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PDF Transcript: Mike Smith Goldsmiths Mike Smith (Mike Smith Studio) Lecture Tuesday 24th May 2005 For more details on the Mike Smith Studio, including information on the art works discussed below, see: http://www.mikesmithstudio.com ANDREA PHILLIPS – WELCOME AND INTRODUCTION MARIAM FRASER - INTRODUCTION I'd like to begin by thanking everyone here for coming today. And I'd also like to extend a very warm welcome to Mike Smith. Mike has been invited here today by the Centre for the Study of Invention and Social Process, which is an interdisciplinary research centre at Goldsmith's, based in the Sociology department. I want to say just a few words about the conceptual links between the Centre and the Mike Smith Studio before passing over to Mike. As its name suggests, the study of invention is at the heart of the Centre. This means, on the one hand, that its concerned with the contemporary value that's attributed to invention and innovation, and indeed to creativity, across a broad range of spheres – which include not only art, but also for example science, the market, the work place, and the media. The centre's also concerned however with invention in a theoretical sense. Invention as a concept orients sociology, for example, away from the problems of social order and towards material and social processes. It invites us to look at the transformation of social and material realities. Or to put that differently: the concept of invention can be an invitation to think of identities and objects not in terms of discrete and given entities, organised into fixed hierarchies, but rather as things that are created out of diverse, contingent, and heterogeneous processes. It shifts our attention, in other words, away from the product – whether that product is a work of art, or a scientific artefact – and towards the specific ways in which products come into being, and especially towards the vast network of relations – human and non-human - which produce and sustain any single entity. This is precisely what, I think, the Mike Smith Studio does: it draws our attention to creative processes whose duration precedes and extends beyond any single work of art. In the book Making Art Work, which is an edited collection on – or perhaps more accurately an archive of - the work of the Mike Smith Studio, Patsy Craig reminds her reader of the role of engineers and artisans in constructing the ideas of the Renaissance artists in the 15th century. These constructions were as much experiments as they were works of art – and I mean experiment here in its one of its earliest senses, in which it is closely related to experience, to 'putting to the test'. Not entirely dissimilarly, the Mike Smith Studio describes its work in terms of fabrication, where fabrication refers to the place (and time) where 'ideas and experience meet'. Invention, process, experiment, fabrication: these are all concepts which act as lures away from a focus on the single figure of the artist or the scientist and away from the narrative of unique originality or discovery. Rather than conceive of a world that waits passively 'out there' to be 'discovered' by the scientist, or that lies inert until the artist brings his or her creativity to bear upon it, one might instead think of the process of fabrication as a 'staging'; as the staging of an event that does not reveal the world, but rather participates in it, and makes a difference to it. The Centre for the Study of Invention and Social Process was inspired in part by the philosopher and mathematician Alfred North Whitehead. One of his claims – and this is a claim that's very frequently quoted - is that the greatest invention of the 19th century was 'the invention of the method of invention'. What he means by this – by this focus on method – is that it's not the bare idea that is the required invention, but rather the process by which ideas are realised. Thus for Whitehead, the figure from whom we can learn the most about invention is not necessarily the artist or the scientist but rather the engineer. For the engineer is obliged by their profession to invent instruments – whether they be physical or conceptual - that are specifically relevant to the problem at hand, and which might, at best, actively transform that problem in novel ways. Whitehead describes the process of invention, positively, as a 'disciplined attack upon one difficulty after another'. And I think we all very much look forward to hearing Mike Smith – who is often described as an engineer - talk about precisely this today. MIKE SMITH On how the Studio came into being and the kind of work it does I went to Camberwell College of Art in the late 80s and I knew lots of people at Goldsmiths who have become YBAs, but basically the time I was at Camberwell, I actually started making work for the tutors at Camberwell just as a means to survive college really. I still got a decent grant but basically it was a way of earning money and supporting myself, and actually producing work that I was making at Camberwell. I kind of started this in the first term I was there and it occurred to me during the process of doing this that this was a way of supporting myself after I left college so I didn't have to go and get another job doing something completely different, which may or may not be beneficial. But also it meant I could kind of run my own practice alongside, like a parallel track, with making work for other people, and I could do that in one space so I wouldn’t have this job somewhere and have to go and do my own work and then go back and do my job but that I could do them both, the same thing together, and essentially one thing would finance the other and it all kind of worked out. But essentially what happened was that when I left Camberwell I did make my own work, for about 5 or 6 years, but I had a much stronger desire to work with a wider group of people and not just work in the solitary way that artists tend to work when they're at that stage of their career. I also saw the possibilities for me were actually a lot more interesting – to go and work with a wide range of people, and although I didn’t realise it at that time, with hindsight, for me, that was the best thing that I've probably done. When I chose to do that I didn’t imagine that I'd be working with a lot of the artists that I've worked with, but also with architects like Frank Gehry and designers like Bruce Mau. These have been amazingly rewarding experiences in terms of how we do things at the Studio and that’s been really exciting. So, the studio I started in the early 90s and I made my own work until about 1994 and then I just entirely stopped making my own work and carried on, essentially kind of developed the whole studio with this view to just making work for other people. Right now there are 12 of us, there have been as many as 23, there were 23 of us for three months when we were making Rachel Whiteread's project, and now there are about 12, 13, and the studio is just up the Old Kent Road in the Old Gas Works. It's about 10,0002 feet and we've been there for about 8 or 9 years now. The Studio works with people in lots of different ways. We do complete design, fabrication, installation, transport packages, or we just make components for things, or we do design development where we design and develop ideas and do feasibility studies and then entirely hand it over so they can take it somewhere else to be made. And we've designed projects that have actually been made in the States. So the way that we work is quite different depending on the different situations. I also do quite a lot of consultancy work which is mainly with architects and designers – like the work I did with Frank Gehry was through Bruce Mau, for a museum that's in Panama which is a bio-diversity museum. Frank Gehry was designing the museum and Bruce Mau was designing the programme and the exhibition design. Essentially they came up with the ideas for the exhibition but they didn’t know how to make them into objects. So I spent about 16 weeks over the course of 2 years going around working with them and turning the content into form. The museum opens in about 18 months. Q: I was wondering whether the work you do now, whether you still consider yourself an artist? No, I think I'm actually luckier than artists because artists either have to follow a trajectory or they have this like scatter-shock pattern. But either way they have to take on a completely different responsibility to what they do than I do. The Studio has to be very responsible in the way that it produces work, and the parameters for this are different for each project, but if somebody comes to the Studio and we make a piece of work and that work goes out into the world, if people don’t like it, if they don't like it because it's an art-work, then I don’t really have to deal with that.
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