Over the last five years Wysing Arts Centre has experimented with different programmatic structures in order to support artists to make new work. During 2013 they will be further exploring how structures, some visible and others implied, might be used to uncover meaning, narrative, paradox or indeed certainty through their prestigious residency programme. This year there will be two sets of residents, the first group is made up of Anna Barham, David Osbaldeston, Charlotte Prodger and Florian Roithmayr. The programme title, ‘Convention T’, refers to logician, mathematician and philosopher Alfred Tarski (1901-1983) who applied logic to sentence structure in order to make the truth visible through language. Tarski created a structure, a meta-language, that could be applied to real, everyday, language in order to generate true statements, known as T sentences -— ‘A and B’ is true if and only if A is true and B is true translates as Snow is white if and only if snow is white.
The second of two interviews with Wysing’s 2013 artists-in-residence is with Charlotte Prodger, an artist based in Glasgow who works with 16mm film, video, writing and performance. She uses the meeting of language and technology to generate cross-associations and slippages, inviting new routes of interpretation. Source material includes YouTube videos, personal anecdotes and the legacy of structural film and queer subjectivity, which she uses to explore contradictions that arise between form and content.
‘Puppet Show’ is the latest in a series of group exhibitions and productions within Eastside Projects that ‘examine modes of display and the construction of the public sphere’. The medium, be it painting, sculpture, the gallery or the book, is not only represented in its multiplicity but is also actively engaged with to form connections, test propositions and produce new work. Making a tangential leap from ‘Narrative Show’ in 2011, the artists Celine Condorelli and Tom Bloor have curated an exhibition that explores the subversive potential of mediating their message through crude and diminutive alter egos by installing, or revealing, a puppet state.
In 1967 French Marxist philosopher Louis Althusser delivered a series of three lectures as part of the ‘Philosophy Course for Scientists’ at the École Normale Supérieure, a course of initiation for non-philosophers inaugurated by Althusser and colleagues as an attempt to move philosophy from a specialist and abstract discourse towards a practical application, ‘a weapon in the ideological battle’. Delivered across the academic year they drew huge crowds from the student body, coming to a close on the eve of the eruption of riots in May 1968.