Farming and food production and development in the Shropshire Hills Environmentally Sensitive Area, 1997-2008

European agricultural and environmental policy has evolved considerably over the last 15 years. In this paper the changes in farm businesses in an Environmentally Sensitive Area in England are evaluated based on two surveys with the same farmers at the start and end of this period. The rate of participation in the environmental scheme had increased significantly at a time when Government led goals in this area had developed and become more output focussed. A combination of policy, market and animal health status changes had encouraged a number to leave cattle production, and though remaining with stock and grass they had decided against any extensive development in the direction of pluriactivity – with or without Government encouragement. This left the future of this group in some uncertainty given that two significant forms of financial support, the environmental scheme and the Hill Farm Allowance, were due to close.

Ballet

The video Ballet engages with recent histories of rural filmmaking, linking everyday farming movements with the aesthetics of dance. Starting point for this new work is a series of archival films from the collection of the Museum of English Rural Life (MERL), which provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. These films present a unique vision of rural labour and collective staged action, where extras, rural background actors, are performing 'normality' prior to potential disruption of an imminent crisis. Szuper Gallery's video deconstructs the movements of extras in these rural propaganda films. It features a large cast of dancers and non-dancers in a spectacular rural setting performing a new choreography to a dramatic sound score.

Ballet

This solo exhibition featured Ballet, a filmed performance and video installation by Szuper Gallery and an installation of original archive films. Ballet engages with recent histories of rural filmmaking, with movement and dance, linking everyday farming movements with the aesthetics of dance. The starting point for this new work was a series of archival films from the MERL collection, which were made for British farmers as a means both for information and for propaganda, to provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. Gestural performances and movements of background actors observed in those films were re-scripted into a new choreography of movement for camera to form a playful assemblage.

Work/Arbeit/Работа

Two photographs from the Artists Studio Project 30x40cm, C-Prints, 2007 (with Shezad Dawood), first exhibited in Szuper Gallery at the Artists' Studio in 2007.

Suck. Swallow. Breathe.

Video, Dur: 7 min, HD DVC Pro 2009 Based on the principle of assembling a series of improvised acts, the performance is driven by a concern for the image, sound and gesture and the staging of both contemplative and active human presences. Featuring a woman and child duo the video performs the élan vital within a fairytale scenery.

Explain death to very young children

Solo exhibition of 22 paintings at Outpost gallery, Norwich. And launch of Issue Four: Negative Space (2010) by John Russell – limited edition letterpress print published by Stone Canyon Nocturne Press.

Untitled (Abstraction of Labour Time/ External Recurrence/Monad)

Commissioned print. Artist of the Month Club: February, 2010. January Curator: Mark Beasley. Invisible Exports Gallery, New York. Archival Inkjet Print on metallic silver polyester, 841 x 643mm. Edition of 50 + 10ap. Subsequently exhibited in the following exhibition: 'A Unicorn Basking in the Light of Three Glowing Suns' The Devos Art Museum School of Art & Design at Northern Michigan University October 8 – November 14, 2010 Curated by Anthony Elms and Philip von Zweck

‘Is the idea of British art a British fantasy?’

Interview with Tate curator Cedar Lweisohn adressing the question: 'Is the idea of British art a British fantasy. As part of the Tate project 'The Great British Art debate'.

WE

Inspired by the dystopian fiction of Yevgeny Zamyatin and the minimal synthesiser music of the early 80s, London-based artist duo Pil and Galia Kollectiv are joined by Victor M. Jakeman and Ruth Angel Edwards to present popular chart hits in new versions, turning songs about 'me' and 'you' into songs about 'us', and replacing the individual 'I' with the collective 'WE'. The performance WE reveals the latent politics of the love song by annihilating its liberal subject; through the simple substitution of the plural for the singular, intimacy becomes a form of collective action and the unique the universal. Sonically, WE follows in the footsteps of bands like The Better Beatles, who sought to improve on the canon of popular music by stripping it bare, even. WE, performed at Kunsthall Oslo, Royal Standard Liverpool and ICA London, is also released on a 10" vinyl record and accompanied by a music video commissioned by Tate Britain for Tate Shots.

Urban tracer dispersion experiment in London (DAPPLE) 2003: field study and comparison with empirical prediction

The DAPPLE (Dispersion of Air Pollutants and their Penetration into the Local Environment) project seeks to characterise near-field urban atmospheric dispersion using a multidisciplinary approach. In this paper we report on the first tracer dispersion experiment carried out in May 2003. Results of concurrent meteorological measurements are presented. Variations of receptor tracer concentration with time are presented. Meteorological observations suggest that in-street channelling and flow-switching at intersections take place. A comparison between roof top and surface measurements suggest that rapid vertical mixing occurs, and a comparison between a simple dispersion model and maximum concentrations observed are presented