posted: 25/09/20 11:28

' hold me beside you ' A Site Specific Installation at Plymouth Art Weekender, 24 -27 September 2020

hold me beside you is a unique installation by Still/Moving for this year's Plymouth Art Weekender: 24 -27 September 2020.

The 2-metre distanced illuminated words respond to the experience of the COVID-19 pandemic. The site-specific installation explores the tension of proximity and risk in the physical structure of the Plymouth Citadel’s former gunpowder store. Originally created for The Box's 'State of Emergency' micro commission the words have been reconfigured to magnify our state of isolation and our dependence: our need to keep distanced, coupled with our longing for interconnectedness, revealing a shared vulnerability in the face of the unknown workings of the virus.

The work hangs on the north wall of Duttons Cafe, located above Elphinstone carpark which is one of the best places to see Still/Moving's other project Speedwell, on the Mount Batten Breakwater.

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posted: 07/09/20 15:38

Speedwell is Live!

Speedwell is exploring the idea of 'no new worlds'.

For the settlers on the Mayflower who felt they were sailing to a new world, it was a world that had been inhabited for many thousands of years by indigenous peoples who were greatly impacted by the arrival of the Mayflower and subsequent ships that followed.

We wanted to challenge that idea and to uncover previously overlooked stories of the Mayflower sailing but also to remind people that we only have this world and we need to look after it.

Come and add your voice to the structure either by filling in a tag with one of our volunteers or by adding your voice on our text and audio link

Speedwell's Poignant Message - Plymouth Herald

Re-Informed on the Mayflower 400 website.

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posted: 29/08/20 08:30

Speedwell, A Mayflower 400 Commission to Open on 4th September 2020

Speedwell, a large scale light installation funded by Plymouth Culture and the Arts Council, will open on Plymouth's Mount Batten Breakwater at dusk on 4th September 2020. Currently under construction it can be clearly seen growing on the horizon from the Hoe and the Barbican. See Speedwell Project page for more info.

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posted: 19/08/20 11:30

'touch' by Still/Moving, "A State of Emergency Commission" by The Box, Plymouth's new Museum

Still/Moving have been awarded a State of Emergency Commission by The Box, Plymouth's new museum, art gallery and cultural centre. The project titled 'touch' explores the two metre distance of safety forced under the pandemic regulations, a distance which paradoxically shows care through remoteness while enforcing isolation, yet in cases of coercion, hides from view those subject to a cruelty of touch.

The work explores these spaces, navigating from the distance of the horizon to the proximity of the home; the local. Moving through levels of intimacy and forms of touch from the caress of a lover, the lifting of a child to sharing a companionable proximity, the phrases ‘HOLD ME’, ‘TOUCH ME’, ‘BESIDE ME’ will be created using a low voltage LED technology.

The Box will open to the general public on Tuesday 29 September


Leonie and Kestor cropped
posted: 19/08/20 00:21

Léonie Hampton commissioned to create new work in response to seeds in Exeter Museum, RAMM’s collection

Still/Moving's co-founder Leonie Hampton new commission from RAMM, will explore the Exeter museum’s collection of seeds and herbarium sheets in dialogue with her own photographs of seed experiments, the garden and family. Creating a ‘story about love, growth, family and the archaic wisdom of plants’ the new artwork will place Hampton’s photographs of living and growing plants alongside that of the collected, dried seeds in the museum.

See: RAM Museum for more info


New Worlds: the language of the ‘new’

Kathryn Gray

The language of early American colonial encounter was predicated, more often than not, on the apparent discovery of the new.

The language of early American colonial encounter was predicated, more often than not, on the apparent discovery of the new. New to European eyes, ears, and tastes, of course, but Indigenous cultures were hardly new in any other sense of the word. Perhaps it’s not surprising that early modern man used the word new in such an easy and uninhibited way. They understood themselves to be the civilised centre, with the Americas the peripheral and primitive other, and they configured the language of newness and cultural difference through printed texts especially with ease and impunity.

The opening up of this New Eden, a trope so often used in English narratives to describe the North American landscape, served to underpin this asymmetric power dynamic further. Conflating the possibilities of Christian renewal and proselytization with an impression of limitless natural abundance, this ‘New Eden’ served the purposes of European religious and economic interests very well.

Coinage of the terms New World, New Spain, New France, and New England, also assume certain time markers, designating certain places in the Americas as sites of new beginnings and establishing a language of origins. Carrying with it implications of purity, veracity and authenticity, the language of beginnings and origins in European texts effaces the histories and lived experiences of Indigenous people whose cultures evolved long before colonial contact. And again, it’s not surprising that early modern Europeans would think in these ways; these narratives and the construction of this history was unabashedly from their own point of view.

There’s nothing exceptional about the fact that Europeans privileged their own worldview above that of others. The more urgent observation and conversation is really about how we conceptualise and narrate our current relational engagement with the world, its people and its ecologies. In 2020, a year marked by a confluence of world changing events and grassroots political engagement, an examination of the logic of newness, as it was constructed in the early modern Atlantic world and perpetuated since, might have its moment yet.