are invited to apply for residency opportunities. 124 00:11:21.540 --> 00:11:25.480 Artists are curated or award roles such as guest faculty, fellows, 125 00:11:25.600 --> 00:11:29.780 and other distinguished and competitive titles to be listed on their CVs. 126 00:11:29.860 --> 00:11:33.260 The Artist House, or Cultural Heritage Residency, 127 00:11:33.880 --> 00:11:37.740 which I imagine that Clarendon Creative could sit within, 128 00:11:37.980 --> 00:11:41.080 this genre is well known across the world. 129 00:11:41.080 --> 00:11:44.700 I often use the example of Laughing Waters Artist Residency here, 130 00:11:45.540 --> 00:11:48.720 located in the secluded bushland near Eltham, Victoria. 131 00:11:50.180 --> 00:11:53.080 Nillenbixshire Council, also called the Green Wedgeshire, 132 00:11:53.300 --> 00:11:57.140 managed two properties as a way to support local and international artists, 133 00:11:57.380 --> 00:12:03.920 but also to draw attention to these significant cultural histories located in the buildings. 134 00:12:04.600 --> 00:12:08.020 These iconic mud brick houses were designed... 135 00:12:08.020 --> 00:12:10.560 These iconic mud brick houses were designed, 136 00:12:10.660 --> 00:12:11.060 created, and produced by the artist. 137 00:12:11.080 --> 00:12:16.080 and home to many important artists, architects, and cultural figures in local history. 138 00:12:16.740 --> 00:12:19.320 Named for the winding Yarra River nearby, 139 00:12:19.740 --> 00:12:24.160 Birrung is a mud brick house designed by artists Sue Ford and Gordon Ford, 140 00:12:24.300 --> 00:12:26.540 and built by Graham Rose in 1970. 141 00:12:27.220 --> 00:12:29.600 In recent years in Australia and elsewhere, 142 00:12:30.300 --> 00:12:35.980 there has also been an abundance of residencies that examine social and ecological sustainability 143 00:12:35.980 --> 00:12:39.460 in the context of climate change and global conflict, 144 00:12:39.500 --> 00:12:40.880 but also practice, 145 00:12:41.080 --> 00:12:42.020 and are focused at the local level. 146 00:12:42.640 --> 00:12:45.520 Artists of all disciplines spend time in these residencies, 147 00:12:45.640 --> 00:12:47.000 each bringing their own inspiration, 148 00:12:47.480 --> 00:12:53.220 but leaving with a new personal connection to the local, social, and cultural history. 149 00:12:54.000 --> 00:12:57.120 My fascination with the social turn in artist residencies 150 00:12:57.120 --> 00:13:00.400 comes not only from my own itinerant creative practice, 151 00:13:00.680 --> 00:13:03.160 but also in my role as a university educator, 152 00:13:04.140 --> 00:13:05.120 training artists. 153 00:13:05.440 --> 00:13:07.900 Art in public space, currently, is what I teach. 154 00:13:08.120 --> 00:13:10.920 I'm often found hosting collaborative residencies, 155 00:13:10.920 --> 00:13:11.060 and I'm also a member of the community, 156 00:13:11.080 --> 00:13:11.780 where I teach master classes, 157 00:13:12.620 --> 00:13:15.280 experimental labs, or artist field schools, 158 00:13:15.620 --> 00:13:18.300 off-site, to test new pedagogic modes. 159 00:13:18.860 --> 00:13:21.500 My American colleague, Ted Purvis, and I, 160 00:13:21.580 --> 00:13:23.960 recently hosted 20 socially engaged artists 161 00:13:23.960 --> 00:13:28.440 to examine the art form of encounter and exchange, pictured here. 162 00:13:28.940 --> 00:13:31.440 So residencies can foster cultural exchange, 163 00:13:32.560 --> 00:13:35.360 and diplomacy experiences as well. 164 00:13:35.640 --> 00:13:40.200 It can be argued these residencies encourage cultural movement through relocation, 165 00:13:40.320 --> 00:13:41.060 both reading and reading, 166 00:13:41.080 --> 00:13:41.860 regionally and internationally, 167 00:13:42.340 --> 00:13:46.180 and through the process of networking between artists and cultural organizations. 168 00:13:46.880 --> 00:13:50.540 This genre of residency has bred a new type of itinerant artist, 169 00:13:50.860 --> 00:13:54.700 contributing to our understanding of artist mobility and transnationalism. 170 00:13:55.060 --> 00:13:58.420 Artists take on the role of travelers, witnesses, ambassadors, 171 00:13:58.820 --> 00:14:00.980 and purveyors of national cultural identity. 172 00:14:02.300 --> 00:14:06.160 However, international socially engaged residencies, in particular, 173 00:14:06.440 --> 00:14:07.880 have received criticism 174 00:14:07.880 --> 00:14:10.980 concerning lack of flexibility, 175 00:14:11.400 --> 00:14:14.500 the absence of engagement with local communities, 176 00:14:14.800 --> 00:14:17.220 and the circulation of elitism and privilege. 177 00:14:18.440 --> 00:14:20.680 Bialski describes these nomadic artists 178 00:14:20.680 --> 00:14:22.740 as highlighting a sort of labor flexibility. 179 00:14:23.660 --> 00:14:25.760 There's also an uneasy relationship 180 00:14:25.760 --> 00:14:28.040 between residencies and sustainability. 181 00:14:28.900 --> 00:14:32.960 Kenins has described artists as escapists and jet-setters, 182 00:14:33.000 --> 00:14:35.780 who may overlook the impact of carbon-heavy travel 183 00:14:35.780 --> 00:14:36.960 to far-flung, 184 00:14:37.020 --> 00:14:37.300 or remote, 185 00:14:37.380 --> 00:14:37.500 that is not only a work of art, 186 00:14:37.500 --> 00:14:39.560 but also exotic or remote locations. 187 00:14:39.900 --> 00:14:42.100 When these fly-in, fly-out artists 188 00:14:42.100 --> 00:14:44.120 work in communities not their own, 189 00:14:44.340 --> 00:14:49.560 there is also potential to unintentionally reproduce colonial relationships, 190 00:14:50.040 --> 00:14:53.420 whereby residency hosts may court foreign artists 191 00:14:53.420 --> 00:14:55.680 under the guise of enlightening the locals. 192 00:14:56.620 --> 00:14:57.240 So finally, 193 00:14:58.180 --> 00:15:00.760 building on what I've described as the social churn, 194 00:15:01.620 --> 00:15:04.280 is a new mode of contemporary art making, 195 00:15:04.480 --> 00:15:07.180 which at its center examines the social relations 196 00:15:07.180 --> 00:15:07.480 between the individual and the community, 197 00:15:08.460 --> 00:15:09.600 and the relationships between the local and the local. 198 00:15:09.600 --> 00:15:12.760 Social practice artist residencies 199 00:15:12.760 --> 00:15:13.900 can be performative, 200 00:15:14.140 --> 00:15:14.740 collaborative, 201 00:15:15.300 --> 00:15:16.020 experimental, 202 00:15:16.720 --> 00:15:17.400 durational, 203 00:15:17.720 --> 00:15:18.820 non-material, 204 00:15:19.140 --> 00:15:21.320 and are often in public view of society. 205 00:15:21.980 --> 00:15:23.240 In recent years, 206 00:15:23.380 --> 00:15:25.320 there's been an abundance of residencies 207 00:15:25.320 --> 00:15:27.300 that examine sustainability and mobility 208 00:15:27.300 --> 00:15:30.740 in the context of climate change and global conflict. 209 00:15:31.360 --> 00:15:33.780 These residencies consider the relationship 210 00:15:33.780 --> 00:15:36.080 between the global and the local. 211 00:15:36.760 --> 00:15:37.480 Perhaps the most important aspect 212 00:15:37.500 --> 00:15:37.640 is the cultural context. 213 00:15:37.640 --> 00:15:39.320 Perhaps as a critique of the art world itself, 214 00:15:39.760 --> 00:15:43.120 these residencies are situated far outside of the institution, 215 00:15:43.560 --> 00:15:44.760 even off the grid, 216 00:15:45.500 --> 00:15:47.540 in grassroots or alternative contexts. 217 00:15:48.580 --> 00:15:50.660 This one here was called Nomad, 218 00:15:50.720 --> 00:15:51.720 Time, Place, Space. 219 00:15:52.180 --> 00:15:54.460 It takes place annually over 10 days 220 00:15:54.460 --> 00:15:56.920 to explore issues of economic downturn, 221 00:15:57.080 --> 00:15:58.740 scarcity and transience, 222 00:15:58.940 --> 00:16:00.520 of place and nationhood. 223 00:16:00.800 --> 00:16:03.620 We were camping only with the bare necessities 224 00:16:03.620 --> 00:16:05.240 of life and art making, 225 00:16:05.480 --> 00:16:07.420 and the residency looked for opportunities 226 00:16:07.420 --> 00:16:07.480 to explore the world. 227 00:16:07.500 --> 00:16:07.620 It was also a good opportunity 228 00:16:07.620 --> 00:16:08.380 for communities to scope out 229 00:16:08.380 --> 00:16:10.080 more sustainable ways of working 230 00:16:10.080 --> 00:16:13.600 and provocations to bust open artistic boundaries. 231 00:16:14.220 --> 00:16:16.940 These alternative social forms of residencies 232 00:16:17.500 --> 00:16:18.700 widened the role of the artist 233 00:16:18.700 --> 00:16:20.120 as object maker 234 00:16:20.120 --> 00:16:22.500 to artists as community maker. 235 00:16:23.420 --> 00:16:25.840 It seems the formula 236 00:16:25.840 --> 00:16:27.920 for successful residencies 237 00:16:27.920 --> 00:16:30.420 is more than simply providing an artist 238 00:16:30.420 --> 00:16:31.700 with good working conditions, 239 00:16:32.060 --> 00:16:33.860 but also that the artist understands 240 00:16:33.860 --> 00:16:36.080 the interests and the vision of the host. 241 00:16:36.760 --> 00:16:37.480 There's also a sense 242 00:16:37.500 --> 00:16:39.040 of reciprocal relationship 243 00:16:39.040 --> 00:16:41.120 with host or local stakeholders, 244 00:16:41.460 --> 00:16:43.280 as artists had once 245 00:16:43.280 --> 00:16:45.200 within the patronage in retreat 246 00:16:45.200 --> 00:16:46.360 and colony settings. 247 00:16:46.760 --> 00:16:49.000 These many approaches of residency practice 248 00:16:49.000 --> 00:16:51.600 appear to shift how artists organize their lives, 249 00:16:51.760 --> 00:16:53.800 resulting in new social models 250 00:16:53.800 --> 00:16:55.280 which demand personal 251 00:16:55.280 --> 00:16:56.440 and professional transformation 252 00:16:57.500 --> 00:16:59.420 towards one of two artistic identities 253 00:16:59.420 --> 00:17:01.660 which integrate practice and life. 254 00:17:01.920 --> 00:17:03.360 We see artists shifting 255 00:17:03.360 --> 00:17:05.640 to the new breed of transnationalism 256 00:17:05.640 --> 00:17:07.160 or alternatively 257 00:17:07.500 --> 00:17:09.120 to practices with an increased focus 258 00:17:09.120 --> 00:17:09.880 on the local. 259 00:17:10.500 --> 00:17:13.020 The itinerant artist builds a practice 260 00:17:13.020 --> 00:17:14.380 into the global art discourse 261 00:17:14.380 --> 00:17:17.080 of biennales and seemingly othering oneself 262 00:17:17.080 --> 00:17:19.040 into these short term relationships 263 00:17:19.040 --> 00:17:20.580 with place and people. 264 00:17:21.560 --> 00:17:23.000 Conversely, other artists 265 00:17:23.000 --> 00:17:24.220 are rejecting this system 266 00:17:24.220 --> 00:17:26.760 and moving from residency to residency, 267 00:17:28.140 --> 00:17:29.040 seeking the creation 268 00:17:29.040 --> 00:17:30.760 of a much more balanced 269 00:17:31.500 --> 00:17:32.440 life-work relationship 270 00:17:33.500 --> 00:17:35.500 on a smaller and immediate geographic scale, 271 00:17:36.800 --> 00:17:37.480 reminiscing about 272 00:17:37.500 --> 00:17:37.680 the past and the present. 273 00:17:37.680 --> 00:17:39.040 In the recent of colony aspirations 274 00:17:39.040 --> 00:17:40.460 for social economy, 275 00:17:40.780 --> 00:17:42.520 now many mid-career artists 276 00:17:42.520 --> 00:17:44.580 are leaving expensive and fast-paced 277 00:17:44.580 --> 00:17:46.040 contemporary urban contexts 278 00:17:46.040 --> 00:17:47.980 to move to smaller centers 279 00:17:47.980 --> 00:17:50.200 to make their homes in studios, 280 00:17:50.860 --> 00:17:52.580 using their practice to benefit 281 00:17:52.580 --> 00:17:53.760 their immediate neighborhoods 282 00:17:53.760 --> 00:17:55.800 in what they hope to be 283 00:17:55.800 --> 00:17:57.300 a much more sustainable way. 284 00:17:57.720 --> 00:17:59.960 The social turn here functions 285 00:17:59.960 --> 00:18:01.520 to amplify the local 286 00:18:01.520 --> 00:18:02.980 so that artists may sustain 287 00:18:07.600 --> 00:18:08.080 their own cultural heritage 288 00:18:08.080 --> 00:18:09.460 So that's a lot of information. 289 00:18:10.340 --> 00:18:12.080 It's a book I'm working on right now 290 00:18:12.080 --> 00:18:14.200 so it was great to test it with you guys. 291 00:18:15.040 --> 00:18:16.500 Thinking about all of this, 292 00:18:16.640 --> 00:18:17.980 we're now to the question of 293 00:18:17.980 --> 00:18:20.480 what is the vision for Clarendon Creative? 294 00:18:21.560 --> 00:18:22.660 So I thought that 295 00:18:22.660 --> 00:18:25.000 the way to start the conversation 296 00:18:25.000 --> 00:18:27.500 was to share the video that was made 297 00:18:27.500 --> 00:18:29.520 from last week's dinner party 298 00:18:29.520 --> 00:18:31.080 and we'll explain a little bit more 299 00:18:31.080 --> 00:18:32.440 about the dinner party as we go. 300 00:18:32.740 --> 00:18:35.360 Not bad for a couple of days 301 00:18:39.080 --> 00:18:41.200 so we can get started. 302 00:18:41.200 --> 00:18:43.160 So before we start playing the game 303 00:18:43.160 --> 00:18:45.420 I just wanted to, for those of you 304 00:18:45.420 --> 00:18:46.240 who weren't there, 305 00:18:47.260 --> 00:18:49.420 just to have a look at the form 306 00:18:49.420 --> 00:18:51.600 of the dinner, of the night. 307 00:18:51.960 --> 00:18:52.480 So, 308 00:18:53.300 --> 00:18:55.580 I can be described as a researcher 309 00:18:55.580 --> 00:18:57.380 or a social practice artist. 310 00:18:57.480 --> 00:18:59.420 In this case it was more like a choreographer 311 00:18:59.420 --> 00:19:01.600 with a lot of help for moving people. 312 00:19:02.280 --> 00:19:04.000 But the aim of the event 313 00:19:04.000 --> 00:19:06.300 was to launch Clarendon Creative 314 00:19:06.300 --> 00:19:07.480 but it was more like a 315 00:19:07.500 --> 00:19:07.720 ! 316 00:19:37.500 --> 00:19:38.880 engaged in quite an elaborate 317 00:19:38.880 --> 00:19:40.280 strategic planning process. 318 00:19:41.400 --> 00:19:43.120 So we still have a lot of 319 00:19:43.120 --> 00:19:45.060 analysis to do 320 00:19:45.060 --> 00:19:47.460 from a lot of the conversations that were had. 321 00:19:47.860 --> 00:19:49.280 But the third stage 322 00:19:49.280 --> 00:19:51.040 of the night 323 00:19:51.680 --> 00:19:53.220 well, actually 324 00:19:53.220 --> 00:19:54.420 I better describe this. 325 00:19:54.860 --> 00:19:57.120 It was a progressive dinner party in that 326 00:19:57.120 --> 00:19:59.340 when people arrived, they were put 327 00:19:59.340 --> 00:20:00.840 into one of three groups. 328 00:20:01.160 --> 00:20:03.580 So they had a name tag, a little colour 329 00:20:03.580 --> 00:20:04.400 sticky dot 330 00:20:05.500 --> 00:20:07.400 to identify which group they would be 331 00:20:07.500 --> 00:20:07.760 with. 332 00:20:07.960 --> 00:20:10.280 They might be starting at the appetiser, 333 00:20:10.420 --> 00:20:12.500 they might be starting at the main course, 334 00:20:12.720 --> 00:20:14.580 or they might be starting at the dessert. 335 00:20:15.420 --> 00:20:16.720 So every hour 336 00:20:16.720 --> 00:20:19.380 the group shifted into a new space. 337 00:20:19.720 --> 00:20:21.420 You may have started your dinner 338 00:20:21.420 --> 00:20:22.060 with dessert 339 00:20:23.500 --> 00:20:25.580 and ended on the main course. 340 00:20:26.240 --> 00:20:27.400 A lot of the people 341 00:20:27.400 --> 00:20:29.000 in the rooms didn't know each other 342 00:20:29.000 --> 00:20:31.340 like I said, but we framed each 343 00:20:31.340 --> 00:20:32.320 room with 344 00:20:32.320 --> 00:20:35.580 a provocation or a question 345 00:20:35.580 --> 00:20:37.080 and we had 346 00:20:37.500 --> 00:20:38.360 hosts of each room. 347 00:20:38.840 --> 00:20:40.820 The wonderful Norelle, 348 00:20:41.700 --> 00:20:43.500 Tom, I don't believe he's here, 349 00:20:43.680 --> 00:20:45.020 hosted the dinner party. 350 00:20:45.140 --> 00:20:46.260 Norelle hosted the 351 00:20:47.660 --> 00:20:49.000 appetiser and the exchange. 352 00:20:49.460 --> 00:20:51.040 And then finally we had Nick 353 00:20:51.040 --> 00:20:53.400 and Simone hosting the dessert 354 00:20:53.400 --> 00:20:53.780 stage. 355 00:20:54.560 --> 00:20:57.520 So in the first stage, as you saw in the video, 356 00:20:57.780 --> 00:20:59.160 was a range of 357 00:20:59.160 --> 00:21:01.380 exchanges. Each of the guests 358 00:21:01.380 --> 00:21:02.600 were invited to bring 359 00:21:02.600 --> 00:21:04.640 something to the table. 360 00:21:05.160 --> 00:21:07.360 What was brought to the table, as you saw 361 00:21:07.500 --> 00:21:09.400 in the video, was a range of food 362 00:21:09.400 --> 00:21:11.340 offerings, something they had made with 363 00:21:11.340 --> 00:21:13.300 their own hands, a recipe 364 00:21:13.300 --> 00:21:14.380 from their mothers, 365 00:21:14.700 --> 00:21:16.780 something that was grown in their backyard. 366 00:21:17.380 --> 00:21:18.660 Other people brought 367 00:21:19.580 --> 00:21:21.340 objects from their childhood, 368 00:21:21.960 --> 00:21:23.200 books of poetry 369 00:21:23.200 --> 00:21:24.620 that they wanted to share. 370 00:21:25.000 --> 00:21:27.200 In the theme of what sustains 371 00:21:27.200 --> 00:21:29.200 me, people brought this object 372 00:21:29.200 --> 00:21:31.400 to share with the group of 14 people. 373 00:21:31.860 --> 00:21:33.100 So it was a lovely 374 00:21:33.100 --> 00:21:35.120 round table that Norelle 375 00:21:35.120 --> 00:21:37.320 shared and a lot of wonderful tastings 376 00:21:37.500 --> 00:21:39.400 going on. The next section of the 377 00:21:39.400 --> 00:21:41.400 dinner party was the dining 378 00:21:41.400 --> 00:21:43.520 room in a very sort of 379 00:21:43.520 --> 00:21:45.100 traditional, long 380 00:21:45.100 --> 00:21:47.680 table, candlelit, 381 00:21:47.860 --> 00:21:48.900 hearty meal 382 00:21:49.500 --> 00:21:50.560 hosted by Tom. 383 00:21:51.200 --> 00:21:53.420 And he encouraged people to 384 00:21:53.420 --> 00:21:55.520 have a good chat about what sustains 385 00:21:55.520 --> 00:21:57.500 us. But also there was a series 386 00:21:57.500 --> 00:21:59.180 of in the moment 387 00:21:59.920 --> 00:22:00.560 spontaneous 388 00:22:01.480 --> 00:22:03.400 dinner party toasts. 389 00:22:03.640 --> 00:22:05.500 I'm not across all 390 00:22:05.500 --> 00:22:07.480 of what was said. I'm not 391 00:22:07.500 --> 00:22:08.900 across all of what was said. 392 00:22:09.060 --> 00:22:10.960 But some of them were pretty poetic 393 00:22:11.500 --> 00:22:12.820 and others were quite hilarious. 394 00:22:14.600 --> 00:22:15.460 And then 395 00:22:15.460 --> 00:22:17.460 finally the session in the 396 00:22:17.460 --> 00:22:19.220 cottage, what do we take away 397 00:22:19.220 --> 00:22:21.360 and leave behind, served with 398 00:22:21.360 --> 00:22:22.160 lemon tarts 399 00:22:22.160 --> 00:22:25.160 and a cup of tea was 400 00:22:25.160 --> 00:22:27.020 the game, the thing from the future. 401 00:22:28.180 --> 00:22:29.140