Craftivism
Arnoldfini Gallery, Bristol
Craft plus activism equals craftivism. That would be a reasonable deduction from this intriguing exhibition, a bringing together of two contrasting activities with a curious if provocative title. Like the hybrid title, Craftivism is not a conventional exhibition. To begin with, there are few objects, but a variety of activities under the slogans “Reuse”, “Remake”, “Reclaim” – moving the emphasis from object to action.
Craftivism is a response to the resurgent interest in craft as it “relates to socially-engaged art practice” – which is art speak for getting people who have had little or no training to make or alter things as a way of engaging with such everyday materials as wool, rope, wood, music or clothing.
Craftivism begins in the café where visitors relaxing over a cup of coffee are informed that, in exchange for collecting and bringing in foraged rose hips for use in the café, they will receive a rose hip drink and a recipe leaflet giving the histories of seasonal fruit. The notion of foraging is followed up in the gallery where a brass plaque, which can be “rubbed”, details selected species in the city as part of the Food for Free movement, although quite whether raiding such limited sources is acceptable is a different debate.
Those lingering in the café gradually become aware of unusual background music – a vibrant thump thump that is persistent, but intriguing rather than intrusive. It is a composition created in the music lab where the technology is available to enable such experiments to be explored. It is sound to tempt visitors to discover what else is in the exhibition, where different galleries are devoted to a range of activities.
In one, lengths of pine with holes drilled at the end stand on the colourfully carpeted floor. Visitors have screwed together the wood using wing nuts to form odd, abstract linear sculptures vaguely reminiscent of the work of Anthony Caro. These structures are not permanent, as other visitors are invited to add, subtract or rebuild the forms as they think fit. On the afternoon of my visit, a group of teenagers, their trainers removed, were quietly assembling and reassembling the forms, building their own space. Without any predetermined concept, it was a playful experiment with three-dimensional form.
Reforming clothing is the theme of another gallery. Here visitors can remodel an existing garment or make a new one from a row of decent-looking clothes provided. Helpers are on hand with templates to explain ways of doing this, while two professional-looking sewing machines are available to complete the job. Some of the existing clothing looks to be in wearable condition and cutting it up seems odd, when lengths of discarded fabric would be a more acceptable alternative.
Knitting and knot making – what used to be called macramé – are two of the more conventional craft activities. A rope hammock is available for the brave visitor seeking rest. For those wanting to relax and read, there is a library of books on knitting and knotting that are available for reference.
My favourite object is a wooden garden seat that has been covered in a knitted, close-fitting “jacket” made from the wool of Jacob sheep. In shades of whites, creams and greys, the covering is knitted in different sorts of patterns to form a humorous covering that has transformed the seat into something special and cared for.
The 13 projects that make up Craftivism call on craft-based traditions combined with the tactics of activism to “question and disrupt the prevailing codes of mass consumerism”. In so doing, the projects collapse the distinction between “making” and “doing” to place the emphasis on interaction and participation. As such, there is no discussion of skill or creativity, although some work, such as knitting, requires high levels of skill.
The aim of getting people involved, in using their hands, whether in technology, fashion or art, can be meaningful and pleasurable. In this sense, Craftivism offers alternative ways of approaching familiar territory.
Emmanuel Cooper
Craftivism continues until February 14
