Last week CEO Ian was a panelist at the last ESRC-funded seminar series on Ethics in Consumption: Interdisciplinary Perspectives at Birkbeck, University of London. The main speakers were Jonathan Porritt and Danny Miller, and the panel included Kate Soper, Jo Littler, Frank Trentmann and Terry Newholm. Drawing on Louise Ashcroft’s artist in residence (self invited) work at London’s Westfield Shopping Mall, Ian’s contribution to the panel involved reading out one of the cards from Louise’s Mallopoly game. His point – that debates about research-inspired change need to involve more-than-rational argumentation. And that Louise’s work should be required reading. Starting with this interview about her residency’s retail poisoning in We Make Money Not Art. Enjoy!
In January 2017, artist Louise Ashcroft invited herself to be an artist in residency at Westfield Shopping Centre. That’s the mega mall in Stratford, East London. Its retail area is as big as 30 football pitches (says wikipedia), it has famous chains of fast fashion & fast food, screens budget-bloated blockbusters, rents kiddy cars and boasts some seriously boring ‘public’ artworks. Because there’s nothing remotely boring, mass manufactured nor glittery about her work (and also because she is quietly plotting the demise of capitalism), Ashcroft spent her time there undercover, pretending she was only looking for a bit of shopping fun.
The artist will present the result of her stealth research this week at arebyte in Hackney Wick, a five-minute walk from Westfield. Some of the works she developed at the shopping mall include a transposition of words from slogan fashion T-shirts on traditional narrow boat signs, offers to exchange ‘happy’ meals toys with more ‘soulful’ artist-designed toys, seditious retail therapy sessions, bookable tours of Westfield where she will guide participants through playful (pseudo)psychoanalytical activities, ‘mallopoly’ cards that invite shoppers to use the mall and its contents as a material, etc. Oh! and, since the Westfield area is the home of grime she also compiled words from Argos shopping catalogues into a cut-up text and grime artist Maxsta recorded it as a track.
This is not Ashcroft’s first incursion into the magical world of retail poisoning. She regularly smuggles unfamiliar-looking African vegetables into supermarkets and then throws the store in disarray when she attempts to buy them (Vegetable, 2003-17.) …
Regine (2014) Retail poisoning: a disruption of materialism. We Make Money Not Art, 19 November
PS Louise’s website is here.
Our CEO Ian went on a countryside walk earlier this year with colleagues in Exeter’s Geography Department. Their aim was to follow the flow of electricity by walking the route of a power line. Their social media posts about this journey prompted discussions about electricity and difficult-to-follow commodities. One was Peter Forman – from the Institute of Political Science, Eberhard Karls University of Tübingen – who had just finished his PhD on natural gas. We asked him to share his experience of following a commodity whose materiality is especially challenging.
Natural gas can be thought of as natural in two senses of the word. First, it forms deep beneath the ground, independently of human action (as opposed to the manufactured gas that was used in the UK before 1970 – this gas was the product of hard labour, workers feeding iron retorts with coal), and second, it is naturalised. Whilst gas plays a crucial role in many people’s daily lives – we heat our homes with it, cook with it, and use it to warm water for bathing comfortably – most of us never give it much consideration. We come home from work, twist the tap on the hob, give it a press, then click! A spark. An eruption of yellow-blue flame. It is there, ready and waiting. It provides heat in an instant and is worthy of no further thought.
Yet in other ways, ‘natural gas’ is far from natural. Its presence beneath the earth is made knowable through a multitude of technologically complex devices, and it is only through the deployment of established knowledges, bodies and technological instruments that it is securely extracted, processed, pressurised, transported, and consumed. This is what Bridge (2004; 396) refers to when he describes how “a whole industry has emerged … dedicated to corralling the waywardness and variability of gas and rendering it a commodity compliant with the workings of the market”. Indeed, it is as a consequence of this dense assemblage that we can understand gas to not simply be there, ready and waiting. Far from it! For without the practices of these diverse actors, it would remain deep beneath our feet, trapped between layers of rock. As it travels (the direction and nature of which is likewise defined by said actors), it could also come to realise a series of what Dillon and Reid (2001) call ‘dimensions of dangerousness’. From it realising its flammability and explosiveness, to it causing significant societal disruption through the interruption of its supply, or it having severe ecological impacts of different kinds (for example, affecting global climate or contributing to marine crises such as in Puchuncavi, Chile – see Tironi et al. forthcoming), across its travels, natural gas can come to present a series of dangers that generate myriad attempts to perform security around it. Continue reading
The main point…
Here’s another excellent example of journal writing from the Exeter Geography module behind our website. At the start of the module, we ask the students to add to their phone homescreens this photo of an Apple factory worker which, it seems, was accidentally left on an iPhone bought in 2009. The person who found this and four other photos posted them online and the quest to find out who she was, why photos of her were on that phone, and what would happen to her after they went pubic went viral (as documented on our followthethings.com page). We ask our students to keep her photo on their homescreens until the end of the module, for almost 4 months. What can happen to you when she looks at you every time you look at your phone, wherever you go? Sophie Woolf explains… to the person who became known as ‘iPhone Girl’.
Greenpeace convincingly argue why it’s important to own a metal spoon and to wash it.
If you have been looking for a go-to explanation of the ‘follow the thing’ approach to material culture studies, this is your lucky post. Here artist and designer Christien Meindertsma – author of PIG05049 – explains it beautifully.