Categories
Travel

Isle Royale travelogue 

By Matt Squire

It is with the onset of January and the start of a new year that the mind travels back to Summer. For me it’s all the same, preferring to daydream of blue skies and pink sunsets, surrounded by those near and dear, with little worry or care. It is in these visions of June that I find myself back on the island, traversing forest, river, moose and the occasional broken down outhouse on a quest of self-discovery and (more often than not) emotional self-flagellation. The island, 120 miles along sweeping vistas, between lakes and lakes, one foot in front of the other until the port came into sight. Isle Royale, a setting unmatched by others, full of a rumbling beauty at the behest of time. 

The YMCA of Michigan provided me once more with the perfect escape from the monotony of university life, four months of gainful employment on the shores of Torch Lake, renowned for its lapis shades and velvet sunsets. With the nearest town over an hour away, it was a welcome retreat from life and an opportunity to cause hokum with friends not seen in almost a year. The only real challenge was the kids, who were to descend on us in the ides of June, making the job almost real for a time – as real as a camp counselor can appear on a resume, that is. The curriculum was purely fun however, and with vitae abounding, we set ourselves fast in becoming as close to role models as we could: teaching archery, riflery and bushcraft to groups of teens on quick comedowns from the world. Days off, few as they were, spent zooming from place to place, from dive to dive, Jeep windows down and Dylan blasting, talk of travels thereafter and midnight hikes up dry slopes with lightning above us. 

In the months up to my journey I found myself in a newfound whirl of culture. A whirl I’d had only once before, in my year out of education: a whirl somewhat wasted on the shop floor of a supermarket, a year spent lying to old ladies and swearing under my breath at farmers. I threw myself back into the American greats: Kerouac, Guthrie and Steinbeck, making sure to allow space for Mr Ginsberg and Mrs Stein. The north of England creates a need for such a whirlwind: flat and tepid skies forcing one to create their own landscape and travel far to find greener pastures. Hull in particular, Hell to a young man in need of escape, a four letter word, four letters a prison to creativity and to the senses, depriving me of vista and views. The home of Larkin and P-orridge was certainly no friend to me. 

I had, in fact, prepared for the very same expedition the year before, thrown into the mix as a result of my mother’s connection, only to find myself deathly ill on the floor of a mountain lodge mere days before our departure, thrashing and sweating myself into a pool of water on a wafer-thin mattress, pausing only to knock back benadryl and swig tepid coffee. My ship had sailed by the time I came around, leaving me to spend the next 8 or so months resigning myself to completion – rushing through a somewhat thankless degree to gain access once again to the winter-water wonderland of my daydreams. Once back, it was time to prepare, a month of wilderness and medical training, push ups (alongside a very short lived running career), after which I was chomping at the bit to get on that big blue bus and set the heading straight for that big slab in endless blue Superior. 

The island was a fact now, passed down to me from those in charge, a secret mission almost, known only to me and my co-conspirator, Mr. Dos Anjos, a stocky young man from Ohio, better versed in the outdoors and more eager than myself to lift off. He had come to the journey at the behest of a nervous but well-meaning Welshman, too unsure of his

abilities to undertake the journey and already on a course back to the valleys by the time we set foot on the archipelago. The change in partner made no difference to me however, I was still queasy after a week spent learning about the worst that can become of a man in the forest: bear attack, impalement, or even death by testicular torsion, all gristly ends in their own way. 

We touched down in a rag-tag midwestern town, a place where nothing was permanent, full of lean to’s and out of date motels, inviting only to those uninvited and pushing away those who wished to stay. Every resident was a painting, a mess of hair and colour, zipping about on 70s mopeds and broke-down jeeps, too quick to understand but slow enough to envy, a freedom apart from what we had already. I’d come here to find that kind of free, a free from education and a free from the monotony of the north, a place lacking in the nature I wanted, the nature of the good old countryside I desired, preserved in Pathé films and on pub walls, 

the nature of my grandparents and those before. Of course, to compare the forest of Michigan to the forest of Shropshire would be an insult to the old firs I lived amongst those two weeks, with little old Haughmond Hill and Nescliffe playing second fiddle to Lakes Chickenbone and Ritchie, Ridges Greenstone and Minong, sights dwarfing my memories of the nature I thought I knew. 

My pack, some 60 pounds, was full to the brim with all assortments of water filters, hammocks, first aid kits and tuna steak, weighing me down at the rear of our company, catching the slowest but pushing the fastest, ten or so miles a day in the heat of it all, in dark and light, rain and sun, collapsing into the welcoming arms of a beaten up Steinbeck and a pack of cheap noodles. Our company? Seven fourteen year olds, with Mr DA leading the charge, and me, the nineteen (to turn twenty) year old guarding the rear, watching for hazards, be that moose, wolves or an especially flexible thorn branch held back in front of me (these proved to be the most dangerous of the trifecta). 

We arrived on the Island with the sun above us, a calm journey by all accounts, with a slightly mad swede captain the only real thing to write home about. We were banished to the bottom of the boat, putting to mind images of Roman galleys (sans oars), with the beating of the drum replaced by the music of those great poets of the youth: Yeat and Dababy. Our first steps were small, soon enveloped by the real stomach of the forest, struggling across rocky outcrops that were closer to the mountains I knew from home, with promise that the worst was yet to come. My partner was a veteran of the island, having completed the hike once before as a teen, allowing him to make reassuring remarks such as, ‘I’m sure there are more wolves than when I was here’ and ‘If a moose charges, there’s really not much you can do’. Having such a companion alongside me certainly made for some interesting conversation. 

Hiking depends on two things, weather and vigour, two things it seemed we lacked. The sky was never the same, changing with the clouds brought in by the lake breeze, darkness brought upon us with no warning and the occasional lightning storm scaring the wits out of us. Vigour was also running thin very early on, as is to be expected with a group of teenagers without a screen to grab being forced to hike 12 miles a day. Each day came with new challenges, moose to avoid (10 spotted in total, 3 close escapes), water to filter and kids to placate, jobs perhaps not best suited to a pair with barely half a frontal lobe between them.

The first steps back on civilised ground were among some of the best I have ever taken, no roots or stumps to trick or trip me, no bogs to lose a boot in and no moose to chase me; never have I felt so glad to see a snickers bar. After gorging ourselves on a veritable feast of ice cream sandwiches and root beer, it was back on the boat and back to dry land, where a pot was hoisted over a campfire on sticks. The night dissolved among packs of discarded ramen and marshmallows, with talk of adventures to come and bragging among schoolmates rising up with the sweet aromas into a sky of stars and fireworks, with ladles and dippers rising and falling above us. 

A journey of 12 hours followed back to base, propped against the wall of a bus, Dylan and Cohen in my ears the whole way, drifting from the peaks of Nashville’s skyline to the sordid rooms of the Chelsea Hotel, all while the forest and dirt track of Michigan rushed past my eyes, thankful for a place to rest my tired legs. Our arrival caused a stir, a welcome party as if returning from a years long conflict, huge bear hugs and hands shaken, all followed by the first shave and warm shower of weeks, before collapsing on the wafer-thin mattress of my sickness, dreaming already of the rocks and pines, the moose tracks and the sunsets, ready to do it all again.

Categories
Culture

The Man in Me? The Importance of A Complete Unknown 

By Matthew Squire 

I was 12 years old, sitting on the floor of my bedroom, with a budget Crosley facing me, a record placed carefully upon it with the black already spinning . Next to me lay a sleeve, a man staring up at me, hair tousled and eyes glaring, daring me to look back, challenging me and inviting me in equal measure. The record caught. ‘That snare shot that sounded like somebody’d kicked open the door to your mind’. Now I agree with Bruce Springsteen on a whole number of matters (there is a reason we call him “The Boss” after all), but this quote I hold as gospel, it encapsulates hearing Bob Dyan for the first time. 

When I heard there was to be another piece of media made about the man himself, I cringed to a degree. Having already taken in so much music, writing and film, I figured this new picture was simply a Hollywood money grab, an opportunity to introduce Bob as a new figure to stand at the altar of the social media generation; I realise now I may have been mistaken. The film I watched tonight was not a commercial, nor was it a mindless piece of film celebrating an era so pined after. No, what I watched was a picture that celebrated a man who has given so much to art and the world, whilst holding close to heart the most important feature of the story, Dylan’s music. 

However, you may take this with a sizable grain of salt. Such high praise is to be expected from such a big fan like myself, someone who holds some of his dearest memories in the same arena as the catalogue of Bob Dylan, and in the same cage as some of his worst. I feel praise for A Complete Unknown extends beyond the expected fans, such as myself. This is an old story told in a new way, made accessible for a new generation to unlock and appreciate the music that has affected so many. 

 However, this is where the problem will lay for some of us; the ability to let go of our ‘ownership’ of Dylan’s music. Music that has become synonymous with our own personalities, our own moments and memories. But, it is imperative that the message and the sound continues to reach new ears and new minds. I myself have been guilty of trying to hold this experience out of reach to those unfamiliar with Dylan’s music, as I’m sure many have. Many times I’ve allowed his songs to do their job too well, coming too close to my heart and pushing me to gatekeep them with a vigour not reserved for other music. This is why A Complete Unknown is such an important film, it forces us ‘pure’ Dylan fans to a noble defeat and drags us gladly kicking and screaming into a new age, one where we must be ready to accept his universal appeal as a positive. 

Although I’m not quite ready for a Blood on the Tracks era biopic, I think we must accept the fact that it is more important to share music than it is to keep it to ourselves, as important lessons and myths lay within. Let us not be the ‘lone soldier on the cross’, but push others ‘down the road to ecstasy’.

Categories
Culture Uncategorized

Can the ideas of Dogme 95 be applied to art curation?

By Matthew Squire

This article presents the argument that the Dogme 95 cinema movement can be effectively repurposed to assist in the curation of exhibitions. 

(The ideas of Debord apply)

1. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).

An exhibition must occur in its most simplistic form, with no information or outside influence on the art exhibited — the art itself must be the information. If an audience cannot extract meaning, then the meaning is not for them. 

2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot.) 

If music is to be used, it must be produced live. To use reproduced music is to allow for consumerism (however little) to infiltrate the exhibition space, which must be free of such. Diegetic sound also allows for a greater meaning to be taken by the audience. 

3. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. 

Art has moved past the point of painting. To paint means to be immobile in a mobile age, and to do this means to be removed from action. Art must be kinetic, and engendering a thereby kinetic relationship with an audience allows for more meaning in art.

4. The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera.) 

Again we must view painting as an outdated form of expression: in an age when artificial intelligence has overtaken the strength of Degas, we must question the power of even the post-impressionists in creating emotion for an audience. On this point, we must also discuss the role of traditional galleries in this proposed movement. 

Art occurs for the enjoyment (or irritation) of the general public – a medium through which they can gain Instagram likes, or gain views on TikTok. The gallery model facilitates this through shameless promotion and capitalist intent. As previously stated, capitalism must be removed from art for true meaning to be created. For example, the Tate Modern is supported by billionaire art collectors who disguise themselves as patrons: its collections are committed to being exhibited at the will of a greed-driven individual. This is not without a resultant damage to the art’s meaning. 

5. Optical work and filters are forbidden.

Whilst art can be seen as an escape from the grim reality of life, it must (as this manifesto posits) stay authentic and political to retain meaning in today’s world. Because of this, art must remain as true to real life as possible. Examples like Joseph Beuys’ Blackboards or protest art can be seen as effective pieces that need no augmentation. 

6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.) 

Of all the rules in the Dogme manifesto, this is the only one which can be disagreed with, as art of the modern day can take forms not seen before, and in a weaponised society, weaponised art can (and in some cases must) take place. The Situationist International and its effect on the May ‘68 protests through the form of violent art disprove the argument that art must be void of superficial action. If an artist wishes to sacrifice themselves for art, this must be allowed to happen. 

7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.) 

Art is current, art is now.

8. Genre movies are not acceptable. 

We are at a point at which art has become generalised, and therefore genre must be transcended by art. We have reached a point similar to that of the French New Wave, and it may be perceived that ‘a certain tendency’ of art is being perpetuated once more: a familiar roundabout of mainstream art being produced. In short, it is time for change. The world is generalised, art cannot be too. 

9. The director must not be credited. 

Consumerism creates celebrity, and celebrity destroys art in its elevation of an individual above their work. The work is paramount as it is the work that carries meaning; the artist is merely a vessel of ideas, and therefore needs no accreditation. 

In an exhibition, the viewer must be given the art without distraction: celebrity is a distraction from real life, and a distraction from real life allows for real life to be destroyed by others. 

ART > ARTIST 

ASIDE: STAR CURATORS

As is the case with celebrity artists, curators must also fall by the wayside when it comes to the importance of art in a modern society. 

Whilst it could be argued that some artists exist as art themselves (Gilbert and George etc.), celebrity still undermines art, and to exist as a celebrity is a false existence. 

EDIT: 

An overarching rule that must apply to all exhibiting of art is that it must be in a constant state of flux, as the past does not exist anymore. Art must now exist in the present and in the future. 

Static art does not matter. 

Static art is past and not future. By this, we mean that the time in which static art had meaning is in the past. 

In a constantly active society (for better or worse) art must be alive. 

In a world in which we are condemned to a single model of humanity, we must establish a way of creating separate forms.

Museums are antiquity, galleries are unrelieved, and there must be a change in the established method. 

All art must be alive, all art must be in Fluxus, all art must reflect humanity. 

The time for oils and paints has passed, the time for action has arrived. 

 

Image Credit: Caroline Tisdall, Joseph Beuys Coyote 2011, Large Glass.