The British Art and Design Association Video Archive is now live : http://badaart.org.uk/video-archive/
You can also keep up to date with BADAs Video Archive on YouTube : http://ow.ly/P3cRG
This project was started to restore and archive old footage, from VHS, DVD and older formats, so that they can be catalogued and will not remain lost. We have already had submissions from a handful of artists, however we are looking for more submissions. If you have anby footage you wish to be considered for acceptance into the BADA Video Archive, got to http://badaart.org.uk/contact/ and fill in the contact form, and someone will get back to you as soon as possible.
An atrocity. In the attack at Garissa, Kenya on Thursday, the Al-Shabaab militant group killed 147 people, mostly students.
And on Tuesday night, Kenyans remembered them as innocent victims of a terrorist attack that stunned a nation and left communities heartbroken.
And in this conflict, we see innocent victims of terrorism and hatred, and I aim to bring attention to the plight of victims everywhere in search of greater peace, reconciliation and Human Rights and to inspire and provoke a new politically and culturally aware generation extremely cognisant of global conflict and its victims. This is and always has been the aim of ‘Victim, no Resurrection?’
Social Media plays a crucial role in “Purveyors of Truth and Lies.” It allows for a wider conversation with a broader international culture, and gives a voice to a larger, more diverse subsection of the global community.
As such, I wish to hear the opinions of people from all walks of life, from any country or background, on who they deem to be the “Purveyors of Truth and Lies.” And I want to start a conversation on each of these diverse opinions.
So, this is my invitation, I want to hear from you, and display a blog post authored by you on this site. I want to hear answers to the question:
Who do you believe are the purveyors of truth and lies?
Leave your comments here or on facebook if you wish to be a Guest Blogger on Terryduffy.info
After looking back at ‘Blind leading the Blind’ and ‘Scapegoat’ its obvious that there were leading towards ‘Purveyors of Truth and Lies’
Depicted political and world leaders, some of which may well become part of this new project.
But the real question is, who is leading who? Who purveys the truth, and who the lies? Or in fact is the matter a lot more grey than black and white?
Let me know in the comments below or on Facebook/Twitter.
The visual outcome of ‘Purveyors of Truth and Lies’ has to be inclusive offering, allowing, encouraging diverse opinions and contributions. As a result it will act as a catalyst to ask difficult questions of those involved in conflict who and/or what should be in the narrative and how they/it should be portrayed in that the representation of people, object and subjects across cultures can vary to extremes. Quite clearly from the recent Charlie Hebdo murders and other high profile issues of censorship, ie, the use of the “n” word; denial of the Holocaust; non-portrayal of child abuse victims and so on we are all cognoscente of personal and editorial censorship and how words and images can be seen through different cultures. As a result the artwork, its process and methods has to create hospitable common ground for dialogue across divides. However, that doesn’t mean it can’t be challenging. Methods such as public exhibition of the work as it develops, open public discussions and debates are necessary as are one to one meetings with key people. However, the use of social networking will be crucial to involve a wider international culture.
The artwork however isn’t or will not be an amalgam of other peoples opinions, it will be the outcome of my research, greater understanding and knowledge of the subject and methods. It will attempt to throw light upon the complexity of conflict today, make sense of it for broader public consumption and as a catalyst for future cross cultural dialogue and conflict resolution.
How is it possible to create an artwork that has the potential to inspire debate and influence global conflict within diverse cultural opinions. An artwork that confronts, challenges and contributes to our understanding of present day global conflict and conflict resolution.
I am a fine artist that creates artworks within the context of global conflict. The very nature of conflict today comes from extreme divisions, historical mistrust and the democracy of diverse opinion through the internet as well as poverty, suppression and millions of refugees from new war torn areas. We are now seeing the rise again of the right wing nationalism, Anti-Semitism, Islamophobia and more. Art can’t cure conflict, feed empty stomachs but it does have the proven potential to create hospitable open forums in which diverse opinions can be catered for. Therefore, this project will encourage and involve people across cultural divides creating opportunities for open dialogue and contribution. It will be a creative process of experiment, investigation, documentation, dialogue, questioning, challenging, developing and evolving a narrative within a global context entitled: “Purveyors of Truth and Lies?”. It will look at historic and present day power, control, leadership and the ideology, dogma, marketing, manipulation and rhetoric that represents it. It will attempt to realise, rationalise and put forward what are perceived across diverse cultures as fundamental truths, lies and grey areas and ask if there are any common grounds, potential areas of agreement for acceptable dialogue across diverse cultures. At its centre will evolve a formal artwork or artworks surrounded by a diverse accumulation of related multimedia noise, ideas, beliefs, promotions, ideologies identified by key people in politics, religion and culture as well as people generally across diverse communities.
The initial fundamental question asked of all contributors is: “Who do they believe are the purveyors of truth and lies and how should they be represented within this artwork”? As issues arise in the news relating to local, national and international issues the project will try to be there responding, highlighting through social media and encouraging a response.
My newest painting/project has been inspired by the demonstrative progress of ‘Victim, no resurrection’ (www.victim-no-resurrection.co.uk ), (VNR). VNR was painted by me in the 1980’s and in recent years has evolved into an artwork that by the invitation of key people, has been the used as a catalyst to encourage discussion, debate and open dialogue across cultures and issues of conflict. It has been installed in important locations to achieve greater dialogue and conflict resolution within highly sensitive areas of historic and present conflict. VNR by representing the victims of conflict on all sides creates the opportunity for culturally sensitive connections, opening doors to key people, groups, communities and organisation that are often unreachable, isolated and suspicious because of the conflict they endure. Each connection has proven to be interested in discussing conflict from their view point as a means of understanding and reconciling historic and/or present day divisions and becoming involved in related programmes of lectures, workshops, seminars that bring together diverse opinions. To-date the issues addressed have included Anti-Semitism, Apartheid, Religion, Human Rights, Politics and more.
The VNR research has inspired the opportunity for this new artwork/’s. It will focus upon global conflict, its complexity and diversity investigating political, economic, religious and cultural doctrines and leadership past and present. My knowledge and understanding when I created VNR was achieved by investigating the context that fascinated me at that time, ie, community/inner city break down, post industrialisation, unemployment, poverty and loss of hope. However, whilst this knowledge is relevant and transferable to the new artwork, I want to broaden this out into a global context specifically within the areas of political, religious and cultural diversity and the creation and use of art within it.
The Coventry Dresden Cope is no longer hanging in Dresden, and I am now starting my new project, which requires a broad conversation, which I feel can only be achieved through social media. I’m now focusing on nurturing an online community to help shape my latest project, which I will be revealing details of over the coming weeks.
I was commissioned to create and insert 26 limited edition prints of this original into 26 books with Holborn Library to remember and commemorate the lives of the 26 people killed locally during a Zeppelin raid in 1915. Given a choice of images, why did the library choose the FIST?