THANKYOU & GOODBYE

CONTRIBUTORS:

ARTISTS:

AGGELIKI XYNOGALAAKIMA MCPHERSONANASTASIA ZOI SOULIOTOU ANIKA CARPENTERARABA OCRANARUNA GUHANASA JAMES GRIFFITS CARO HALFORDCHANTELLE PURCELLCHANYANUCH HONGSONGTHAMDIZZY THORNEEVA THEODORIDOUHUI HYE LIMJAMES BLACKBURNJAYI KIMJUN HO LEEKYUNG PARKLAUREN COOKEMINJOO CHOMINNA GEORGIEVAPANAYIOTIS PIERISPOLLY READRAYWAT JUNGSURARUXANDRA GUTUSAM WALKERSIMENG LIUSTEPHANIE O CONNORYONGSANG HONG

TEXT:Charlotte Cullinan & Jeanine Richards

COVER:Chanyanuch Hongsangthanm

CREATIVE EDITORS:Chantelle PurcellAruna Guhan

© COPYRIGHT MA KINGSTON UNIVERSITY 2011FOR MORE INFORMATION CONTACT CHANTELLE PURCELL OR ARUNA [email protected] / [email protected]

texts

EDITORS NOTE:“Cultural hacking” does not only mean voicing criticism, putting up resistance or even exposing an opponent’s faults — it also signifies innovation”

This publication accompanies the exhibition ‘Thankyou & Goodbye’. It comprises of a montage of text and images that have been appropriated from various sources of news and media. Taking its cue from the recent News of the World headline, the catalogue is an artist’s response to what is happening topically.

The publication deals with recycling of ideas, distortion, manipulation and corruption of the everyday, pulling together the questioning of realities and clichés of the scandalous that penetrate our minds.

The publication reveals the individual processes of each artist and how it transforms when opened up into the collaborative, thereby creating a dialogue between the audience and artist. ‘Thankyou & Goodbye’ becomes a staging that captures the fleeting, transient nature of an exhibition and the reconsideration of the artwork when documentation comes into play.

Yesterday’s news is tomorrow’s fish & chip paper.

ChaNTEllE PuRCEll & aRuNa GuhaN

1. Schmidt, S. 2011, Hacking the City - Interventions in public and communicative spaces, [online] Available at:http://www.e-flux.com/shows/view/9739

ThaNkyOu & GOODbyE

The Italian/French legacy of the exodus, even if it no longer allows dreaming of a completely different outside, is not at all to be understood as harmless, individualist, or escapist-esoteric. “There is nothing more active than a flight!” as Gilles Deleuze and Claire Parnet wrote in the 1970s, and as Virno repeats almost literally in 2001: “Nothing is less passive than the act of fleeing, of exiting.” What this form of innovation-as-exit involves is a dangerous, positive form of defection, a fleeing that enables one to look for a weapon as one goes. Instead of presupposing relationships of domination as an immovable horizon and yet still fighting against them, this flight changes the conditions under which the presupposition occurs. The exodus transforms the context in which a problem has emerged, instead of treating the problem by deciding between given alternatives. As joke and as innovative action, exodus—the nonpassive, nondialectical, nonindividualist form of defection—opens up a side road, uncharted on political maps, “to modify the very ‘grammar’ which determines the selection of all possible choices.”

Gerald Raunig ARTFORUM [extract] January 2008

When WE talk about an entrepreneurial attitude we are asking the students to think about making work that allows repetition, mistakes, false conclusions, mis-judgements, collapse, fake economies, jokes, types, doubles, copies, versions. In other words - innovation and creativity becomes displacement. These ideas of displacement are finally actualized as leave-taking, as defection, as exodus at the end of the year.

‘Virno emphasizes that he sees exodus as a collective action, which hinges on the para-logistic principle of tertium datur: a third way beyond any dialectical movement, an asymmetrical third possibility ...........exodus is a nondialectical form of negation and resistance, or rather, of defecting and fleeing. Confronted

with the question of whether they would submit to the pharaoh or openly rebel against his rule, the Israelites invent another possibility that could not have been conceived before: They flee’.

Gerald Raunig ARTFORUM [extract] January 2008

THANKYOU & GOODBYE

with love from,

Charlotte Cullinan and Jeanine Richards Sept 2011

YesterdaY’s news is tomorrow’s fish & chip paper

FIG. 1

FIG. 2

FIG. 3

FIG. 4

FIG. 5

FIG. 6

FIG. 7

FIG. 8

FIG. 9

FIG. 10

…The black m

oment is the m

oment w

hen the real message of

transformation is going to com

e. At the darkest mom

ent comes the light.

Joseph Cam

pbell, in The Power of M

yth (1988), Ch. 2 : The Journey Inw

ard

FIG. 11

…The black m

oment is the m

oment w

hen the real message of

transformation is going to com

e. At the darkest mom

ent comes the light.

Joseph Cam

pbell, in The Power of M

yth (1988), Ch. 2 : The Journey Inw

ard

FIG. 12

FIG. 13

FIG. 14

FIG. 15

FIG. 16

KISS BY THE HôTEL DE VILLE: “I WOULD NEVER HAVE DARED TO PHOTOGRAPH PEOPLE LIKE THAT. LOVERS KISSING IN THE STREET, THOSE COUPLES ARE RARELY LEGITIMATE.”

FIG. 17

KISS BY THE HôTEL DE VILLE: “I WOULD NEVER HAVE DARED TO PHOTOGRAPH PEOPLE LIKE THAT. LOVERS KISSING IN THE STREET, THOSE COUPLES ARE RARELY LEGITIMATE.”

FIG. 18

FIG. 19

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FIG. 22

What are the rules about who gets a public statue? A statue to Ronald Reagan has been unveiled outside the US embassy in London, begging the question: who decides what statues are commissioned for such public spaces. Emine Saner guardian.co.uk, Monday 4 July 2011 The unveiling of the 10ft bronze statue, standing alongside Dwight Eisenhower and Franklin D Roosevelt in Grosvenor Square, for the next few months at least to the American embassy, is part of a number of events run by the Ronald Reagan Presidential Foundation � including other statues around the world � to mark the centenary of the 40th president's birth. Whatever your view on Reagan's politics, you can't deny it's a shame we couldn't have had the statue Budapest got last week. Theirs is showbiz Reagan, looking like a rock star on a walkabout, with his autograph scrawled at his feet. We've got statesman Reagan: on a plinth, straight-backed, shoulders square, a faint smile playing across his face. There are no general rules for statue commissioning it is up to individual councils. For Westminster, it is customary to wait until someone has been dead for 10 years before a statue is created. "It's a guideline to make sure we are getting people whose legacies will endure," says a council spokesperson. Statues are privately funded and landowners' permission has to be sought. "Someone will come up with a proposal and put it to us. Then the planning committee will make a decision on whether it's suitable for the area, good enough quality, and whether it's suitable for that person to have a memorial in that way. If the statue is human or animal, it has to be signed off by the Secretary of State [for Culture, Media and Sport], but not for abstract sculpture, that's one of the quirks." Westminster council relaxed its rules to allow the statue of Reagan, who died only in 2004. There are monuments created to exceptional living people - a statue of Nelson Mandela was unveiled in 2007 in Parliament Square, for instance, and earlier that year, a bronze of Thatcher was erected at the House of Commons. It was reported late�last year that one MP was calling for Tony Blair to be honoured in the same way, but to say there wasn't much enthusiasm for this is an understatement. http://www.guardian.co.uk/world/2011/jul/04/what-rules-for-public-statues

What are the rules about who gets a public statue? A statue to Ronald Reagan has been unveiled outside the US embassy in London, begging the question: who decides what statues are commissioned for such public spaces. Emine Saner guardian.co.uk, Monday 4 July 2011 The unveiling of the 10ft bronze statue, standing alongside Dwight Eisenhower and Franklin D Roosevelt in Grosvenor Square, for the next few months at least to the American embassy, is part of a number of events run by the Ronald Reagan Presidential Foundation � including other statues around the world � to mark the centenary of the 40th president's birth. Whatever your view on Reagan's politics, you can't deny it's a shame we couldn't have had the statue Budapest got last week. Theirs is showbiz Reagan, looking like a rock star on a walkabout, with his autograph scrawled at his feet. We've got statesman Reagan: on a plinth, straight-backed, shoulders square, a faint smile playing across his face. There are no general rules for statue commissioning it is up to individual councils. For Westminster, it is customary to wait until someone has been dead for 10 years before a statue is created. "It's a guideline to make sure we are getting people whose legacies will endure," says a council spokesperson. Statues are privately funded and landowners' permission has to be sought. "Someone will come up with a proposal and put it to us. Then the planning committee will make a decision on whether it's suitable for the area, good enough quality, and whether it's suitable for that person to have a memorial in that way. If the statue is human or animal, it has to be signed off by the Secretary of State [for Culture, Media and Sport], but not for abstract sculpture, that's one of the quirks." Westminster council relaxed its rules to allow the statue of Reagan, who died only in 2004. There are monuments created to exceptional living people - a statue of Nelson Mandela was unveiled in 2007 in Parliament Square, for instance, and earlier that year, a bronze of Thatcher was erected at the House of Commons. It was reported late�last year that one MP was calling for Tony Blair to be honoured in the same way, but to say there wasn't much enthusiasm for this is an understatement. http://www.guardian.co.uk/world/2011/jul/04/what-rules-for-public-statues

FIG. 23

FIG. 24

FIG. 25 & 26

FIG. 27

FIG. 28

artists

FIG. 29 The Hairs on Your Arms Distract Me

FIG. 30 First sketch to final study and book art

FIG. 31 Happy Now?

FIG. 32 15.04.11 05:00

FIG. 33 Untitled

FIG. 34 Lack of Being

FIG. 35 Fig. 1, Fig. 2 & Fig. 3

FIG. 36 Turkish Bath

FIG. 37 Lines of Flight

FIG. 38 ‘The crisis of today is the Joke of tomorrow’ Lacey, 18

FIG. 39 White Ice

FIG. 40 King Hopper

FIG. 41 Visual + Sound

FIG. 42 The Departure

FIG. 43 Jamie Oliver is like a shark. If he stops moving, he dies.

FIG. 44 The Supertour Campaign

FIG. 45 Untitled

FIG. 46 Catch of the day

FIG. 47 Flood Light Yellow

FIG. 48 Light

FIG. 49 Understanding

FIG. 49 Understanding

FIG. 50 Starry Sky

FIG. 51 Londo Stree

FIG. 52 Untitled (Skirting)

FIG. 53 Untitled

FIG. 54 A-MOLD (A matter of Life and Death)

FIG. 55 & 56 Why don’t we just put tape on our heads?

Fig. 1 MINJOO CHO | Evening Standard, 11 October 2010Fig. 2 LAUREN COOKE | The Sun, Wednesday, 27 July 2011 Fig. 3 PANAYIOTIS PIERIS | The Cyprus Weekly, July 22-28 No.1641Fig. 4 ANIKA CARPENTER | The Guardian, 16 July 2011Fig. 5 RUXANDRA GUTU | New York Times, 7 March 2008 Fig. 6 RAYWAT JUNGSURA | The Science Museum, August 2011Fig. 7 CHANTELLE PURCELL | The Jamaica Gleaner, 25 April 2011Fig. 8 YONGSANG HONG | The Time 100, 2 May 2011Fig. 9 ARUNA GUHAN | The Millwaukee Journal 28, December 1976 Fig.10 JUN HO LEE | Sally Gardner, Copyright Muybridge, 1878Fig.11 EVA THEODORIDOU | Marianne, No 745, 30 July 2011Fig.12 AGGELIKI XYNOGALA | The Journey Inward Ch2, 1988Fig.13 HUI HYE LIM | The Evening Standard, 23 December 2010Fig.14 STEPHANIE O CONNOR | The Washington Post, 15 June 2011 Fig.15 JAYI KIM | (online) http://userpages.umbc.edu/~ivy/selfportrait/conclusion.htmlFig.16 SIMENG LIU | An, Y. June & July 2011 Fig.17 MINNA GEORGIEVA | Routers, August 2011 Fig.18 CHANYANUCH HONGSONGTHAM | Found postcard, Robert Doisneau, Kiss by the Hotel de Ville, 1950 Fig.19 POLLY READ | Collection of Various newspapersFig.20 AKIMA MCPHERSON | New York Times, 29 July 2011Fig.21 CARO HALFORD | FT, The shrink & The Sage, 22 July 2011 Fig.22 ANASTASIA ZOI SOULIOTOU | Image and Vision Computing, (20) 2002 Fig.23 ARABA OCRAN | The Guardian, 4 July 2011 Fig.24 SAM WALKER | Hollywood Reporter, Novermber 2010 Fig.25 & 26 ASA JAMES GRIFFITS & JAMES BLACKBURN | Observer, weather pages, 31 July 2011Fig.27 DIZZY THORNE | Source UnknownFig.28 KYUNG PARK | Google News, 21 August 2011

Fig.29 ANIKA CARPENTER | The Hairs on Your Arms Distract Me Fig.30 HUI HYE LIM | First sketch to final study and book artFig.31 CHANYANUCH HONGSONGTHAM | Happy Now?Fig.32 MINJOO CHO | 15.04.11 05:00Fig.33 KYUNG PARK | UntitledFig.34 JAYI KIM | Lack of BeingFig.35 SAM WALKER | Fig. 1, Fig. 2 & Fig. 3Fig.36 STEPHANIE O CONNOR | Turkish BathFig.37 EVA THEODORIDOU | Lines of FlightFig.38 LAUREN COOKE | ‘The crisis of today is the Joke of tomorrow’ Lacey, 18 Fig.39 CHANTELLE PURCELL | White IceFig.40 ARABA OCRAN | King HopperFig.41 JUN HO LEE | Visual + SoundFig.42 RAYWAT JUNGSURA | The DepartureFig.43 ARUNA GUHAN | Jamie Oliver is like a shark. If he stops moving, he dies.Fig.44 PANAYIOTIS PIERIS | The Supertour CampaignFig.45 DIZZY THORNE | UntitledFig.46 MINNA GEORGIEVA | Catch of the dayFig.47 POLLY READ | Flood Light YellowFig.48 AGGELIKI XYNOGXIA | LightFig.49 YONGSANG HONG | UnderstandingFig.50 SIMENG LIU | Starry NightFig.51 ANASTASIA ZOI SOULIOTOU | Londo StreeFig.52 CARO HALFORD | Untitled (skirting)Fig.53 AKIMA MCPHERSON | UntitledFig.54 RUXANDRA GUTU | A-MOLD (A matter of Life and Death)Fig.55 & 56 ASA JAMES GRIFFITS & JAMES BLACKBURN | Why don’t we just put tape on our heads?

AGGELIKI [email protected]

AKIMA [email protected]+592 613 7050 (GUYANA)

ANASTASIA ZOI [email protected] 1786 32620030 - 6932201422http://anastasiazoisouliotou.wordpress.com/

ANIKA [email protected] 874 655

ARABA [email protected]

ARUNA [email protected] (UK)+91 89398 73039 (India)

ASA JAMES [email protected] 77 66 88 33 53

CARO [email protected] 309506

CHANTELLE [email protected]://chantellemay.tumblr.com/CHANYANUCH [email protected]

DIZZY [email protected]

EVA [email protected]

[email protected]

JAMES [email protected] 79 30 17 86 86

JAYI [email protected]://www.wix.com/jayi2406/jayi-kim

JUN HO LEE [email protected]+44 782 732 5033(UK)

KYUNG PARKemail: [email protected]: http:www.anyworld-anyworld.blogspot.com0740329019782 (0) 10 9064 5437

LAUREN [email protected] lollypopblogs.blogspot.com

MINJOO [email protected] 07400839411

MINNA [email protected]

PANAYIOTIS [email protected]

POLLY [email protected]

RAYWAT [email protected]+44 7720 322734 (UK)+66 8180 90964 (TH)

RUXANDRA [email protected] 360 293+40752021001 (Romania)

SAM [email protected]

SIMENG [email protected]:07570054834

STEPHANIE O [email protected](usa) 001 703 343 7556(uk) +44 (0)7930844177

YONGSANG [email protected]+44 7528101148 (UK)

Documents

THANKYOU & GOODBYE