18.7.13

ISSUE 4 LAUNCH







































Pageantry as practice, by its very nature, dismisses subjectivity in place of artifice and fictions. This issue is an attempt to bring back the subject hood. To pick apart the fictions and find a language to articulate our non-freedom through the pageantry of the everyday; love, intimacy, anxiety and embarrassment. 

Love, intimacy, anxiety and embarrassment are patriarchy’s instruments of coercion; they keep us in check, maintain our consumption. The appeal of a lipstick is in the promise of a kiss. And besides, everyone knows kisses are the remedy to loneliness. x

Exhibiting artists:
Charlotte Cullen, Racheal Crowther, John Fletcher, William Joys, Grace Miceli, Hannah Regel, Jala Wahid.

Performances begin at 8.30pm.
LimaZulu: Unit 3J, Omega Works, 167 Hermitage rd, N4 1lZ

25.4.13


SALT. issue 4 submissions: Pageantry.

"We have all the freedoms we want. But what we are missing is red ink: the language to articulate our non-freedom." - Zizek, Occupy Wall Street Transcript, 2011.

Appropriating the language of advertising rhetoric and consumer aesthetics is commonplace in assuming a both celebratory and critical position - embracing, yet at once being outwardly critical of oppressive structures. But is the recent trend for corporate swag, performed gender stereotypes and ironic emulations of brand culture just the art world eating patriarchal capitalism's shit? 

The very notion of pageantry within contemporary art and culture is two fold. If pageantry is to be taken as a grand, flashy display, an 'empty show', as its definition dictates, then whilst these are prominent tropes in contemporary art, they are also the favoured tactics of consumer culture and patriarchal capitalism. Does pageantry then occur at the expense of politics: to neither outwardly critique oppressive structures, nor whole heartedly endorse them? This seems to be as far as it ever goes. Pageantry by its nature denies or dismisses subjectivity in place of artifice and fictions.  

If the only language we're afforded is the language of patriarchal consumerism, artifice and fictions, how do we articulate our "non-freedom"? How do we critique (or harness) these limitations without falling prey to the very ideals that they propagate?   

We are looking for submissions that address the critical, and destructive, possibilities of pageantry as practice. We are interested in art works or writings that discuss what it means to put oneself, or another, on display and the questions surrounding irony, parody, performativity, pastiche and exploitation that get dragged up when one does so. 

"To emphasize style is to slight content, or to introduce an attitude which is neutral with respect to content." - Sontag, Notes on "Camp", 1964. 

We are looking for: 
articles/essays/art writing. (Word limit 1500 words)
art work with a brief statement. (Submitted as images at 300dpi)

The deadline for submissions is Friday 28th June 2013.
Please submit to salteditorial@gmail.com and don’t hesitate to ask us any questions.

Also find us at: 

1.4.13

Jala Wahid


Object Whore (film stills)






Mother Tongue/ Super Symmetry



A lady came up to me in the duty free, exclaiming in German about how much she liked my hair. Well, at least that’s what I gather. Her hands and eyes did most of the talking. I managed to keep up the pretence of understanding what she said for at least thirty seconds, quite an achievement, I said “Danke, danke” and smiled warmly. She carried on. I’m busted now, I have no idea what she’s talking about. I revealed my fraud and she switched into patchy English: very nice.



I watched the press conference following an announcement from CERN that they’d discovered a new sub-atomic particle with properties similar to the theoretical Higgs Boson. I watched with excitement that quickly turned to annoyance. Journalists, desperate for their word quota and caught up in the celebrity of science wouldn’t accept that the scientists who faced them wouldn’t call what they had found, “the Higgs Boson.” It needs more data, they patiently, then less patiently, explained. And yet, the journalists kept asking the same questions, is it the HIGGS? When will we know if it’s the HIGGS? If it’s not the HIGGS, do we even need the HIGGS anymore? A journalist directed a request for a statement directly to Peter Higgs, who politely declined.



The old lady I helped to carry her shopping trolley up the stairs at Kotbusser Tor station, after realising I did not speak German, thanked me: “Merci beaucoup.” “De rien” I replied, and she blew me a kiss as we parted ways.  I sat on a bench on the platform, waiting for the U-Bahn, and watched her pull her cardigan together at the top of the stairs and proceed slowly to the platform’s edge to wait patiently. I wondered what made her bag so heavy, I wondered where she came from; she’s East German, most probably, I thought, not to know any English.



Trending topics on Twitter included #Higgs, #CERN, God Particle and, of course, Comic Sans. The scientists, on the verge of announcing the greatest scientific discovery of the 21st Century, used a font that gently patronised, attempting to translate in layman’s terms the complexities of the boson. The word layman was repeatedly used in the press conference; the word itself coming from the Greek for “common”. A nice parallel was created between the laypeople of the audience, not sure what was going on but desperate for an answer that confirmed ‘The Standard Model’, and the panel of experts, refusing to pigeonhole their discovery into the narrow field of vision of the common people, threw out a multitude of complicated technicalities, comfortable in the knowledge of all the things they didn’t know.


My mother’s mother tongue is not English, but Greek. She’s also dyslexic and her mis-spellings and mis-pronounciations often amuse me. When texting or emailing, she’ll use the ‘@’ symbol to mean ‘and’, but I don’t mention to her that she’s got it wrong, even if I did she’d still use it. It’s obvious what she means, there comes a point when you realise that pointing out someone’s minor failiures serves no purpose but to wound, especially when the meaning is so transparent. 

My own failings in multi-language fluidity are cruelly dredged up when faced with a situation in which MY mother tongue is not á la mode, and Greek words seem to pop up in my head, a default for that which is not my own. Yet my mother’s mother tongue IS my own, her domestic phrases ingrained on my brain and the etymological core of the language I use every day.


The particular properties of the Higgs Boson as needed for the Standard Model have not yet been confirmed, yet physics is tantalisingly close. The universe already contains everything in the universe, the complicated process by which we try and understand its secrets left to a closed group of specialists, only emerging occasionally to try and explain mind-blowing science in ‘layman’s terms’, in this language which is my mother tongue but often not theirs. Their comprehension of the world based on data and theory doesn't translate very well into common language.

The complexities and nuances involved in the way we speak about feminism or art must feel, to an outsider, as if they have no practical implication, as though we're speaking in a foreign language. There's no standard model, no unifying theory that would make everything make sense. We're attempting to navigate our way around the grey areas

Thea Smith

Women of Cover: The Power of The Veil


only the terrorists and Taliban threaten to pull out women’s fingernails for wearing nail polish’ Laura Bush

Western politics has not hesitated in adopting feminist rhetoric to service its own agenda:

George W. Bush expressed the oppression/emancipation of ‘women of cover’ as a justification for the invasion of Afghanistan. He was also against the FDA’s approval of Mifepristone and subsequently restricted access to it. To add insult to injury, he declared the anniversary of Roe vs. Wade (the supreme court decision legalising abortion in every state) ‘National Sanctity of Human Life’ day.

Nicolas Sarkozy reasoned the "act prohibiting concealment of the face in public space" was passed "to protect women from being forced to cover their faces and to uphold France's secular values.” In his final presidential campaign, and after realizing he hadn’t achieved much by way of gender equality (he promised equal representation in parliament), he renewed this promise adding: "A woman's life is more difficult than a man's because she has three lives: a mother's life, a working life, and a sentimental life," Sentimental? I keep forgetting this characteristic specific to women.


Turning Fingernails Into Cherries: A Guide To Selling Yourself




In Mika Rottenberg’s video installation Mary’s Cherries (2003) Mary, a female wrestler who squashes men for money, sits in a factory growing her long, red fingernails. Mary sits at the top floor of a production line comprised of three female wrestlers sat one above the other. Mary cuts her nails and drops them to the level below where Barbara beats the fingernails into a pulp. Barbara then drops pulp to the level beneath her where Rose sculpts the pulp into a ball producing a maraschino cherry.

At www.pocopanties.com, Zelda, has been selling her ‘intimate wet Asian panties’ (and socks, bras, pantyhose) to fetishists since 2003. Like Rottenberg, Zelda knows there isn’t much that comes out of or grows off the female body that cannot be harvested and sold.

Despite Mary’s cherries being a physically impossible and fantastical product to produce, and Zelda’s ‘creamy cum’ a fairly common substance, the production process is alike. Both women do not manufacture, but rather grow their product, a product that is also inherently immaterial. Mary’s cherries fall short of being a material product in that they have no real function, but rather serve as a prop in a fictional scenario. Within Rottenberg’s film the cherries become a cultural signifier, rather than a product in and of themselves. Likewise, Zelda’s soiled underwear cannot be thought of as a durable, material good.


SALT. Issue 3 launch: Salirophila 2013


Hannah Regel

Tender Hooks


Charles Pryor


A Series; gracefully chasing the inverted body of an individual 


14.3.13




Join us at 6pm Thursday 21st March for the the launch and exhibition of the 3rd issue of SALT. magazine. 

Exhibiting artists:
Samuel Bromley

Racheal Crowther
Saira EdwardsHannah Lyons
Charles Pryor

Hannah Regel
Thea Smith
Amy Steel
Jala Wahid


7.30pm : Talk with Bonnie Camplin
8pm : Performances


Arcadia_Missa
Unit 6 
Bellenden Road Business Centre
SE15 4RF
(Entrance on Lyndhurst Way)


3.12.12

Buy online at www.saltmagazine.bigcartel.com! Issues no. 1 & 2:


1.11.12

CALL FOR SUBMISSIONS

SALT. is looking for submissions for its third issue (due to be released in February 2013). The title is named after the sexual fetish ‘Salirophilia’ and the theme is Sex and Violence.

This theme will look at the complex relationship between sex and violence in different frameworks, such as: language, contemporary culture and the art world, and how this can often appear non-threatening or superficial. We are looking for submissions that question how this violence manifests itself and what is to be done.

We are looking for: 

articles/essays/art writing. (Word limit 2000 words)
art work with a brief statement. (Submitted as images at 300dpi)

The deadline for submissions is 1st December 2012.
Please submit to salteditorial@gmail.com and don’t hesitate to ask us any questions.

Also find us at: 
http://www.facebook.com/SALT.EDITORIAL
http://salt-magazine.blogspot.co.uk/
http://saltmagazine.tumblr.com/

25.10.12

The Transparency Issue Launch, exhibition photos.



Flag Series
Silk print, perspex
Frances Malthouse 2012
Featured in The Transparency Issue launch, Utrophia, Deptford

10.9.12

SNEAK PEEK


Come to the launch at Utrophia, Deptford on the 26th of September.


Join the facebook event here:



http://www.facebook.com/events/277127185726998/


30.8.12

Girls I Know - Gabriel Duckels


I've met girls who've hurt and been hurt and girls who work on out-of-town circus Hook-A-Duck carts and girls who don't tell anyone they've got a Grade  8 qualification in playing the trombone from a weird teacher with a lazy eye and wandering hands. I know girls who rely on special occasions as opportunities to over-eat without regret or shame as if roasted potatoes only exist two or three times a year. I know girls who self-identified with Anne Frank. I know girls who are neither Carrie, Samantha, Charlotte or Miranda. I know girls who took up diving and quit and girls who would have preferred guitar tuition to tap-dancing classes even though they fell in love for the very first time watching the instructor move his or her feet like magic in that dusty old church hall. I know a bunch of girls who bond via over-eating and those same girls often eat a tangerine for breakfast, that way the vivid orange of it bookends the daily vomit. I know a lot of girls who wouldn't consider themselves feminists. I know girls who sped through life too quickly in a specifically female way I think and wound up twenty-five and always drunk without realising quite what happened. I know girls who are always in the process of moving to Berlin. Those girls usually didn't have their sanity flicking on and off like a light switch during their formative years but most of the girls I'd call my friends were terrifying in secondary school. I know girls who drool over boys in bands and I wonder if standing quietly at the side of the stage is where they'd really want to be but I guess it's easier to drool over boys in bands. I know girls who aren't afraid of airplanes. I know girls who don't talk about the abortion they got in 2006 but everyone is aware of the abortion they got in 2006. I know girls who have no idea whether they've been raped or not. I know girls who won't back down and girls who get what they want sooner or later when they put their mind to it. I know girls who teach me new ways to survive all the time. I know girls who are becoming women as I become a man and this is only a fraction of all the girls I know.

26.8.12





SALT. is a contemporary art and feminism publication. We launched our first issue in March 2012 and are back with our second - ‘The Transparency Issue’. 

Join us for the launch event and exhibition opening on Wednesday 26th September at Utrophia Gallery:

6pm   Show opens  7pm   Nina Power : Reading & Discussion of the Transparency Issue 
7.45pm   Simon Bedwell : Interval Slideshow: Women Are Beautiful 
9pm   Performances : Thea Smith, Daniella Valz-Gen 

Sunday 30th September:
2.30pm Ruth Novaczek : Film screening and discussion 

Eleanor Davies
Saira Edwards
Billy Howard
Frances Malthouse
Susie Pentelow
Hannah Regel
Thea Smith
Jala Wahid

Open Thursday to Sunday 11am-6pm

Find us at:
salteditorial@gmail.com

120 Deptford High St
Deptford
London SE8 4NS

24.8.12



Feminism and Form 

It is becoming increasingly obvious that the term feminist is one that women and girls are currently allergically refusing to identify with. Feminism is a movement that has, for its short history, been constantly in flux, and ever evolving. The misconception that is is 'done' or 'dealt with' is widely held and presents serious issues for those fighting to maintain a voice in what is a still overwhelmingly patriarchal world. 

In exploring the reasoning behind this lack of self-identification amongst a new generation of women, I wonder whether the image of feminism is deemed too 'unattractive' to be seen to be attached to now? That in our minds the word still equates to man hating, lesbian loving, bra burning. That the bad publicity of the 1980s backlash is just too tough to counter-act. Certainly the radical feminism of the '80s was an extreme political position to take. One that was, and still is, problematic to say the least; suggesting that heterosexual sex is synonymous with rape, and that to be transgender is an offensive masquerade of femininity. Trans women were banned this year from attending the RadFem2012 conference, this stigmatisation of certain members of the feminist community is cause for concern in that it calls into place new forms of hierarchy, implemented and governed by feminists. It was, and still is, a very harsh form of the movement, so unforgiving is it of any 'other' that does not behave in a way deemed suitable or 'feminist enough'. Which is an attitude that many contemporary feminists are insistent that they do not identify with and are fighting against, those same feminists that are also fighting for the understanding and acceptance of all women by society. So is it still this form of militant feminism that is outweighing any other voice and causing women to feel a disconnect with the term?

20.8.12

Kat Day






VIRTUAL ENVIRONMENT : DOLLHOUSE I
Stills from interactive computer installation (2011)

Camille Yvert

Eleanor Davies




G.B.F series 
2012
Thread, chrome, sponge, rollers, tape, aluminium, rubber, plastic, baby oil, bodyspray and hairspray.


2.8.12

Amie Dicke

Infallible no. 200, Installation at Arnhem Mode Biennale 2011
(photo: Peter Stigter)



One hundred liters of foundation (make-up) is sprayed automatically by spray-guns that hang above an interior I have set up in the middle of the industrial environment of the former AkzoNobel factory. This room mirrors my private memories. Most of the objects which I have (re-)used would normally be thrown away, but some stuff just tends to stay, because you keep carrying them with you either mentally or physically. In a way they have become physical reminders of our inability to let go of life. The many layers of foundation will slowly cover up the original colours or patterns of the objects and eventually the whole room will be in one tone, concealed under a thick layer of foundation, like a strange make-up. The interior will be changed into a skin coloured 'flesh', like a radical makeover that will turn the dead objects into a self-portrait.


Sponsored by L'Oréal Paris

1.8.12

Samara Scott and Marianne Spurr at Seventeen Gallery

Marianne Spurr - Wax on, Wax off

2012

Sanded acrylic, seam strip

Samara Scott - Boyfriend, tears on the pillowcase

2012

Latex, wrapping paper, emulsion paint, craft sand




 



3.7.12

Giulia Messana Loi

La femme artiste doit si souvent se confronter a la peur que l'homme a de sa créativité.
A moins qu'elle ne soit hors de son atteinte et qu'il la considère comme muse.
S'il l'aime, si elle est sienne ou tout comme, il ignorera les fruits de son imagination, le rythme perturbant des pulsations de ses visions.
La femme doit apprendre a arroser son propre jardin et le protéger du regard jaloux de son époux.
La femme doit apprendre qu'elle n'est plus uniquement
femme a manger
femme a ranger
femme a aimer
femme a baiser
Elle doit apprendre a s'aimer
toute seule
dans le silence des miroirs
et de l'horizon si noir
sans fléchir
ni trop réfléchir pourquoi
elle doit continuer a créer
pour créer
pour ça.
S' échapper des doigts qui l'attirent par plaisir
tout en poussant racine jusqu'au firmament. 

Racheal Crowther

                                            


www.rachealcrowther.com



Sheila Miranda Maurice-Grey

26.6.12

SALT. Exhibition

SALT. Magazine is planning an exhibition to coincide with the launch of our second issue. There is no official venue or date confirmed as yet, but the show will most likely place in south east London in late August. 
If you are interested in being a part of the exhibition please send at least three images and a short statement to salteditorial@gmail.com by the 27th of July.
You are more than welcome to submit work for both the magazine and the exhibition.