Goldsmiths: But Is It Art? (Episode 1 - Part 1)

Goldsmiths: But Is It Art? (Episode 1 – Part 1)



you a lot of people think that being a Goldsmith's is brilliant and the and it's it's a bit like a golden ticket wow this is amazing what you'll find a ghost worse is that that technique is not necessarily important it's much more about the the ideas behind the work what's he working on this is going to be like a rock kind of way a lump I think that is really pointless all those over there really pointless it's like fuck doesn't just place the time we go from this and all the people we know and we're all in our comfort zone but at the moment of opening those doors they know all and sungeun that's that I am a conceptual artist and I work with ideas ideas are my are my commodity ideas are my product it says on the 23rd of October 2008 at 10:00 2809 on the premises of a fashionable retail outlet central London the artist ingested a small amount of private property i shoplift things i swallow them and then i ship them out and present them as art objects this is something I expelled this morning and its partner is making its way through as we speak so there's two and which become my artwork I'm very interested in ideas of property and what belongs to who so I just steal everything so therefore I don't have to work to maintain my artistic practice I don't have to be focused primarily on creating original artwork and I just steal stuff did you see a pen introduced to somebody at a party and they when they say what do you do is it I'm an artist pretty much like a wall goes up because there's a bit of envy it's like oh you you know you're out there skipping through fields and picking flowers and probably just navel-gazing all day and not being kind of this productive member of society Oh what other people are looking at is labor because you you have that idea of the sculptor or the painter just slaving away over this massive canvas but if the conceptual artist just puts that piece of rock I paint that rock on on top of a piece of paper like you can't you can't see the labor involved with that and so therefore it's not an artwork I think it's the nearest thing you come to a Lyon ated activity and if you work in a factory or drive a bus or something you know you're fundamentally you're exploited you know you're not doing the job you want to do there's very little creative reward you don't you're not setting your own agenda you're not working on the issues that you're interested in you're working for someone else or someone else beck and call I mean there's a real sense there that you're in control of your own work a skin-tight berry skint berry yeah I've got a few credit cards that are that are maxed and so the repayments are like 70 quid a month times three plus I've got a loan from a few years ago that's paying off my credit cards and that's a lot among it's a few hundred quid just to cope with the the regular outflow of debt kind of work I'm trying to work out which way I projected my cloud it's kind of just it's just part of the process part of the thing that I've done I've always done thing that I do which is spend money to make work and not necessarily get any anything back I mean art for me is very much about and what I can get away with I'm going to Spain to find Simon starlings rhododendron Simon sterling is the Turner Prize winner from 2004 something like that and and he bought over five or seven rhododendrons to the south of Spain because and they were being eradicated in Scotland and somehow you know bringing them back to their kind of original place of destination and was an analogy to kind of immigration and stuff like that so I'm going to Spain and with the help of Simon Sterling's instructions because we are in correspondence and although he doesn't know us and he thinks I'm interesting going to to view his work in the park I am going to view his work in the park but my motivation is to go and take it out of the park bring it back to England and alert as gallery to the situation the only kind of major risk is that you looking like you're doing irony which from I mean that might be fine I don't know for me it's least interesting route to go down yeah so I was wondering kind of why we might just rhododendrons how I think about it is that there's a piece of art in the park and the south of Spain so there's a commodity there that's just sitting and waiting to be to be taken I think during the whole program it's all about listening to what other people say about your work because it you don't get it in the outside world no your friends tend not to tell you what they think because they want to remain friends with you I guess what I'm not sure about is whether the focus is on what what you can get out of this in terms of like a material financial return I think like tutorials or you know that kind of input is interesting because in one respect it's brilliant having all of these very and involved and on the bold people and you know talking about your work but also what it develops is a very thick skin to kind of go well you know what I think you're fucking wrong I suppose my backer in this field unusual and I would come from just typical art background and I started off and as an Armour designer and went on from there a lot water furnace with defense and quite what work for the Metropolitan Police but always with the arm rudder in mind it's not of the fine art world comes therefore the non Goldsmith's and for me has been bad that troublesome journey and stop here my work is not being particularly to fit in terms of the ghost list take on heart and this is a piece that I made one very day what these 7/7 bombings in London and this is a Metropolitan Police best standard-issue kit and yeah I just wanted to touch it a very simple we and and the slip on blanket and a blast protection blanket kind of thing and you can use stick yourself and dummy sit and for protection or you can wrap wrap it on something this is every ruler I've ever had in my life and quite literally it's quite funny he's going to meet this piece and then I had a job to do and suddenly I had an old rulers we have all my drillers gone a lot my heart rate very literally and that seems the problematic goldsmith they think you can read it in seconds milliseconds you can go yet I get what's going on so therefore I don't know I mean it's never been an issue for me and the issue has been why is an issue for them has been my issue I had no shoes with my work the final show is a showcase for all of our work and it is supposed to be the moment where you shine to be a fucking deal it's really scary now what I want from you by the end of the day your first second and third choice if you come through to everyone else down user black oh yeah these are all black people out for the show for them is a big showcase and if you do a little exhibition in the East End and a little gallery in Hackney it's open maybe Friday Saturday Sunday Friday six people mic I mean on Saturday 20 people if you're lucky and on Sunday afternoon a few more and here there's literally thousands of people coming through there's the little space at the back it's like a dungeon and one or two people have done really interesting shows in that space a woman about five years ago who is into sadomasochism it's filled it with chains and had men hanging upside down in it I mean worked very well there's a lot of stress really around this period there's always an awareness that if we don't put on you know the bit their best that they can do at that time they're missing what might be a great opportunity if you were having a solo show and people come specifically for your solo show they will take the time to really get into what you're doing they probably already know a bit about you in this instance like very few people coming you're going to have any idea about what you what you do what your practice is about and so I think you need to grab your audience and kind of get them in with something which is kind of like maybe a bit of a treat what I've been doing is just creating a piece which is the show with a strobe inside of it so it's a sounds like a simple idea but I think it's quite effective in a in a kind of a darkened room and I think it achieves quite a few things that I'd like to chip it in a very simple way and I think there's something kind of glorious and mad about just a this kind of gang of shells just strobing away recently I had a tutorial and showed this this work and there was a bit of a discussion about just the work this have worked not being sophisticated at all that it just appears to be a juxtaposition of objects and so well then I'm asked well why is this juxtaposition of objects any more important or any more relevant then then than any other two things you could just shove together it's a funny thing to to try to explain exactly what a strobing conch-shell is is saying you know what's happening here where I don't know maybe god I was hoping that was gonna say something really good just then can I repeat that good I have I did take some notes here maybe this is what this is what I'm supposed to say to you

49 thoughts on “Goldsmiths: But Is It Art? (Episode 1 – Part 1)

  1. 3:33 Oh yeah those stupid "labour artists" "slaving" away on those canvases and statues, creating "lesser" art compared to your big boy brain art. Whoa, such smartness, such intellect. You sure earned your arrogance towards people who actually acquired skill through discipline and dedication.

  2. Roisin, you should give the rhododendron project more thought, passing a shrub of that size in your stool could be more than you can handle. On second thought, go for it!

  3. I was an undergraduate with one of the Goldsmiths art tutors. He was an homophobic cunt with the arrogance of an insecure little man from below the stairs; he got a good degree, but wasn't actually very talented which is why he went into teaching. I read now that he "has also worked in the field of counselling with young people" which is a joke. If he counselled me I'd hang myself.

  4. I would really like to smash these people with a hammer, and burn their art in front of their twitching crunched up, bloody bone heap.

  5. The amour designer is actually very good. He actually says something… and lo and behold, goldsmiths hate him.

  6. I bet the thieving pretentious personality disordered pisswick would have a fucking fit if she got robbed by a common yob.

  7. the role of gold smiths is to produce compliant people able and willing to service the global art object commodities industry for the banker elites. I know, I went there in the early 80's, and I survived the experience with my sanity and integrity intact

  8. No, it's not art, just fools that know nothing, and think themselves something special. I blame the lecturers.

  9. Saw this, burned all my paintings, made coffe from the ashes drank it, pissed all over a curtain, sold it to Tracey Emin !!!! Thanks for sharing, I wish I’d seen this years ago could have saved all that time learning to paint all you need is to learn to digest

  10. the only one to go on to do anything interesting was Ian Gonczarow. i think his current work is alright.
    – in 06 after a few years at college, i had a go at trying to get into goldsmiths and another top uni. although im very passionate about art at the time my work and interviews were terrible. only years later after visiting a friend of a friend at goldsmiths did i realize i dodged a bullet & a tone of debt.

  11. Goldsmiths does have a reputation for 'controversial' artists, maybe they feel they have to keep the yba tradition going? A lot of them look as if they're trying too hard. Look everybody, Piers has made some controversial artworks!

  12. David Mabb, Goldsmiths tutor, is very scathing and patronising about bus drivers for not setting their own agenda and working on the issues they are interested in. He doesn't consider a) people who are very fulfilled being bus drivers b) the oppression of an institution like Goldsmiths for students whose agenda is anti-conceptual art.

  13. my issue isn't with these artists or their work. its with the conceited agenda of the documentary, it has made these people seem deluded, when i'm sure they are decent people with decent ideas.

  14. I come from a very artistic family with many highly successful, professional artists in it. i visit galleries and exhibitions on a regular basis and I really do love art. i actually bought a painting today for my collection. I also do a little art myself sometimes and my ambition is to become a professional artist as well. I actually know what i am talking about, when talking art. The people in this video will not be remembered for their so called ´art´. They confuse originality with art. Stealing stuff, eating it and then shitting it out again may very well be original, but it is not art. Thats just being a freak. None of these people have the full package as artists. These people only serve to make other true artists look bad.

  15. There is modern "art" really in everyday life, and you don't have to create it, happens by coincidence.

    It just happens that you might appreciate something totally random, a real juxtaposition. But it usually doesn't really amount to much. An appreciation for paradoxical sort of stuff did create steampunk, so on a very base level the abstract understanding can be applied to something that is art, but the designs in this video are uninspired.

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