https://georgiaholman.com Georgia Holman Mon, 25 Sep 2023 19:16:20 +0000 https://georgiaholman.com en https://georgiaholman.com/I-want-it-for-us Sun, 11 Jul 2021 16:21:13 +0000 Georgia Holman https://georgiaholman.com/I-want-it-for-us I want it for us, and I also want this from us&nbsp; Comissioned by Birds of Paradise Theatre Company, as part of ‘Locked World’ https://www.boptheatre.co.uk/locked-world/&nbsp; Video (18 mins) with integrated BSL, audio descriptions and captions.&nbsp; Dancers: Clare Adam &amp; Lesley Howard&nbsp; watch full film here&nbsp; <img width="1440" height="810" width_o="1440" height_o="810" data-src="https://freight.cargo.site/t/original/i/b58dc3dfddc3d48a9c3e4b21bfe1bdffae59dafe83de5f912395e281338bdc5a/Loch-still-2.jpg" data-mid="191782979" border="0" src="https://freight.cargo.site/w/1000/i/b58dc3dfddc3d48a9c3e4b21bfe1bdffae59dafe83de5f912395e281338bdc5a/Loch-still-2.jpg" /> <img width="1440" height="810" width_o="1440" height_o="810" data-src="https://freight.cargo.site/t/original/i/a8842fe19cc8748738388e60f3e3311a6ca450f352ad2787369a89affac9de10/Loch-still-4.jpg" data-mid="191782981" border="0" src="https://freight.cargo.site/w/1000/i/a8842fe19cc8748738388e60f3e3311a6ca450f352ad2787369a89affac9de10/Loch-still-4.jpg" /> I want it for us, and I also want this from us Is a video work exploring concepts of access intimacy, building empathetic structures, and the myth of independence. Centred on the relationship of capital's estrangement from our bodies, dreams and visions, the work seeks to explore the inevitable failure of anybody to individually meet the current demands of existing in a neoliberal landscape. Citing independence as a myth, “The Myth of Independence; is not just about the truth of being connected and interdependent on one another; it is also about the high value that gets placed on buying into the myth and believing that you are independent; and the high value placed on striving to be independent, another cornerstone of the ableist culture we live in.” With a removal of this power, the work seeks to present vulnerability as a tool for mutually reliant connection and to explore means of empathy and compassion as a tool for resistance. In our interdependent community, we must ask the questions - What would look like if we admitted the inevitable failure of any form of body to meet the demands of capitalist working structures? What would it look like if instead of offering up our sickness for scrutiny and acceptance, if instead there was a refusal as a potentially propulsive form of solidarity? How can we continuously reject individualism, the fabrication of scarcity and towers of hierarchical power? And, if we can dismantle our conceptualisation of power and governance, who gets to be in control of our bodies? Presenting the sea as a plain along which to flee this world, we can be renegade pirates-&nbsp; stealing, bending, and taking our future into our own hands. An able-bodied heteronormative ideal was poreless and impermeable, a shallow frame of capital's empty promise. Let us hold more trust in our bodies, swim amongst the magnificence of their failure. Press:&nbsp;‘Arts space films accessibility on its head’ Nan Spowart for The National.scot &nbsp;https://www.thenational.scot/news/23917719.arts-space-flips-accessibility-head/&nbsp;‘Birds of Paradise mark 30th anniversary year with launch of accessible digital theatre project Locked World’, Chole Nelkinhttps://www.chloenelkinconsulting.com/news/birds-of-paradise-mark-30th-anniversary-year-with-launch-of-accessible-digital-theatre-project-locked-world/ https://georgiaholman.com/Dance-is-a-place Mon, 25 Sep 2023 13:48:33 +0000 Georgia Holman https://georgiaholman.com/Dance-is-a-place ‘Dance is a Place’ – an exhibition of moving image and spoken word featuring Cal Mac, Georgia Holman and Mason Leaver-Yap. https://agile-city.com/event/dance-is-a-place-exhibition-of-moving-image-and-spoken-word/&nbsp; Civic House, 5th October 2023&nbsp; Rhythm and cycles are kind of disallowed in this worldview that we live in. It does not reward, or incentivise, or even perceive of the cycles—of the places to step back, to let go, to stop, to wait, which are a part of rhythm, of dancing. Dancing is as much the moves you make as the ones that you don’t make, the places where you pause and just listen. – Prentis Hemphill – Atmos Magazine, January 2023&nbsp; <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/29fc566072507bf644b0e8ff67bf315f383789405bd8abc48eef338d2eefe34c/Dance-is-a-Place-Instagram-Square-1-1024x1024.jpg" data-mid="191778871" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/29fc566072507bf644b0e8ff67bf315f383789405bd8abc48eef338d2eefe34c/Dance-is-a-Place-Instagram-Square-1-1024x1024.jpg" /> ‘Dance is a Place’ explores the concept of synchronised movement within the human body and how this transcends physicality to become a type of new space, a place to journey and stay within. The exploration of dance in different contexts brings into discussion a rejection of capitalist individualism and the disruption of restrictive spaces and infrastructures. By contrast, dance manifests in the mimicry and rhythm of sequence, in the reformation of space, and in the blissed-out quest for recognition and connection. Dance has many forms – spiritual, seductive, joyful, resilient. Through this audience interface, the combination of curated works seeks to explore how dance, in the realm of personal experience, unfolds as a refuge, a realm for personal reclamation, and a medium of well-being. This event is an exhibition and disco of moving image and readings which use dance to disrupt the everyday. The narrative seeks to frame dance not merely as a physical activity but as a sacred sanctuary for our bodies in a world that feels out of sync. It is an exploration of how dance, with its boundless ability to synchronise, can become a location for interpersonal rest and resilience. Through the screenings/ readings by Cal Mac, Georgia Holman and Mason Leaver-Yap, we hope to offer up a space for reflection on connection, embodiment and the profound desire to escape the now through joy. About the contributors: Cal Mac Cal Mac is a visual artist working and living in Glasgow. Working between sculpture, print and video, he explores themes of belonging and addiction through sociological and visual dialogues. Overlapping micro and macro, personal and political, his work often looks at clubbing and natural environments, enquiring into our current need for connection and escape. Within his diverse and multidisciplinary practice, his&nbsp;work has been screened at&nbsp;Recontres&nbsp;Internationales&nbsp;(Paris), Atlas Arts (Skye), The Royal Scottish Academy (Edinburgh), Limerick Institute of Technology, and online for Lift off Festival and Film and Video Umbrella. Following his first commission from Film and Video Umbrella in 2020, Mac has done residencies at Cove Park and Edinburgh Sculpture Workshop, and has given the Ben Read Memorial Lecture for the Royal Society of Sculptors in Leeds.&nbsp;In 2022 Mac opened the Aye Festival with his large-scale solo exhibition at the Pipe&nbsp;Factory, and went on to make his second large-scale solo exhibition ‘Bloodbath’ at Outlier Gallery in July this year.&nbsp;This October&nbsp;Mac will undertake the Margaret Tait Residency in Orkney. Georgia Holman Georgia Holman is an artist and writer based in Glasgow. Using poetics as a medium to project the imagining and making of an inverted world, her work questions how we can build empathic structures as a resistance to the neoliberal pervasion of individualism. Working primarily with written text, her work in then expanded into mediums of moving image and performance. Mason Leaver-Yap Mason Leaver-Yap works with artists to make exhibitions, events and publications. He has recently been working with Ingrid Pollard, Emily Wardill, Renée Green and Free Agent Media, Onyeka Igwe, Jimmy Robert, Jamie Crewe, James Richards, and Alexis Kyle Mitchell. He lives in Glasgow. This event is curated by Katie O’Grady and Rachael Ryder. 1 [https://atmos.earth/adrienne-maree-brown-and-prentis-hemphill-on-embodiment/] https://georgiaholman.com/The-Rich-Compost-of-Before Tue, 05 Sep 2023 12:27:34 +0000 Georgia Holman https://georgiaholman.com/The-Rich-Compost-of-Before The Rich Compost of Before https://www.embassygallery.org/events/the-rich-compost-of-before/&nbsp; <img width="1400" height="556" width_o="1400" height_o="556" data-src="https://freight.cargo.site/t/original/i/685ef7cdc8f6c326cdced40540bdaddefd98d5552b02cb0d28dfc3ead86c7c9a/Website-banner-Rich-Compost-of-Before-Final-01-1400x556.png" data-mid="189821872" border="0" src="https://freight.cargo.site/w/1000/i/685ef7cdc8f6c326cdced40540bdaddefd98d5552b02cb0d28dfc3ead86c7c9a/Website-banner-Rich-Compost-of-Before-Final-01-1400x556.png" /> &nbsp;‘The Rich Compost of Before’ is an archival excavation into the past 20 years of Artist-Run Activity at EMBASSY gallery, featuring fragments from the EMBASSY archive, and responding commissions by Lorenzo Rangoni Robertson and Sarah Phelan.&nbsp;The exhibition is accompanied by texts from current committee members, formed from research and conversations held during the process of working on this show.”&nbsp; Text written by Georgia Holman for the exhibitions catalogue:&nbsp; 15:01, 12th of January 2023 Sitting at a desk in Glasgow, I start to write into a shared google doc. In the drive, updates flicker, allowing us to concurrently see one another's move. We are a hive mind, we joke. A conglomerate of an ARI, working and weaving together in a way that is deeply intimate, personal &amp; impossible to conceptualise as strictly work. Typing straight from a zoom call the day before, Maria has written- 'it takes a lot of shit for good things to grow’. Reformatting it into large pink text, in the font ‘princess sofia’ the phrase shines at the bottom of the document filled with disparate copies of the definition of ‘lodes’, the term ‘amorphous’. ‘Non-hierarchical working &lt;3’ and the questions - What does it mean to inherit a collective history? Who was able to have access to do the work? This is a warm up attempt to write The text, for The archive exhibition, for The Embassy. It takes a lot of shit for good things to grow. Writing to the collective, a space not mine, but ours. One nurtured and held and incarnated by many, in which its ownership, conception, and preservation is tied irrevocably to many people's hearts, energy and labour. Writing here, I break from our usual monolithic voice, and instead write from this day, from my own perspective. In this publication, holding a capsule of our current form, one that will shapeshift again soon, falling back into the thick amnesia of rolling committees, for which institutional memory loss is inevitable. As one of the caretakers of the show- ‘The Rich Compost of Before’, these are the words I want to leave behind. Fairyness &amp; Compost To start from the beginning, I am pulled back to ‘The Governance Of The Possible’ , a work that was built from the bottom up and collaboratively informed by artists’ and arts worker’s practice through a sensitive co-writing process. Co-authored by Helga Baert, Martin Schick and Sam Trotman, in the text, they write; “To start making this work/prototype/change we first need to break with the harmful relationships, practices, and structures that choke our ability to imagine anew.” A text I have read many times throughout being on the committee, it is a work I have returned to often as a guiding force. The text attempts to imagine, propose, and experiment with alternative structures and governance as a means to truly make change happen. Whilst the cultural sector often uses these reimaginings as thematic concerns for public programmes, less often are institutions able to use these considerations, as propulsive action to reformat their very own organisational structure. Faced with the responsibility of being the committee to re-write the constitution for EMBASSY, these questions have remained prominent and visible throughout my tenure. Seeking to dissect the ways these structures dictate the conditions of work and the art we show. It is these conversations of power and access that have driven my interest in artist-led organising. Imagining Anew Joining a committee of an artist-run space is often described as an assault course, in which you are thrown in the deep end. Often desperate for new energy &amp; support, new committee members immediately inherit responsibility that is not only expansive in the range of tasks required, but heavy in legacy. A role still dripping with the saturation of feeling from those who have come before, and a commitment larger than its able to articulate. Though this turn over of non hierarchical activity, ARI’s remain a precarious and structurally fragile setting. Whilst seemingly affording space to tear down structures and build your own, like any organisation, EMBASSY comes with existing methods, practises and protocols. What does it mean to inherit collectivity? To take the baton of pre-existing relationships, connections and often unexecuted or delayed programming.&nbsp; To have conditional funders, and a members base for which you are responsible. Running on a model taken from Transmission &amp; GENERATOR Projects, EMBASSY was founded in 2003 by a group of graduates from Edinburgh College of Art. Knowing they wouldn’t be able to sustain their energy forever, EMBASSY was always to have a two year tenure, with the plan always to pass it on. With 66 people having been on the committee in the past 20 years, the organisation has fed off fresh voices, perspectives and maybe most importantly - fresh energy. Setting up a system that hands over ownership, the turnover of people involved has been necessary to its survival. Operating solely on unpaid labour for over 18 years, the role has been untenable for many, which has to be acknowledged in the account of who had access or capacity to do this work. This also plays into the experience you have on the committee, and is heavily linked to the rises and falls in the precarity of EMBASSY over its lifespan. Having changed the constitution in 2022 (for the first time since its conception) EMBASSY is now able to renumerate its operational committee members for their working time. Working under a tight budget however, this still only equates to 48 paid hours of workers time per week, still vastly different to galleries managed by regular staff teams. Whilst positive and transformatory developments to the sustainability and accessibility of the position, being on the committee still holds difficulties. It takes time to build confidence to tear structures down, but also considerations must be held of what is important or necessary to keep. What would abolition of the governing structure entail, and what knowledge or power can be taken from history? The newly written constitution offers better possibilities for fair work, yet still holds limitations. Through the development of a board of trustees, there are further considerations to be had of how a non-hierarchical work setting can be preserved. We have sought to embed a politics of shared accountability, in which we are responsive to one another, however working to resist typical power dynamics and a consideration of how the labour of tasks are divided will be ongoing. Whilst a legal document, I would like to hope that the constitution can still provide a malleable space for experimentation. In which committees can weave through formalities. As creatives collectively imagining different ways to be, beyond the binaries necessary to formalised structures. This is the wealth of the artist led. The Archive No longer running at speed, I want us to use this moment of the celebration of 20 years of EMBASSY to be that of a pause. A reflective moment to imagine anew.&nbsp; To be forward facing through the retrospection. To ask, what structures do we wish to build? It is therefore through this exhibition, that we wish to facilitate a discursive space to publicly hold these internal conversations. To invite our members, colleagues and peers to speak with us. The material in the gallery itself is a rich ground of history from which we can pull, pluck, prune and compost. A stream of evidence of artists' social conditions &amp; the symbiotic relationships between ARI’s &amp; institutions in Scotland. Responsive to our current conditions and not reverent to the past, we invite you to collectively consider how we can tend to our history, and nourish our future. ---------- In the exhibition, we have noted gaps in material. This is due to certain material holding harm, offence or prejudice in its content. There is no space for this in a gallery any longer, and there shouldn’t have been space at the time. To not comment on this would be an act of ‘willful inattention’ a decision that preserves the current state of affairs. As Morgan Quaintance has said - “Compromise and complicity are the new original sins, I suspect silence, resignation or apathy are fuelled by something far more basic, comfort. Put simply, people are adverse to personal risk and lifestyle change.” To push this under the rug would be an act of silence, in which we as a current committee would be presenting an apathetic account of a history that has caused harm to others. We believe artist led spaces should exist in order to hold a level of criticality, autonomy and integrity. We couldn’t present in good faith, these gaps glossed over, whilst claiming a commitment to supporting minority groups. It is for this reason, we must acknowledge the content of our organisation's history in this archival exploration. Not seeking to continue to provide a platform for such language or imagery, these works are not available to view in the exhibition themselves. Our full archive can however be viewed upon request by anyone wishing to access the material, as their inclusion in past exhibitions is important in contextualising the progression of the organisation and the ways in which EMBASSY has interacted with communities. As a current committee, we have found unity in our belief that organisations of any level are political bodies. Impossible to disentangle our own identities from the work enacted for EMBASSY, this space is political. We stand firmly for the advocacy of better labour conditions, for fair pay. For minority voices to hold positions in which their voices are heard and can effectively contribute and shape the direction of the organisations in which they participate. For our values to be overt and clear. To state with assertion, that the gallery is for all, and to commit to removing the barriers to achieve this. Beyond ourselves Finally, in conducting our interviews, we have repeatedly asked the question ‘What do you hope for the future of EMBASSY?’ Often turned back to us, I have since answered the question many times. My answers shift with each interaction. For my last answer, I want to look back to my committee bio from almost two years ago. In June 2021, wrote ‘I am excited by the prospect of co-constructed knowledge development and artistic exchange that has the power to be vitalising as opposed to exhaustive.’ I now realise that these two words aren’t antithesis to one another. I have been exhausted, often pushed to the point of feeling I was unable to continue the work, but I have also been vitalised, and maybe this process is one that will remain cyclical. It is through the beauty of the working relationships that I have held, that I have been supported to stay. Artist run spaces can’t function without extraction. But I would like to propose that nourishment, composting and growing, can be the antidote to this, in knowing you are giving to something larger, in which your work can live a life beyond its immediate effect. My hope would be that there can be solidarity across organisations. That this can feed into discussions of conversations about labour conditions, institutional dominance, accessibility and collective structures, and these conversations are able to be articulated both locally, nationally and internationally with minority voices at the forefront. I hope that EMBASSY continues to provide a space for experimentation, for honesty. For failure and risk. To stay an amorphous, whimsical creature that schemes and dances in DIY. I hope EMBASSY can burn slow and low. For passion to be at the heart of everything it does, and its compost remains rich.&nbsp; I want the gallery to have chairs with backs, and human voices. To not chisel, but to hold. To flourish, not survive, and know when to pause. I wish for all committees to trust themselves, to prioritise interpersonal care &amp; to hold joy. For if it is hurting to stop. I hope that future committees find collective power, and shared trust, that enables them to try to build the structures that they wish to inhabit. That they don’t necessarily always get it right, but that they have the support to try to do so. I hope we can compost and collapse and lay down and have enough nourishment around us to grow again. For a basement without windows, In EMBASSY I have found a lot of light and I hope others get to experience this too.&nbsp; In love &amp; solidarity Georgia&nbsp; *It takes a lot of shit for good things to grow * https://georgiaholman.com/Lover Thu, 09 Feb 2023 15:50:13 +0000 Georgia Holman https://georgiaholman.com/Lover Lover Lover is a text about giving up and carrying on going. About desire and feeling fragmented. For the full text, please access the google drive document linked here.&nbsp; ----------- A sick and sinking city, At the end of the world, At the end of the world we will see the greatest wave of lovers. Lovers to understand the constant desire to succumb&nbsp;and sink, to give in, to lay down to the weighted emotion. To hear the cacophony of the day, grinding, to know&nbsp;harmony is arbitrary. Running from a shattered wind, to resist and reconcile with our participation in this oppressive&nbsp;system. A call not to piece ourselves back together too quickly, only to find we have rebuilt what we wanted to stay&nbsp;broken. To know ourselves to be unfractured, the opposite of a fragment. Together, in alliance, to push our hands into&nbsp;wells of emotion previously unknown. The deepened hunger, the brute in us, self-feeding, serving, gorging. Under the&nbsp;ordinary aches &amp; generic depression. From all the chewing and the spitting and the running, to the sparks of the&nbsp;dialectic and a resistance to restoring pathology to function. To stay incompatible to the system. To use a forefinger&nbsp;and thumb to pluck the wishbone from their chests and crawl up into the space of elbows and knees. To give our&nbsp;bones to shelter. To melt the ghosts, we know to be made of plastic, and to see their eyes with mine. To hold a stare&nbsp;between two still wet bodies – desperately strapped to one another. To strap together for the fall. When you fall, there&nbsp;is no white dove, and there is no fanfare. You will be met with a grease stained ruffle, seeped in disgust and fear. From the room of radiance, to the un-light, to the trail blaze where roots twine in secrecy, to the fading light, to the&nbsp;final drips to the not quite longing, where the sky drains to milk white cloud and the final crow swoops alone. Where&nbsp;your eyes blur into saccharine glaze and sound fades out. Where a silence shatters it all, left in a numbed down, rinsed&nbsp;out, impassive, apathetic light. ] Longing; To be shot with a silver bullet, two sharp iron spears, that had been heated in a fire. ] <img width="1772" height="2480" width_o="1772" height_o="2480" data-src="https://freight.cargo.site/t/original/i/af567f866fb3d6366cc96da1a51111f61554054d7d9942e2355be4b928e76314/floatingpsd.jpg" data-mid="191781534" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/af567f866fb3d6366cc96da1a51111f61554054d7d9942e2355be4b928e76314/floatingpsd.jpg" /> <img width="1772" height="2480" width_o="1772" height_o="2480" data-src="https://freight.cargo.site/t/original/i/6f77e0b09f63d9f1608e677b3c142e8aa3dcef5876d768a239689946dc78622d/broken-birdpsd.jpg" data-mid="191781533" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/6f77e0b09f63d9f1608e677b3c142e8aa3dcef5876d768a239689946dc78622d/broken-birdpsd.jpg" /> https://georgiaholman.com/I-come-from-a-place-where-I-am-full-of-desire Fri, 07 May 2021 13:22:58 +0000 Georgia Holman https://georgiaholman.com/I-come-from-a-place-where-I-am-full-of-desire I come from a place where I am full of desire&nbsp; Text, audio transcript &amp; digital animation, displayed on&nbsp;https://cherriharari.com/timeloop <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c4a4278f28f4aed14dd601b4e52b42f8e5953c4872ac4716e2bfabafc7be2323/yes.png" data-mid="111255561" border="0" src="https://freight.cargo.site/w/1000/i/c4a4278f28f4aed14dd601b4e52b42f8e5953c4872ac4716e2bfabafc7be2323/yes.png" /> <img width="1433" height="822" width_o="1433" height_o="822" data-src="https://freight.cargo.site/t/original/i/b5e0873e5b08bb15630aebe47b0bab4d6457600cb6b82c64cfa9bf002f6606ae/Screen-Shot-2021-05-24-at-19.06.03.png" data-mid="111255560" border="0" src="https://freight.cargo.site/w/1000/i/b5e0873e5b08bb15630aebe47b0bab4d6457600cb6b82c64cfa9bf002f6606ae/Screen-Shot-2021-05-24-at-19.06.03.png" /> I come from a place where I am upside down and dreaming. Dreaming of a future. Dreaming of our bodies. Dreaming without time. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;J, I once read, that the sign that the end had come, would be the eclipse of the sun and the moon. Checking for this eclipse, I would stare into the sky. Looking for light, looking to know it was not the end. I would stare into the sun to check the light was really there. I thought I would know when things got bad, because the light would leave. But when things got bad, there was no eclipse, but rather a large set of jaws, that slowly got closer. Pointed teeth that pierced into my projections. Crushing the sky to pieces. Under this pressure the stars, once mine, now fell about me in sharp pieces. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I didn’t know what to do without the sky. Those teeth bit me and my sun so hard, they destroyed my belief in future, in time. I don’t think I really recovered from that. From seeing this cascade of what I was meant to be. From the drips, I tried to construct a life. Not utopic, that was gone, but edenic. A form of life that is not pulsating forwards, but one that loiters through the intensities of form and force. The life I desired, was gentle, lush, verdant and full. I tried to construct a vision, a vision in which we would measure time in moments. Holding onto the right moment, the opportune. The perfect moment. The new world takes a breath and in the pause before it exhales, fates can be changed. I was upside down and lost in the words. I was lost in the question of structures, of a way to be unbound to all the constructs that felt too hard. Of time, money, work, capital. This is the hardest question to answer. But it is the only one that interests me. It is the only thing. There is always only one thing. I was lost in telling you who I am and who I am not. I didn’t have the answers myself, and I still do not. What I can tell you is my body is always in motion. My body is anti-formal, pulled into the distance, peeled away from the surface of the day. My body is queer and out of focus. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I know now, that we oscillate. In our oscillation, you tell me the which we are not, and cannot ever be, is no dream to hold. To make one's self legible--to be legible--is a fixed point. We should not hold desire to be fixed in this manner, but I am burnt by the desire to be seen, truly seen. This world has so many beautiful eyes. I want their gaze upon me. I ache for it. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I want your gaze to move with me. In my searching, I look for allegory, I look to theory, to the poems, to the people. Falling through anthropomorphic metaphors of mycelium and communication, of the whispering acacia trees. I read about kelpies and their constantly dripping manes,how they would entice people to ride on their back, before taking them down to a watery grave.I read about the flesh of corruption and how it seizes the veins of the post-revolutionary state, pumping, circulating &amp; blocking in a synchronised manner while unleashing shape shifting forms as its residue.[i]I read about desire as a life force. I read about the warm hues of possibility and the generative waves that will wash our bodies clean. I cling to dictionary definitions, holding their last gasps of purity and substance. I carve words into candles, and burn the wax to wishes. I am flooded with undirected faith.&nbsp;&nbsp;I look for answers, direction, open hands and love. In my searching, I steal the words, to write my future. I write to manifest a garden, a place in which something can and will always grow. This is not a generic utopianism, utopia serves only those who are already powerful enough to project a dream.[ii]The blind and naturalised future is only seductive if you already hold this power. Power that is held in the hands of a few. Power contingent upon individualism. The individualism is a naturalised sickness that generates fear and greed, leaves us divorced from our pasts, emancipated from life beyond us. This sickness steals the breath of dreams. To dream is to project power. To dream is to open the door to desire. For desire is medicine. A medicine that keeps me alive in this world. Through the malleable practise of language, we blow the casts that will one day hold us. The lexicon that affirms and creates. Language built upon the inextricability of pleasure and pain, it hurts until it doesn’t. I write through memory- &nbsp;using the past and the present simultaneously to construct the possibility of what is yet to come. You help me skim the material by-products of past failures, using our failures to write the poetry of a different future.[iii]Bridging then to now. You let me be wrong and uncomfortable. You let me speak in statements. Let me be right, indulgent and queasy. Let me be irrelevant, frivolous and lost. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Just stay with me. Speak to me in spells, speak to me in the moon, in folklore. I want to think and feel and write outside of my body. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I need to leave, so that I can return.&nbsp; &nbsp; Running from the kelpie, the siren, the more-than angelic, the more thans. Using the more-than as a way to exist within the almost. From the tail end of light, wrapped in a shadow, day breath almost tasted, could have. Spilled out in the fractured moment that is broken, pulled apart, sudden and true. You give me your heart, which transforms into a vitality. You help me be born into a resurgence, held with life. Allow me to stretch myself over the frame of the day, before at night, I lose myself to the ghostly formlessness of prayer. Help me dissolve into another dimension. Walk me to a landscape, where we look shame in the eye. Hold the glare and see a reflection, see it rise within you. Come and be a pirate with me, trespassing upon the imaginary sea, a plain along which to flee this world.[iv] Bringing us ever closer to a horizon imbued with potentiality, where new life will grow. Our unbound edges cutting through the waves. The encroaching tide of time crashing under the helm, as we sail out and through. The sea is torn to scraps, and we are gorgeous&nbsp;rovers gliding through the divine wake of failure. Our sails powerful and full. Let me know, that if it is impossible to fix something securely in the past, that the present holds the same unlocalibility[v].That our memory can serve to unravel all we know to be fixed. That we can and should swim amongst our amnesic gaps in consciousness. Jump off our ship, diving deeper. Remind me of the tenderness. How the tender can act as a catalyst for the irrepressible love, the love that keeps our exit wounds wet. Drop your post-capitalist desires on my tongue, let me taste you and your dreams. I want to be within your becoming. I want to be within your undoing. Together to breed more life, more honesty, J, Let us leave our bodies behind, let us light our bodies on fire let us hide from work let us swallow the morning whole &nbsp; You cannot throw the memory of yourself away You can only wash your hands in the basin of the earth. You can only fear beautifully Fear lovingly You said to me - ‘I hope you are not too afraid of the ways you are asked to come in contact with your body.’ And I replied. ‘I hope, I will take my shoes off more.’ https://cherriharari.com/timeloop &nbsp; [i] Natasha Ginwala. ‘Corruption: Everbody knows’ in&nbsp;Supercommunity: Diabolical togetherness beyond contemporary art. E-Flux (2017) p.263 &nbsp; [ii]Terike Haapoja, Three Modalities of Futurelessness.(2019) http://www.thisisnotablog.co/2019/05/08/three-modalities-of-futurelessness/ [iii]Elizabeth Freeman, Time Binds: Queer Temporalities, Queer Histories. Duke University Press (2010) p.68 [iv]McKenzie Wark, Wild Gone Girls, E-Flux Journal (2018) https://www.e-flux.com/journal/93/211935/wild-gone-girls/p.5 [v]Elizabeth Freeman, Time Binds: Queer Temporalities, Queer Histories. Duke University Press (2010)p. 76 https://georgiaholman.com/Aside-from Mon, 25 Sep 2023 19:16:20 +0000 Georgia Holman https://georgiaholman.com/Aside-from Aside from my everyday desires and also my more exceptional ones published by ShelfShelf, Chicago <img width="750" height="741" width_o="750" height_o="741" data-src="https://freight.cargo.site/t/original/i/6547091fb54db654d6a96b51f90711ff0053e1f2b07e453bf87785c7365ff92f/IMG_7406.jpg" data-mid="191816200" border="0" src="https://freight.cargo.site/w/750/i/6547091fb54db654d6a96b51f90711ff0053e1f2b07e453bf87785c7365ff92f/IMG_7406.jpg" /> <img width="742" height="734" width_o="742" height_o="734" data-src="https://freight.cargo.site/t/original/i/d497b9d1d86d68680ac7b2c2f09f4415a559a8b58533ab80ebc936be6bb84bcd/BBDBBA67-1DDF-4F70-9D93-3BD04172F209.JPG" data-mid="191816199" border="0" data-scale="60" src="https://freight.cargo.site/w/742/i/d497b9d1d86d68680ac7b2c2f09f4415a559a8b58533ab80ebc936be6bb84bcd/BBDBBA67-1DDF-4F70-9D93-3BD04172F209.JPG" /> <img width="742" height="734" width_o="742" height_o="734" data-src="https://freight.cargo.site/t/original/i/9d145973eaa5b49e608f97a7d2f0ee671838ef0935bcfea3f7bc71c2bcf921a4/0F1FDB9C-E17A-4AB2-AC3B-99803CCD4D64.JPG" data-mid="191816201" border="0" src="https://freight.cargo.site/w/742/i/9d145973eaa5b49e608f97a7d2f0ee671838ef0935bcfea3f7bc71c2bcf921a4/0F1FDB9C-E17A-4AB2-AC3B-99803CCD4D64.JPG" /> Aside from my everyday desires and also my more exceptional ones&nbsp;is the inaugural installment of a poetry periodical edited by June. We made a ball and we’re pushing it down a hill, and it’s picking up shit along the way. ss-010a collects writings from Kat Rejsek, Georgia Holman, and Ivanna Baranova. 5x6.5 inches, staple bound, 40 pages, edition of 100, Risograph. https://georgiaholman.com/If-it-is-not-material-the-position-is-insecure Wed, 22 May 2019 13:21:38 +0000 Georgia Holman https://georgiaholman.com/If-it-is-not-material-the-position-is-insecure If it is not material, the position is insecure&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2f700d06f9a89bec17075f9b527246967ce2b8091d172c1b100769f049b85a1e/edited.jpg" data-mid="42841824" border="0" src="https://freight.cargo.site/w/1000/i/2f700d06f9a89bec17075f9b527246967ce2b8091d172c1b100769f049b85a1e/edited.jpg" /> ‘Our Mission is one of immateriality’ &nbsp;video still (2019)&nbsp; Miscalculation hanging in the air. Smacked with self-doubt a decisive stamp of an untrained movement, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; slamming into the fragmentary and abstract. Prised from ; A relative nature of uncertainties. Slow drips. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Confidence skilfully enunciating Installation - Office Chairs, Carpet, Two Screen video, Metronome, Glass Shelf, Resin Swan sculptures, Text printed on Acetate , Bound Book&nbsp; <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/bc138a9f71d4fea1480be1a35fea55b7bd756c086af2b70c0fe3d404e6128039/IMG_6434.JPG" data-mid="43100319" border="0" src="https://freight.cargo.site/w/1000/i/bc138a9f71d4fea1480be1a35fea55b7bd756c086af2b70c0fe3d404e6128039/IMG_6434.JPG" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/c15916a7f772772cbd74669b4a16a34006e34cdc67ad244f875d7e219a5ac227/IMG_6379.JPG" data-mid="43100318" border="0" src="https://freight.cargo.site/w/1000/i/c15916a7f772772cbd74669b4a16a34006e34cdc67ad244f875d7e219a5ac227/IMG_6379.JPG" /> <img width="5112" height="3408" width_o="5112" height_o="3408" data-src="https://freight.cargo.site/t/original/i/964279128dafe438fd9ff7d61fcfa71c65f37ab42a32cc3983c25e9b521035c1/IMG_6431.JPG" data-mid="43100320" border="0" src="https://freight.cargo.site/w/1000/i/964279128dafe438fd9ff7d61fcfa71c65f37ab42a32cc3983c25e9b521035c1/IMG_6431.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/36092f8957afadd11b091805a0812adf9ee08df7c1dd771dcdbbfe963072787d/IMG_6393.JPG" data-mid="43100322" border="0" src="https://freight.cargo.site/w/1000/i/36092f8957afadd11b091805a0812adf9ee08df7c1dd771dcdbbfe963072787d/IMG_6393.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/ff1e82e74df68e55da5d63e66801750965ca57caeb5c3d7b915696ae2c268d6e/IMG_6418.JPG" data-mid="43100321" border="0" src="https://freight.cargo.site/w/1000/i/ff1e82e74df68e55da5d63e66801750965ca57caeb5c3d7b915696ae2c268d6e/IMG_6418.JPG" /> Exhibited at The Glasgow School of Art Degree Show, 2019 <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7e8357b7217c71e90a5fddbfcdd5fd93d3368f554de0e130e84c92e66a6d2c59/1.jpg" data-mid="43110896" border="0" src="https://freight.cargo.site/w/1000/i/7e8357b7217c71e90a5fddbfcdd5fd93d3368f554de0e130e84c92e66a6d2c59/1.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7b1425873b4f35b4d150ec07dec27eefd761b012343c4ecc92157d5571ac26b3/4.jpg" data-mid="43110893" border="0" src="https://freight.cargo.site/w/1000/i/7b1425873b4f35b4d150ec07dec27eefd761b012343c4ecc92157d5571ac26b3/4.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/57090cb9c7ce05f5596291cbef6e1613b916d24b641c0bbffea4e860578a4453/2.jpg" data-mid="43110895" border="0" src="https://freight.cargo.site/w/1000/i/57090cb9c7ce05f5596291cbef6e1613b916d24b641c0bbffea4e860578a4453/2.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f40db9b25ecac8450af61e7adc67b8290b8d143e4598dede9aa100c259fda7dd/5.jpg" data-mid="43110892" border="0" src="https://freight.cargo.site/w/1000/i/f40db9b25ecac8450af61e7adc67b8290b8d143e4598dede9aa100c259fda7dd/5.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/db6e7a559f6a365f1d1087f8e94e872eeacc76e51ae9bdc5790d5007e7e6ad93/7.jpg" data-mid="43110891" border="0" src="https://freight.cargo.site/w/1000/i/db6e7a559f6a365f1d1087f8e94e872eeacc76e51ae9bdc5790d5007e7e6ad93/7.jpg" /> 'our mission is one of immateriality' from Georgia Holman on Vimeo. https://georgiaholman.com/Affectual-Tissue Fri, 21 Feb 2020 12:44:32 +0000 Georgia Holman https://georgiaholman.com/Affectual-Tissue Affectual Tissue &nbsp;&nbsp; https://tinyletter.com/georgiaholman subscribe to recieve updates&nbsp; <img width="750" height="942" width_o="750" height_o="942" data-src="https://freight.cargo.site/t/original/i/00ee1462c699d22ef0a7051535921b1a3ad40d10a3285c4de3e963e2f621016b/IMG_5501.jpg" data-mid="61653001" border="0" src="https://freight.cargo.site/w/750/i/00ee1462c699d22ef0a7051535921b1a3ad40d10a3285c4de3e963e2f621016b/IMG_5501.jpg" /> https://georgiaholman.com/Blank-gaze-into-the-middle-ground Wed, 22 May 2019 13:25:31 +0000 Georgia Holman https://georgiaholman.com/Blank-gaze-into-the-middle-ground blank gaze into the middle groundSolo Exhibition, 2019&nbsp; Text on walls- various prints, A3, A4, Perspex letter holders, Monitor with looped video, stage empty for a performance that never occurs, discarded shoes, metronome, plaster cast swans, spotlights.&nbsp; ‘Blank gaze into the middle ground’ seeks to explore themes of the desire for Immateriality, dissolving the fragile aestheticized body and the strictures of routine. Using a hybrid lexicon of poetry and corporate jargon, text is physically positioned across the room in relation to axis of ‘agreement’ and desire’. Building a physicalisation of a cartesian grid, language occupies space, whilst a physical performance failures to occur.&nbsp; <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/c79d851e9942c936237355ed023dc1760f73dfbbc2cd13f90e62a7abcbe49a19/37.jpg" data-mid="42839879" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c79d851e9942c936237355ed023dc1760f73dfbbc2cd13f90e62a7abcbe49a19/37.jpg" /><img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/cad95fb5fc05bb023780f66169719b26edecd34a342764ef556c8592fdd196db/30.jpg" data-mid="42839880" border="0" src="https://freight.cargo.site/w/1000/i/cad95fb5fc05bb023780f66169719b26edecd34a342764ef556c8592fdd196db/30.jpg" /><img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/0685a1ae40592b826212527a3de53efbc9d3de404a333934450dd9970c45e917/44.JPG" data-mid="42840762" border="0" src="https://freight.cargo.site/w/1000/i/0685a1ae40592b826212527a3de53efbc9d3de404a333934450dd9970c45e917/44.JPG" /><img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/4ef2a8d03bb86840b1bc27c24aaae8340385454833bf7e37dec5fcdd765445ce/2.jpg" data-mid="42840216" border="0" src="https://freight.cargo.site/w/1000/i/4ef2a8d03bb86840b1bc27c24aaae8340385454833bf7e37dec5fcdd765445ce/2.jpg" /><img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/afa100a5c72cce8eaf89a934a9063c1663df770c0ab305e28ea871fabe24d676/20.jpg" data-mid="42839881" border="0" src="https://freight.cargo.site/w/1000/i/afa100a5c72cce8eaf89a934a9063c1663df770c0ab305e28ea871fabe24d676/20.jpg" /><img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/fdc7c9082f9c7c608625ba410550f0333b163b7b61c7adf550730d50024feabb/48.jpg" data-mid="42839878" border="0" src="https://freight.cargo.site/w/1000/i/fdc7c9082f9c7c608625ba410550f0333b163b7b61c7adf550730d50024feabb/48.jpg" /><img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/669caa17d4703ba4625775b61600c00c17c99c1fc179d1694b85a534690ac55d/18.jpg" data-mid="42839882" border="0" src="https://freight.cargo.site/w/1000/i/669caa17d4703ba4625775b61600c00c17c99c1fc179d1694b85a534690ac55d/18.jpg" /> “Through seductive and veiled models, this desirable saturation will overcome you and push you to your knees. It will begin with a gradual pressure of a slow sinking. Dredged down, succumbing to your own weight. Please continue dispensing information and a positive attitude.” &nbsp;- extract Texts Exhibited - ‘A baby boy, holding his mothers collar’ - ‘young professionals sit outside, gently conversing in sympathetic tones - ‘spaces of integrity and proximity’ - ‘Agreement/ desire’&nbsp; - ‘Inundated with feeling’ <img width="1440" height="809" width_o="1440" height_o="809" data-src="https://freight.cargo.site/t/original/i/5ac71bf84376be187e115d67eaed8dc3ac2c22cd9e92e1d8023c84b18284ee3d/Screen-Shot-2019-01-30-at-17.05.36.png" data-mid="43114359" border="0" src="https://freight.cargo.site/w/1000/i/5ac71bf84376be187e115d67eaed8dc3ac2c22cd9e92e1d8023c84b18284ee3d/Screen-Shot-2019-01-30-at-17.05.36.png" /> <img width="1440" height="800" width_o="1440" height_o="800" data-src="https://freight.cargo.site/t/original/i/600a096ba7caf911c9e39b43bd57e419743220eed91a4276cc43da9a2abeb159/Screen-Shot-2019-01-30-at-17.05.06.png" data-mid="43114360" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/600a096ba7caf911c9e39b43bd57e419743220eed91a4276cc43da9a2abeb159/Screen-Shot-2019-01-30-at-17.05.06.png" /> (Video Stills) https://georgiaholman.com/Docile-to-feeling-Compliance-is-care-1 Wed, 22 May 2019 12:54:10 +0000 Georgia Holman https://georgiaholman.com/Docile-to-feeling-Compliance-is-care-1 Docile to feeling, compliance is care&nbsp; single channel video, 8 mins, to be displayed on an LCD screen (2018) <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/934d9bb4148dd9f889b9d6fce8c4a2729aa1a2f4780c4ba4f4c2e03fb21b9b4e/y2mate.com---foot_and_leg_exercises_for_basic_waltz_ballroom_dancing_fNj1cc6gz0g_1080p.00_00_59_05.Still003.jpg" data-mid="42835066" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/934d9bb4148dd9f889b9d6fce8c4a2729aa1a2f4780c4ba4f4c2e03fb21b9b4e/y2mate.com---foot_and_leg_exercises_for_basic_waltz_ballroom_dancing_fNj1cc6gz0g_1080p.00_00_59_05.Still003.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/16e5503a1a1b503df4eb28fa4f3f22079691fa8805ed2d4cf4fc7b386b6b0364/y2mate.com---foot_and_leg_exercises_for_basic_waltz_ballroom_dancing_fNj1cc6gz0g_1080p.00_00_25_23.Still005.jpg" data-mid="42835065" border="0" src="https://freight.cargo.site/w/1000/i/16e5503a1a1b503df4eb28fa4f3f22079691fa8805ed2d4cf4fc7b386b6b0364/y2mate.com---foot_and_leg_exercises_for_basic_waltz_ballroom_dancing_fNj1cc6gz0g_1080p.00_00_25_23.Still005.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6cbc7b61b2723eefec6498be07f70efe924632444c9efe4fb15fd53589e3fc5b/y2mate.com---foot_and_leg_exercises_for_basic_waltz_ballroom_dancing_fNj1cc6gz0g_1080p.00_02_37_01.Still007.jpg" data-mid="42835064" border="0" src="https://freight.cargo.site/w/1000/i/6cbc7b61b2723eefec6498be07f70efe924632444c9efe4fb15fd53589e3fc5b/y2mate.com---foot_and_leg_exercises_for_basic_waltz_ballroom_dancing_fNj1cc6gz0g_1080p.00_02_37_01.Still007.jpg" /> ‘Docile to feeling, compliance is care’ video stills&nbsp; Economic failure conflicting with the intimate, dressed in sweat and someone elses shoes&nbsp;