ROCK ART.
Comprised a commissioned range of large and multi-part, multi-media installations and a series of performative evenings (24 hours in total), utilising live art, poetry, music, painting, digital print, textile design, pedagogy, sculpture, design, text-based work, video, digital, sound art, time-based art in a total exhibition experience. Curated for HOME by Prof. Sarah Perks. 10,854 visitors. It created as a part of its methodology, 36 jobs for creative industries practitioners, six digitally-recorded musician collaborations, and 38 students working from 3 art schools; LJMU, MMU, and Salford University (the first time this has ever been achieved).
- Submitting institution
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Liverpool John Moores University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32JHYA2
- Type
- M - Exhibition
- Venue(s)
- HOME, Manchester
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- February
- Year of first exhibition
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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1 - Contemporary Art Lab
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Rock Art was a commissioned (£65K) gesamtkunstwerk (Wagner), from 24 months background research, and a demonstration of the possibility and value of knowledge transport between disciplines. The form of the exhibition was unique: multi-modal constituent artworks created a thoroughly novel ‘event’ structure (‘The concrete is the acting’, A.N.Whitehead, 1925). All new, it led from an Art Shop of multiples; via digital video; print; lectures; a comic-book collection library; rocks; cymatic poetry; music (including live BBC Radio6); a 5m mirror-ball Trojan Horse; large banners; and a queue to a functioning reconstruction of a 1980s Milan nightclub, Club BIG. In Club BIG, the researcher led chosen, deliberately diverse, collaborative, creative professionals to stage 21 hours of bespoke public performances, plus a special commissioned private evening for the Arts Council’s annual ‘No Boundaries’ conference. A deliberate osmosis through category boundaries led to a galvanisation of new conceptual models, material forms and lived experiences. Practical experiments and observations of waveform vibration in sand and inquiry through fabrication experiments accompanied the theoretical research. Findings posited a non-linear visual metaphor (knowledge ‘Is’ dynamic vibrational patterns) for how information moves diachronically as knowledge within society. This enabled refreshed understanding through ‘re-superpositioning’ of traditionally disconnected, laminate structures of disciplines. Research catenated Animism, Gnosticism, Romanticism, and Post Humanism; Cave Art, Dada, Pop, Happenings, and Relational Art; Relativity, Information Theory, Quantum Physics, and Cymatics; Individualism, Psychology, Cognitive Linguistics, and Neuroscience. It orchestrated a confluent synthesis from distinct knowledge streams as a solution-without-dissolution of disciplinary understandings and theoretical discourses into an embodied, challenging, yet enjoyable visitor (10,854) experience. Rock Art posited the need for a decategorized social, creative, less selfish response to the world ecological, political, health and economic crises in the context of advancing technologies’ rapid conceptual fluidity, to help avert the paradoxical emergence of a new Dark Age.
- Author contribution statement
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- Non-English
- No
- English abstract
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