â€œUnfortunately, this being East Germany/Gert patriotically volunteered to be sent on a labour/Beautification course of the countryside north-west of Dresden/And never seen again.â€ *
There is something punitive about Work Programme at the gallery known as CAC. At time of writing weâ€™re on edition 28, and more than 27 souls have already pitched in and given us shows. Work is on the tin; artists are expected to labour. And this is a Programme, a temporal and spatial structure which must be followed: fill a Brighton gallery in just six days and make it good.
But what results! Each one has been a triumph of the impossible. Rarely have so many, produced so much, in so little time and with so little cash. Hard graft has led to, I would say, miracles. And to arrive at a launch is always to see a familiar place rendered strange. Yet the next conscript moves in on the very next day. A Francis AlÃ¿s piece comes to mind: Sometimes Doing Something Leads to Nothing.
This important film, also called Paradox of Praxis, follows the Belgian artist as he pushes a block of ice around the streets of Mexico City. It takes an entire day for the sliding block of H2O to melt. So he is left with nothing (although of course he has a film). Work Programme also leads to nothing. But in both cases, nothing is not a failure but a good outcome.
Needless to say, in these austere times, Work Programme doesnâ€™t pay. In this respect it is worse than sewing mail bags. But, if only for one week, free labour does allow artists to opt out from the dominant economy, with its hedge funds and its property ladders. It gives participants and audience, alike, access to another non-monetary system, that of the gift.
Anthropologists are not the only ones to have an interest in the gift-giving feast of potlatch. Found in North West Canada and some parts of the States, this competitive event is a non-lethal act of war. It asks which indigenous tribe can give away the most. Things get out of hand, buildings are burnt and possessions thrown in rivers.
Meanwhile back at CAC, shows open on saturday evening; on sunday they close. The spotlight lasts less than 24 hours. Work is removed, and often destroyed, before the weekend is out. This moves us away from the commodification of art and, in the subterranean space at CAC, we find a community of artists and friends surely tapping into something a little more primal.
And just as cells (correctional and/or monastic) are the most ambient of spaces. The architecture at 31 Queens Road are by now well charged with hard work, anxiety and at times, clearly, wild flights of inspiration. CAC might be the engine room of the Brighton art scene, making other gallery models look cumbersome.
But are they cumbersome, or merely humane? As demonstrated, this is a punishing model for art production. If it suggests a gulag or a camp, that would suit our provincial setting at the end of the A23. And by the way, a certain Mark E Smith (singer with The Fall) once described Brighton as a â€œcultural prisonâ€**. To the best of my knowledge he has never been to Work Programme, but he would recognize it for what it is.
The first Work Programme of 2014 opens (and closes) on Saturday 18/01 at 7pm at Community Arts Centre, 31 Queens Road. The artist in residence is Sam Ayres.
*The Fall, Athlete Cured (from the 1988 album, The Frenz Experiment).
**Mark E Smith, Renegade (Penguin 2008), p.150