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5 Questions with Olivia Plender

Olivia Plender explores ideas of national history and identity by researching and dissecting means of communication and education from historical moments and the present day. The British artist is currently showing at London's Maureen Paley. Words by Emily Steer

Britannia Receiving Her Newest Institution (2012) – hand-embroidered fabric banner. Courtesy Olivia Plender. © Olivia Plender courtesy Maureen Paley, London

What can we expect from your current show at Maureen Paley?

I have chosen to present a combination of sculptural works, drawings and prints that focus on Britain’s history, national identity and the financial system. Much of my work as an artist draws on social history and I have taken three projects that explore these ideas through the lens of the 1920s and 1930s. I will be showing them together for the first time, as I’m interested to see how they can be read in relation to the political climate in Britain right now. The show references, on one hand, the British Empire Exhibition that took place in the west London suburb of Wembley in 1924, which can be understood as a propaganda event designed to bolster support for the British Empire and the system of trade that underpinned it. On the other hand, it highlights the response of two different social movements to the tumultuous conditions of that time: the Kibbo Kift Kindred and a journal called Urania, linked to the Suffragettes. There are some historical lessons and parallels to be drawn between the rise of nationalism after the financial crisis of the 1930s, and the relation between the current austerity politics, the rise of racism in Britain and the nationalist rhetoric that infected the whole Brexit campaign.

The Kibbo Kift Kindred were a British youth movement established in the 1920s by an artist and novelist named John Hargrave. Originally part of the Boy Scouts, the Kibbo Kift split from Baden Powell’s conservative organisation in order to establish a left wing youth movement, in collaboration with veterans of the Campaign for Women’s Suffrage and the Co-operative Movement. Inspired by the writings of Ernest Thompson Seton, as well as the Arts and Crafts movement, they were opposed to the ‘useless toil’ of the factory, adopting William Morris’s ideal of a return to a pre-industrial golden age. They were initially involved with such emancipatory causes as environmentalism, clothes reform, pacifism, vegetarianism and the democratisation of the arts, but were radicalised during the economic crisis of the 1930s into forming a single-issue political party advocating Social Credit – a now discredited monetary reform theory. Social Credit Theory outlined a plan for a universal basic income in order to free people from the necessity to work. It is interesting that ideas like the universal basic income, which were popular in the 1930s, are being discussed again today. However, it was at that time that the Kibbo Kift became a uniformed group (The Green Shirts), with a presence in the hunger marches and on the streets in many of Britain’s big cities. I made a number of works about the Kibbo Kift in 2008, when the contemporary financial crisis was first unfolding, and the drawings that will be shown in this exhibition are from that series.

Empire City: The World on One Street (2009) – detail. © Olivia Plender courtesy Maureen Paley, London

You’ve picked up on this similarity between 1920s and 30s Britain, and Britain today. Do you feel the way those events were presented historically and culturally have shaped our thinking now?

In these kind of historical works I am interested in interrogating the ideological framework around the narration of history, who gets to tell the story of history and how. Many of the historical movements that I am interested in are rarely written about, or, like the Suffragette movement are very misrepresented. Therefore I present these kind of micro histories as a counter to the mainstream version of Britain’s history propagated by historians such as Niall Ferguson; who whitewash a lot of the brutality of the industrial period and British colonialism, in order to perpetuate an image of a liberal Britain that was ever marching towards progress. These versions of history have a huge impact on contemporary society, particularly when it comes to national identity and how we view the presence in Britain of anyone considered ‘other’ by mainstream society. I am very interested in interrogating ‘the voice of authority’ and looking at how ideas of ‘truth’ are constructed, whether by the media today or in mega events such as The British Empire Exhibition of 1924. Certain voices go unheard within the public realm, are considered illegitimate as they do not speak using the correct mode of address, or do not sound enough like those male, pale and stale Oxbridge educated voices that tend to hold power in the UK.

In direct contrast, the journal Urania is somehow poly-vocal. Urania ran from 1915 until 1940 and it was the first British magazine to produce a cultural and political discourse on gender issues and the demands of lesbian and gay individuals and communities. The name refers to a specific idea of Utopia, as a place where the categories of ‘male’ and ‘female’ do not exist. In the early twentieth century those people who did not neatly conform to social and sexual norms often referred to themselves as Uranians. Subsequently, the journal Urania was a kind of catalogue of incidents of gender troubling and feminist struggles, in the context of that time which included the rise of Fascism, Imperialism and the struggle by women for the vote. It was comprised of a collection of articles clipped from newspapers from around the world, which were re-published with very little editorial and analytical commentary, and distributed privately to a wide network of friends and supporters. Any commentary was often unsigned or published under a pseudonym used collectively by several writers, which made Urania into an ‘institution’ that constituted itself through a collective voice.

I came across the journal in the archives at the Women’s Library in London and when I started reading, one of the things that struck me was their internationalism. Urania published articles by and about feminist movements from around the globe, including Japan, Egypt, India and many countries in what we now refer to as the Global South. What is striking is that the journal existed during the same time period as the British Empire Exhibition, which represented non-western peoples as inarticulate and in need of Britain’s paternal guidance, but Urania presents us with women in the Global South articulating their own complex feminist struggles. The journal encouraged their subscribers to learn from these other struggles.

In recent years, I have been very interested in the misrepresentation of the Suffragette movement. Once I started researching it and looking at the diversity of the movement, groups such as that around Urania and also Sylvia Pankhurst and the East London Federation of Suffragettes in particular, it became clear to me that there are many aspects of the movement that have been suppressed by historians. The Suffragette movement was about more than winning women the vote. Much of what they were fighting for is still a problem for women today such as unequal pay, unequal division of labour within the family and sexual harassment. In many ways they were attempting to turn the whole world upside down, challenging norms such as the family and the gender binary itself.

Machine Shall Be the Slave of Man, But We Will Not Slave for the Machine – ink on paper drawings (2008). Courtesy Olivia Plender. © Olivia Plender courtesy Maureen Paley, London

Machine Shall Be the Slave of Man, But We Will Not Slave for the Machine – ink on paper drawings (2008). Courtesy Olivia Plender. © Olivia Plender courtesy Maureen Paley, London

You look directly at 21st century political issues in some works, notably in Stockholm Duck House: Proposed Monument to British Parliamentary Corruption, Circa 2009. Do you hope for these pieces to ignite further discussions around scandals that have been brushed under the rug, or is your main intention to simply analyse and explore the means of communication that surround them?

With the Stockholm Duck House I am very interested in highlighting corruption in the British Political system as it contrasts absolutely with Britain’s self-perception as a ‘civilised’ country that exported democracy around the world – the ‘mother of parliaments’. Right now it is particularly important to look at the state of our own democracy, as there is such wide-spread disillusionment with our parliamentary system. We are far from being a democratic country, because of the two party system and also the domination of parliamentary politics by certain class interests, who have allied themselves with the interests of big business. As became evident in the MPs expenses scandal of 2009, many MPs are still aristocrats. For example, Sir Peter Viggers MP inappropriately claimed money from the public purse for a replica of an eighteenth century Swedish building in which to house his ducks, as well as 28 tons of horse manure; his fellow Conservative Sir Douglas Hogg, 3rd Viscount Hailsham claimed the cost of cleaning the moat around his country estate. These details are ripe for satire, but a serious image also starts to emerge of a country that is stuck in the eighteenth century.

I am now planning to propose a new monument to corruption that would be called, ‘The Disgrace of Dr Fox: Proposed Monument to British Parliamentary Corruption Circa 2011’. This monument will depict a large bomb and will commemorate the actions of the disgraced former defence secretary Dr Liam Fox, who was forced to resign from the government in 2011 for allowing his friend and best man Adam Werrity to pose as his adviser. Werrity travelled the world meeting heads of state with Fox, taking the opportunity to advance his own ambiguous business interests, whilst pretending to work for the British government – whereas in reality he had no official parliamentary job and no security clearance. Although Fox lost his job at the time, it appears that there have been no serious consequences for him.

The works in the exhibition span a ten year time period. How have you felt your practice evolve since the creation of the earliest works?

Although in this show the emphasis is on works based on social history, one of the things that has happened in my art practice in recent years is that I found that I wanted to get out of the archive and collaborate with people. For example, at the moment I am developing a project with Open School East, working with different feminist groups active in London right now. The methods that we are using involve a lot of performance, as well as discussion, and are partially borrowed from consciousness-raising groups, which were a tool used by the Women’s Liberation movement in the 1970s. The conversations are often very personal, in line with the old feminist mantra ‘the personal is political’, thinking through the effects of political structures on our intimate daily lives, as well as what the Suffragette movement has to say to us now.

Urania (Star Dust Index) – series of off set litho posters (2016). Courtesy Olivia Plender. © Olivia Plender courtesy Maureen Paley, London

Can you tell me a little about the book that you’ve launched in line with the exhibition: Rise Early And Be Industrious?

Thematically the book mainly focuses on the projects that I have made on the theme of education and its relation to work, exploring different educational models from the industrial era until today. There are two opposing ideas that I am interested in contrasting: education as training for the workplace versus education as an emancipatory practice. For example, I think of world fairs and events such as the British Empire exhibition, as educational spaces designed to indoctrinate people into certain social behaviours. The British Empire Exhibition was embedded with norms around racial superiority, as well as competition, trade and the work ethic, which sociologist Max Weber famously linked to the development of industrial capitalism in his book The Protestant Ethic and the Spirit of Capitalism. On the other side, there are examples of experimental education that emphasize playfulness as an interruptive to the rationalism of the factory and the soul destroying working conditions of the mechanized industrial era, creativity as the route to freedom. However a question arises in the book as to what these practices mean in the context of a post-industrial society, such as the UK, where many working practices have changed and ‘creativity’ is a quality that we are all now expected to bring into our work. The book reflects on these themes in essays by writers such as Tirdad Zolghadr, Lars Bang Larsen and Maeve Connolly. However, I also want it to be a useful collection of tools that other people can pick up and apply. There is a chapter focused on a summer school that I staged at the Banff Center in Canada, in 2010, called Beyond Former Heaven (or the Institute of Surrealist Ethnography), which is written as a set of instructions, a kind of ‘how to’ guide to running your own alternative school. In addition to which, the book includes a lot of the research behind my projects, such as interviews and archival material.

Olivia Plender is showing at Maureen Paley, London until 2 October.

Stockholm Duck House: Proposed Monument to British Parliamentary Corruption, Circa 2009 – architectural model of painted wood and lead, brass plaque (2012). Courtesy Olivia Plender. © Olivia Plender courtesy Maureen Paley, London

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What is repetition, pattern, and rhythm? How do they relate to each other?

Repetition refers to one object or shape repeated; pattern is a combination of elements or shapes repeated in a recurring and regular arrangement; rhythm--is a combination of elements repeated, but with variations.

Repetition, pattern, and rhythm in a Buddhist mandala

Taizokai (Womb World) mandala, second half of ninth century.

Hanging scroll, color on silk.The center square represents the young stage of Vairocana Buddha.

source http://www.mandala.hr

This scroll includes all three of these elements: repetition, rhythm, and pattern. Repetition is seen throughout the mandala in the repetition of figures. This is most evident in the center and the area immediately surrounding the center of the mandala. Pattern can be found in the areas where there are repeated figures that are different in size but follow a regular, ordered arrangement in their recurrence. Rhythm can be seen in the two outermost layers, especially the second one from the edge, with a black background. Differing sizes of similar figures are repeated, with variations in their order and grouping.

Repetition

Repetition is an object, form, or figure that is repeated.

To get an idea of the effect of repetition in an artwork, look at the illustration below. There appears to be two boxes. In the first box, there is one colored circle. The second box is overflowing with multicolored circles, so many that they cannot all be contained within the box. What words do you think of when you look at the two different boxes? You might think of spare, lone, almost empty, lonely...or you might think of abundant, innumerable, unmanageable, out of control.

Donald Judd: repetition as a minimalist

Donald Judd, untitled (1969/1982),

anodized aluminum each of 10 boxes 6 x 27 x 24 inches

Walker Art Center Gift of Mr. and Mrs. Edmond R. Ruben, 1981

From the Walker Art Center website: "One of the foremost practitioners of Minimal Art, Donald Judd is best known for his sleek, boxlike constructions made of industrial materials such as aluminum, plywood, sheet metal, and plexiglass. Through these works, he sought to create a depersonalized art in which the exploration of space, scale, and materials served as an end, rather than as a metaphor for human experience. Emphatically concerned with pure forms, Judd’s works become statements about proportion and rhythm as well as three-dimensional space. His stacked boxes seem to come directly out of the wall rather than projecting from a backing surface. This creates the impression that the artwork shares the observer’s space instead of being set apart like a sculpture on a pedestal".http://collections.walkerart.org/item/object/605

image from the curriculum guide for the exhibition So, Why Is This Art?, Walker Art Center, Minneapolis, 2002.

If Judd's concern is with pure forms, how does the repetition of a single form --shape, dimensions, spacing and color--affect your respsonse? Does it strengthen Judd's intent? Are you able to experience this work as pure form only, or do you look for metaphoric references that relate to hman experience?

Easter Island: Ahu Tongariki, repetition as intimidation

Ahu Tongariki on Easter Island. c 1250--1500 CE

Moai restored in the 1990's by a Japanese research team after a cyclone knocked them over in the 1960's.

Photo taken by Ian Sewell, July, 2006.

source IanAndWendy.com Photo gallery from Easter Island

Moai are monolithic human figures situated on platforms called ahu on Polynesian Easter Island. They were carved from rock and have overly large heads. They represent the faces of deified ancestors.(aringa ora ata tepuna).

Imagine encountering this row of 15 moai, overwhelming in size and able to be seen from a far distance. The height of the moai is more than twice the height of the average human. The largest one is 33 feet high. Imagine seeing one lone moai on the coast, compared to a row of 15 of them.

A close up of the moai at Ahu Tahai, restored with coral eyes by the American archaeologist William Mullo.

Photo by Bjarte Sorensen

source: http://en.wikipedia.org/wiki/File:Ahu_Tahai.jpg

Christo and Jeanne-Claude: the Umbrella Project

Christo und Jeanne-Claude Umbrella Project(Japan) 1991

1,340 blue umbrellas in Ibaraki Japan, and 1,760 yellow umbrellas at the Tejon Ranch in southern California

Photo taken by Dddeco 27 December 1991, image under the GFDL

Another massive project by Christo and Jeanne-Claude was the installation of large scale blue and yellow umbrella sculptures, 1.340 blue ones in Japan, and 1,760 yellow ones in the U.S. Besides covering a large area geographically in each site, the sites also linked one country to another. Imagine a field with one large umbrella sculpture. Now imagine more than a thousand of them, in the same field. What is the effect of repetition in this project?

Do-Ho Suh: Public Figures--a monument to many

"Let’s say there’s one statue at the plaza of a hero who helped or protected our country—there are hundreds of thousands of individuals who helped him, and there’s no recognition for them." — Do-Ho Suh

The maquette (model) for the sculpture

Do-Ho Suh Maquette for Public Figures

mixed media MetroSpective January 29 - November 8, 2003 City Hall Park, Brooklyn

Do-Ho Suh Maquette for Public Figures

mixed media MetroSpective January 29 - November 8, 2003 City Hall Park, Brooklyn

source http://www.publicartfund.org/pafweb/projects/03/metrotech/metrospective_suh_s03.html

From the Public Art Fund website: "For the lobby of City Hall, Do-Ho Suh turns the traditional monument upside down with his small-scale maquette for Public Figures. Instead of a single figure perched on a pedestal, Suh creates a pedestal supported by myriad miniature anonymous male and female figures, refocusing the viewer's attention from the individual to the collective masses. Challenging the established notion of the common citizen revering a monument to an important figure, Suh emphasizes the power of the individual within public space."

http://www.publicartfund.org/pafweb/projects/03/metrotech/metrospective_suh_s03.html Public Art Fund is a non-profit arts organization supported by generous gifts from individuals, foundations, and corporations, and with public funds from The New York State Council on the Arts, a State Agency, and the City of New York Department of Cultural Affairs.

The completed work

Do-Ho Suh Public Figures 2001

stone and bronze 111.81 x 82.44 x 108.27 inches 284 x 209.4 x 275 cm Edition of 3

Lehmann Maupin Gallery New York

image source http://legacy.earlham.edu/~vanbma/20th%20century/images/1967daytwentyeight08.htm

Do-Ho Suh uses repetition in much of his work, as a profound statement about the value of each individual within a larger group. In this sculpture, each figure is different from the others although they appear as a single entity. As a group they carry the immense weight of history and the actions of every person, great or small. For more of his work: http://www.lehmannmaupin.com/#/artists/do-ho-suh/

Pattern

Pattern is a combination of elements or shapes repeated in a recurring and regular arrangement.

Symbolic uses of pattern

Pattern is often used symbolically to represent many things: people, beliefs, the natural world, history, tradition. Colors and shapes have specific meanings, and are passed down from generation to generation. The predictability of pattern is important in establishing a historical tradition and cultural practice.

Ghanaian kente cloth

Detail of hand-woven Asante (Ashante) ceremonial cloth featuring red and yellow (primary colors), green (secondary color, complementary to red), and black (neutral color and the darkest tone available).

source webexhibits.org http://www.webexhibits.org/colorart/african-kente.html

From Color interactions: simultaneous contrast, Kente cloth on webexhibits.org: "One of the most sumptuously colored textiles used for clothing is Ghanaian kente cloth, made by Asante and Ewe weavers using specially designed looms. Kente was probably introduced from the western Sudan during the 16th century, when heavy, elaborate, labor-intensive versions of this fabric were designed for wealthy tribal chiefs and simpler designs became available for the general citizenry. Kente is woven in four-inch (9.5 cm) narrow strips that are sewn together. A characteristic Asante kente has geometric shapes woven in bright colors along the entire length of the strip, while Ewe kente often displays a tweed effect by plying together different colored threads in many of the warps. Ewe kente may also incorporate pictorial symbols...Colors convey mood, dark shades being associated with grief and used for mourning ceremonies, while lighter shades are associated with happiness. The symbolic significance of kente is located in the motifs (the elephant signifies kingship, the scorpion bitterness). The colors of the Ghanaian national flag – red, yellow, green and black – are popular in modern cloths."

Maori Tukutuku panels

Pou Tangata represent the many people who have lived in Tamaki Makau Rau

The Purapura Whetu represents many stars in the sky, many people in the iwi

The Ngaru Nui represent the waves of the Ngatokimatawhaorua. The zig zag part are the waves. The rectangle part is the waka

image sources http://whakaahua.maori.org.nz/tukutuku.htm

From the Christchurch City Libraries website: "Tukutuku panels are a traditional Māori art form. They are decorative wall panels that were once part of the traditional wall construction used inside meeting houses. Originally tukutuku were made by creating a latticework of vertically and horizontally placed dried stalks of kākaho, the creamy-gold flower stalks of toetoe grass, and kākaka, long straight fern stalks, or wooden laths of rimu or tōtara, called variously kaho tara, kaho tarai or arapaki. These panels were lashed or stitched together. This was done by people working in pairs from either side, using the rich yellow strands of pīngao, white bleached or black-dyed kiekie, and sometimes harakeke, to create a range of intricate and artistic patterns. Stitches were combined to form a variety of patterns...The art of tukutuku weaving is still at risk. It is a time-consuming craft that demands patience and persistence. The panels pictured here were produced for the new Māori Resource space at the Central Library in a community funded project facilitated by members of Ngā Puna Waihanga Waitaha Tai Poutini. They represent about 900 hours work undertaken by more than 180 volunteers during the year 2001. In all their tukutuku wānanga."

P.W. Christchurch City Libraries http://christchurchcitylibraries.com/Maori/Puawaitanga/Tukutuku/

The Alhambra

photo by Lucy Lamp

Islamic spiritual art does not allow the incorporation of imagery, so pattern is used to convey spiritual principles. This is a detail of a wall from the Alhambra in Spain, one of many, each with complex mullltilayered patterns that appear to mimic aspects of the natural world.

Pattern as decoration

We are all familiar with the use of pattern as decoration, from clothing, to everyday objects, to home decorating . Below is an example of an elaborate use of pattern in home decoration.

Yinka Shonibare Victorian Philanthropist’s Parlour, 1996-1997.

from webexhibits: "Shonibare uses a batik fabric that has African characteristics. However, instead of originating in Africa, the fabric was invented in Indonesia, and the batik printing technique was industrialized by Dutch colonizers in the mid-19th century. Soon after, the British began to produce the fabric in Manchester for West African markets. Shonibare buys his batik from the Brixton market in London. Therefore, Shonibare addresses the (mis)perceptions and the questionable origins of art that is interpreted as “African.” In Shonibare’s work, the fabric comes to symbolize the complex history of Western colonialist exploitation in African countries." http://www.webexhibits.org/colorart/keita-shonibare.html

Rhythm

What is Rhythm?

Rhythm is like pattern, in that the same elements (i.e.shape, line) are repeated; however, with rhythm there are slight variations in the pattern. Rhythm is easily perceived but complex and subtle. Think of water on a beach; it continually breaks on the shore in lines that are repeated, yet each one is different.

photo by Lucy Lamp

In pattern, elements are repeated in the same way thoughout the whole composition, as in the example above. In the example of rhythm below, the same elements are used, but with variations. See if you can sense and understand the difference.

Rhythm is most easily understood within music. Rhythm represents our desire for order. Rhythm is like our own heartbest; it gives us a sense of the pulsing of life.

Examples of rhythm in art

Grant Wood: rolling fields and plains of the midwest

Grant Wood Young Corn 1931

image source http://xroads.virginia.edu/~ma98/haven/wood/home.html

"I realized that all the really good ideas I'd ever had came to me while I was milking a cow. So I went back to Iowa. " Grant Wood

as quoted in "Going Back to Iowa: The World of Grant Wood" web page created and designed by Janet Haven for the University of Virginia American Studies Program http://xroads.virginia.edu/~ma98/haven/wood/gallery4.html

Vincent Van Gogh: personal vision of the night sky

Vincent van Gogh The Starry Night Saint Rémy, June 1889.

Oil on canvas, 29 x 36 1/4" (73.7 x 92.1 cm).

Museum of Modern Art Acquired through the Lillie P. Bliss Bequest 472.1941

“I often think that the night is more alive and more richly colored than the day”.Vincent Van Gogh

as quoted in a picture is worth a thousand words website by Juan Osborne http://www.juanosborne.com/2009/11/starry-night-quote/

Eugène Jansson: rhythm of a Nordic night

Eugène Jansson Riddarfjärden, Stockholm, 1898 Oil on canvas, 115 x 135 cm Nationalmuseum, Stockholm, NM 1699

from the exhibit A Mirror of Nature: Nordic Landscape Painting 1840-1910 June 24 - September 2, 2007 at the Minneapolis Institute of Arts

From the exhibition catalogue: "In a manner characteristic of Jansson, this view of the city is at once highly stylized, in its play of rhythmically billowing forms, and topographically correct. As in all his works, a reality that is familiar to us is refashioned into a new, soul-endowed world. The dream-like mood is evoked by the interplay of vigorous brushwork and thinly diluted paint, which causes the surface to vibrate with life in subtle modulations of colour." source http://artsmia.org/mirror-of-nature/nordic-art-detail.cfm?nor_art_cat=84&lng=0

Rhythm in an ancient Minoan fresco

Three women, fresco from Knossos palace, island of Crete Minoan civilization (27th c. BCE --15th c. BCE)

Wikimedia Commons. source cavorite 11 February 2006http://www.flickr.com/photos/cavorite/98591365/in/set-1011009/

The Minoan civilization was long and peaceful. The palace at Knossos was large, colorful, and advanced in its engineering. The walls were covered with frescoes of humans and animals in a vibrant enjoyable world. In this fresco, notice the varied repetition of the figures, the hair, hands. and clothes. The graceful variations in these elements impart a graceful rhythm to the fresco.

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eu-uk.info: keep it complex, make it clear

At least 1.4 million British nationals live in another EU country. Isn’t it great that you could choose to work, live or retire in any EU country, vote in local elections, get healthcare cover and enjoy the better weather? Let’s keep it that way. Vote REMAIN on 23rd June.