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LOOKOUT

30 August – 2 November 2014

SECONDARY TEACHERS’ LEARNING

RESOURCES

Strange Cargo: The Luckiest Place on Earth

www.folkestonetriennial.org.uk

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Introduction This pack has been designed to assist secondary school teachers in delivering lessons linked to six of the 21 new Triennial 2014 artworks, situated in various public spaces across Folkestone. The pack includes background information, ideas, discussions and activities to be carried out whilst visiting the works as well as back in the classroom. Some activities could be set as projects or homework activities, encouraging families and friends to explore Folkestone. The ideas may also interest people working with groups outside formal education. The resources can be used across the National Curriculum and are linked to Art and Design, Literacy, Numeracy, Music, Drama, PSHE, PE, Science, MFL and Geography. Alongside this pack there is also a Young Person’s Guide. This is an itneractive booklet that is suitable for younger learners and can be used ro supplement any sel-fugied tour or work back in the classroom. We hope that engaging with Folkestone Triennial 2014 artworks will encourage learners to think and act as artists, craftspeople, designers and to work creatively and intelligently on their own projects. Background The works explored in this pack were all commissioned as part of the third Folkestone Triennial, which runs from from 30 August to 2 November 2014. The six works selected for this learning resource form part of a larger exhibition of 21 new commissions by both UK and international artists; these particular six were chosen because all of them are participatory/collaborative works with close involvement with Folkestone schools, communities and residents prior to the launch of the Triennial in August 2014. The Triennial is a three-yearly exhibition of art works by world-renowned artists specially commissioned by the curator for the public spaces of Folkestone. Selected artists respond to the invitation with proposals for artworks that engage with the Kent coastal town's history, people, culture and built environment. The 2014 edition, Lookout, aims to bring the wider world to Folkestone's shores, while highlighting at the same time its position as a gateway and the isolation of being situated on the edge of Britain. The artworks relate directly to the town and its socio-economic and cultural history, as well as exploring universal issues. Some commissions rejuvenate existing sites, others create new environments in the town, involving and collaborating with the local communities, and address aspects of our daily lives that affect people on a global scale, such as climate change, environment, sustainability, technology and communication. The 6 selected artists and their commissions in this Secondary Learning resources pack are: Strange Cargo – The Luckiest Place on Earth Yoko Ono – Earth Peace and SKYLADDER Krijn de Koning – Dwelling (For Margate, for Folkestone) Sarah Staton – Steve Andy Goldsworthy – Clay Steps and Clay Window Amina Menia – Undelaisse – To Reminisce the Future by Sharing Bread and Stories The Folkestone Triennial forms a major component of arts-led regeneration of Folkestone, driven by The Creative Foundation who are developing a burgeoning Creative Quarter. The Creative Quarter has become home to a thriving collection of artists’ studios and creative businesses and offers aspiring artists, retailers and business people a chance to become a part of this lively and ever-growing community. The University for Creative Arts, the Cube Adult Education centre and Quarterhouse performing arts venue are also located in the Creative Quarter. This year, the 2014 Triennial is curated by Lewis Biggs and aims to examine changing notions of art in the public realm. This includes temporary works, which remain in situ only for the duration of the exhibition in summer 2014, and some permanent works. A number of the Triennial works will add to the current 16 permanent Folkestone Artworks, helping to make Folkestone a unique destination for contemporary art in the UK. To access a map of Folkestone Triennial 2014 artworks, as well as further information about the artists and their projects visit www.folkestonetriennial.org.uk. The Visitor Centre on 3-7 Tontine Street is open in Folkestone's Creative Quarter to provide information about the Triennial’s artworks including maps and audio guides. Artists’ films commissioned for Folkestone Triennial 2014 are also available to view and a reading area offers background information about different models of art in the public realm.

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Introduction to Lookout

by Lewis Biggs, curator of Folkestone Triennial

The lookout is integral to Folkestone's history as a port. A lookout is a structure from which to keep watch - for invasion, for weather, for fish, fortune or friends coming home. A lookout is also the person keeping watch, who can tell us what's coming over the horizon. Either way, a lookout is focused on the future. And in this exhibition, the figure of the lookout stands for the artist – because the artist's act of imagination always involves change, and proposes change. The dynamo of Folkestone's economy in the past has always been the movement of people, whether travellers, or armies going to war or tourists seeking pleasure. Boats, trains and hovercraft have been replaced by the Channel Tunnel (a kind of Folkestone bypass – 2014 will be its 20th anniversary). What comes next? LOOKOUT is an exhibition (outdoors - in the urban environment) that invites you to visit some key points in high places, mainly around the old town of Folkestone, to join artists in questioning what is going on, and see whether you can share a long view on the future. The word 'LOOKOUT' is functional but it's also symbolic. It has a certain psychic weight - it's about expectation: hope and fear. Its warning edge is the point of balance between what we hope we might get, and what we fear might be landed on us. It engages the future of economics, demography and migration, environmentalism and climate change, technology and communication, urban design for social engineering, food security etc Kurt Vonnegut said, “I want to stand as close to the edge as I can without going over. Out on the edge you see all the kinds of things you can't see from the center.” Folkestone’s position at the edge of Britain closest to Eurasia offers unique viewpoints on what's going on in the world today. It's an ideal place to present global issues in a local context. LOOKOUT makes the town the perfect host to these concepts, debates and explorations. Folkestone Triennial 2014 is an invitation to join artists in imagining futures while experiencing the present – head in the clouds (or the Cloud), feet on the ground. I would like to encourage all our visitors to immerse themselves in the urban fabric and 'read' it through the eyes of the artists. In a globalised world, these readings will inevitably conjure up all our futures. I hope you find lots to enjoy in the experience.

Lewis Biggs, Folkestone Treinnial curator 201

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STRANGE CARGO

Under the leadership of Brigitte Orasinski, Strange Cargo draws on a versatile pool of talented and committed artists. Strange Cargo is a local collective who have a collaborative working practice and interest in shared histories. Title The Luckiest Place on Earth Location Below Folkestone Central Station Bridge, Cheriton Road Introduction Strange Cargo was established in Folkestone in 1995 and operates as a company limited by guarantee and registered charity. Initially focusing on celebratory outdoor arts projects and carnivals, Strange Cargo has developed a reputation for its portfolio of imaginative public and visual arts projects, special celebratory events and programmes with large groups of people. Glance up as you walk under Folkestone Central Railway Bridge and you might be intrigued to see four colourful figures looking down at you. These watchful ‘lookouts’ are Strange Cargo’s idea for Folkestone’s icons of good fortune. Positioned vigilantly on the imposing edifice of the bridge, high above passing pedestrians, each figure is a digitally scanned likeness of a lucky Folkestonian, their luckiness captured in a 3D printed sculpture. Each figure is representative of their age group, stood atop their stone plinth, a fundamental part of The Luckiest Place on Earth. Swathed in symbolic lucky colours; the icons present to onlookers their golden objects of good fortune. Everyone has their own idea of what luck is, it is a universal concept. Strange Cargo invites visitors to pass through this special place and consider what luck means to them. Is it possible that through our own thoughts and actions we can unlock our own luck reserves? Just think what life would be like if we all believed ourselves to be the master of our own good fortune. The symbols held by the statues were suggested hundreds of times over by local people as the most recognisable lucky objects, and they are there to remind us that luck is a universal language. It is these symbols of the horseshoe, wishbone, cat, crossed fingers, four leaf clover, touch wood and lucky mascot that have emerged here as the most identifiable ways to signify good luck. Even the flying seagull, whose random lucky deposits are known to shower down on many a blessed walker, is understood to be a popular seaside bringer of good fortune. By visiting The Luckiest Place on Earth, Strange Cargo suggests it is possible to learn to be lucky. Folkestone is in the throes of being regenerated, but it is its people that have the capacity to make the greatest impact. If we all take the time to spot new opportunities, meet new people and seek out the silver lining, these simple actions can make a big difference to how lucky life appears to be, affecting not just how lucky we feel, but the luck of our town. Take a moment to contemplate what luck means to you, and carry that lucky thought with you throughout your day. Before you leave The Luckiest Place on Earth, don’t miss the opportunity to place a penny in the world’s first Recycling Point for luck and wishes found on the bridge wall. Your wish will mix with the thousands of others, adding to the lucky aura of this place. But the best bit is, that as well as making a wish, you can remove and recycle someone else’s lucky penny. This means you can carry a bit of shared good fortune with you as you go on your way; a reminder that you have visited Folkestone and spent some time at The Luckiest Place on Earth.

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Strange Cargo: The Luckiest Place on Earth

Secondary: Key Stage 3 Art and Design Focus National Curriculum Key Stage 3

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore ideas for different purposes and audiences To organise and present this information in different ways, including using a sketchbook (cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design: Apply and extend their experience of a range of materials and processes, including drawing, developing and refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study: Exploring a range of starting points for practical work including themselves, their experiences and natural and made objects and environments. Working on their own, and collaborating with others, on projects in two and three dimensions and on different scales Using a range of materials and processes, including ICT [for example, painting, collage, print making, digital media, textiles, sculpture.] Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the Internet].

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Secondary Key Stage 4 Art and Design Focus National Curriculum Key Stage 4

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore ideas for different purposes and audiences To organise and present this information in different ways, including using a sketchbook (cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design: Apply and extend their experience of a range of materials and processes, including drawing, developing, refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study: Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the internet].

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Activities linked to National Curriculum: To make linocuts or screen prints based on lucky printed objects/symbols

1. Ask students the following questions: What is their luckiest colour and why do they associate luck with this? Who do they believe to be lucky and why?

2. List 10 objects/symbols they feel are personally lucky to them. Share their list and see if they can come to a class/group consensus for their top 5 luckiest symbols.

3. Maths/ICT cross-curricular opportunity here. Using Survey Monkey (or similar) programme, collect the class data and find out the most popular colour and objects/symbols.

4. Students to create a linocut print or screen-print image of their lucky object/symbol and to print these using their luckiest colours.

5. Create a class display of the finished products – could be uploaded onto school website. 6. Compare their lucky personalities with one that fits closest to their age-range of the Strange

Cargo figurines – are there any similarities? 7. Extension activities: research lucky symbols/objects/colours from different countries and

cultures. From this information, create own lucky symbol. Further cross-curricular links with this work: Numeracy – data handling/interpreting graphs, identifying 3D shapes and their properties, calculating volumes of 3D shapes Literacy – creative writing or poetry including onomatopoeias, sayings and their origins, i.e. to paint the town red, unlucky for some, etc. Concrete poetry in shape of lucky objects. Interviewing one another aobut luck and lucky objects – conducting surveys. Design Technolgoy – designing and making own lucky recylicng point in school Geography – wells and location of local wells History – research what might the plinths have been used for under Folkestone East Bridge originally, the history of Folkestone Station, the history of road names, i.e Cheriton Road, etc. Historiacl names for Folekstoen Central – how amny have there been and why did they change? When id the railwya come to Folkestone? ICT – use of electronic sketchbooks and online Survey Monkey. Programming for 3D printing methods.

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YOKO ONO Yoko Ono is an artist whose thought-provoking work challenges people’s understanding of art and the world around them. From the beginning of her career she was a conceptualist whose work encompassed performance, instructions, film, music, and writing.

Titles Earth Peace and SKYLADDER Locations The Leas, Folkestone Library and Quarterhouse Introduction Born in Tokyo in 1933, Ono then moved to New York in 1953, following her studies in philosophy in Japan. By the late 1950s, she was contributing to the cityʼs vibrant contemporary art activities. In 1960 she opened her Chambers Street loft, where she hosted a series of radical performances and exhibited realizations of some of her early conceptual works. By the mid 1960s, her work had become associated with the artistic movement called Fluxus, and in the summer of 1966 she was invited to take part in the Destruction in Art Symposium in London. During this period, she also performed a number of concerts throughout England, which included one at the Metropole Art Centre in Folkestone. In 1969, together with John Lennon, she realized Bed-In, and the worldwide campaign for peace called War Is Over! (if you want it). For Folkestone Triennial 2014, she has contributed two specially composed artworks, SKYLADDER and Earth Peace. SKYLADDER 2014 is an 'instruction' – an invitation to viewers to complete an artwork initiated by the artist. (Her first exhibition of 'instruction paintings' took place in New York in 1961). Sometimes these works are written like a musical score, with the artist taking the place of the composer and the viewer interpreting the score in the way that a musician plays a composition. SKYLADDER 2014 has been written on the wall for everyone to read and enjoy in two of Folkestone's buildings that are generally accessible to the public, the Public Library on Grace Hill and the Quarterhouse in Tontine Street. It doesn't matter who writes it on the wall – like a poem, it's the thought that counts, not the writing. Step ladders have appeared frequently in Ono's work since the mid 1960s as an image of aspiration (climbing higher) and of imagination (taking us nearer the sky, a wonderful open space onto which we can project our desires and dreams). The image of the ladder or stepladder is particularly appropriate for the present exhibition, Lookout, which invites the public to take up different positions around the town in order to imagine the future in different perspectives. Ono's campaign for peace is very important to her as an artist and activist. In 2007, she created a permanent monument to peace, the IMAGINE PEACE TOWER on Viðey Island, Iceland. And In 2011 she was honoured with the prestigious 8th Hiroshima Art Prize for her dedication to peace activism. Her second contribution to Folkestone Triennial 2014 is Earth Peace. This appears on billboards in prominent locations: on a stone slab on the Leas near the Metropole (where she performed in 1966), and is transmitted in Morse Code in a light beam over the Channel towards France. The text is also available as a poster for people to put in their windows to show their support for peace. If you allow your mind to engage with the phrase, it's hard to imagine two tiny words brought together in this way having a greater impact. At the time of the 2008 financial crisis (18 October), Yoko Ono wrote: "If you want to know what your thought processes were like in the past, just examine your body now. And if you want to know what your body will look like in the future, examine your thought processes now. Your body is the scar of your mind." The urban environment of every town is a description of how the people of that town thought and imagined in the past.

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Yoko Ono: SKYLADDER at Quarterhouse, Tontine Street

Quarterhouse, Folkestone

Secondary: Key Stage 3 Art and Design Focus National Curriculum Key Stage 3

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore idea for different purposes and audiences To organise and present this information in different ways, including using a sketchbook ( cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design: Apply and extend their experience of a range of materials and processes, including drawing, developing refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study:

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Exploring a range of starting points for practical work including themselves, their experiences and natural and made objects and environments. Working on their own, and collaborating with others, on projects in two and three dimensions and on different scales Using a range of materials and processes, including ICT [for example, painting, collage, print making, digital media, textiles, sculpture.] Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the internet].

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Secondary Key Stage 4 Art and Design Focus National Curriculum Key Stage 4

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore idea for different purposes and audiences To organise and present this information in different ways, including using a sketchbook ( cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design Apply and extend their experience of a range of materials and processes, including drawing, developing, refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the internet].

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Activities linked to National Curriculum: Design and make own text-based Peace memorial instruction

1. Show students images of Yoko Ono – can they identify who she is? What do they think she is famous for? Note down how many say for being John Lennon’s wife in comparison to her artwork. What kind of artwork is she known for? Conceptual

2. Does anyone know when Yoko Ono first visited Folkestone, where exactly and why? 1966 for a Peace demonstration at the Metropole Arts centre on the Leas.

3. Explain the term Conceptual Art – a term applied to work produced from the mid-1960s that either markedly de-emphasized or entirely eliminated a perceptual encounter with unique objects in favour of an engagement with ideas.

4. If possible, either visit or look at images of the 3 sites that Yoko Ono’s textual works are located. What do they make you think about? What aspects tell you that they are about Peace? What similarities/differences are there between the artworks? Out of the 3, which do they prefer and why? Encourage as many questions as possible.

5. Ask students to either make drawings or take photographs of the 3 pieces for their sketchbooks and to generate ideas for their own work

6. Back in class, the sketches could be used as a stimulus to design, and make their own text-based Peace memorial. Ask students to think of a location where this text-based memorial will be located – in school, library, classroom, outside wall, etc.

7. If possible, these could be displayed or even installed if school is planning a Peace memorial in line with centenary memorial celebrations of WW1.

8. Extension – investigate what Yoko Ono’s other artwork is like or find out about the Peace demonstration she held at the Metropole. Visit the Metropole to see if they have any records/photographs of this demonstration.

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Further cross-curricular links with this work: Art/DT – create own memorial Peace mural, design a quiet zone or peaceful area in the school grounds/school Literacy – descriptive Peace Poems or slogans, acronyms associated with Peace – UN, UNESCO etc Geography – compare and contrast Tokyo city to Folkestone town History – study of the previous sites and peace memorials in Folkestone. Where are Peace memorials? What similarities and differences are there, i.e. Mark Wallinger’s Folk Stones on the Leas, or the new commemorative arch at the top of remembrance Road, etc.? PSHE – What does Peace mean to you? What does it look/feel like? How do you think we can achieve world peace – what needs to be put in place in order to do so? MFL – learn some Japanese phrases. Or, learn how to write and say Peace in several different languages Extension activity: get pupils to follow Yoko Onoʼs instruction piece SKY LADDER. Create a display of their work in school, or on school website.

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Krijn de Koning Artist Krijn de Koning builds structures, which offer new possibilities to navigate and experience the space they inhabit. Krijn de Koning builds structures, which offer new possibilities to navigate and experience the space they inhabit. Initiating a direct dialogue with the rooms or galleries which host them, his work proposes an architecture where inside becomes outside, windows and stairs offer views of and access to things which normally lie beyond the bounds of sight or experience. Title Dwelling (for Margate for Folkestone) Location Coastal promenade Introduction Krijn de Koning was born in 1963 in Amsterdam where he still lives and works. He builds labyrinthine architectural structures that invite a dialogue with the environment in which they are placed. His site-specific works – part architecture, part sculpture – challenge the viewer’s understanding, offering new possibilities to navigate and experience the space that the works inhabit. Often brightly coloured and typically constructed using simple materials, his playful structures connect inside and outside spaces and invite direct interaction on the part of the audience. De Koning’s interventions reference the traditions of 20th century art, such as geometric abstraction and Minimalism, but are equally engaged with architecture and 3-dimensional space. Although de Koning has often made work for conventional gallery spaces, he is particularly drawn to ‘ruined’ environments, such as wastelands and abandoned funfairs. Dwelling, (for Margate / for Folkestone) is his first public commission in England, conceived for two locations in Kent: Turner Contemporary in Margate and the zig-zag pathway in Folkestone as part of Folkestone Triennial 2014. Described by de Koning as a ‘dwelling’, it combines a framework of brightly painted wooden beams with a series of voids suggestive of architectural features such as doors, walls and windows to create a space to be walked through, into and around. In Margate, the sculpture is inserted between the external walls of the gallery and the site boundary walls, an area that is used as a walkway for visitors and the general public. De Koning’s interest in this particular area is as an ‘in between’ and somewhat overlooked space on the gallery site where a number of architectural features conjoin and collide in what he has referred to as a ‘strange encounter’. In Folkestone, the second version of the structure is inserted into the network of Victorian caves. It is carved into the zig-zag pathway on the seafront, as though buried within them and only partially visible as a result. De Koning is interested in the impossibility of literally making his work the same in both sites, playing with the notion of repetition and seriality in conceptual art practice. The different characters and uses of the two sites add another layer of interpretation to the works. Both sites attempt to provide some sort of protection or shelter: the fake Victorian caves or grottoes on the one hand, versus the hard-edged contemporary architecture of Turner Contemporary on the other. Both sites lend themselves to this notion of a ‘dwelling’, which in turn plays with the traditional idea of seaside pavilions and beach huts, a common feature of the UK coast.

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 Krijn de Koning: Dwelling (for Margate for Folkestone)

Secondary Key Stage 3 Art and Design

Focus National Curriculum Links

Key Stage 3

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore ideas for different purposes and audiences To organise and present this information in different ways, including using a sketchbook ( cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design: Apply and extend their experience of a range of materials and processes, including drawing, developing refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study: Exploring a range of starting points for practical work including themselves, their experiences and natural and made objects and environments. Working on their own, and collaborating with others, on projects in two and three dimensions and on different scales Using a range of materials and processes, including ICT [for example, painting, collage, print making, digital media, textiles, sculpture. Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the internet].

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Activities linked to National Curriculum: Design and make own willow (or cardboard) Krijn de Koning inspired installations  1. Ask students if they have heard of the artist Krijn de Koning? Show them some examples of his

work - what might they describe his medium to be? Installation. Explain the artistic term installation: used to describe mixed media constructions or assemblages usually designed for a specific place and for a temporary period of time. Works often occupy an entire room or gallery so that the spectator has to walk through in order to engage fully with the artwork. What other Triennial installations are there? Jyll Bradley’s, Amina Menia, Payers Park etc. Can they guess what nationality Krijn de Koning might be? Dutch. Can they name any other Dutch artists? i.e. Mondrian, Van Gogh, etc.  

2. If possible, visit both installation sites – at Turner Contemporary and Folkestone. Or, look at the images of both sites prior to installation. Ask students to note down how the space makes them feel and the purpose that they think it serves.  

3. Then, visit the 2 different locations: outside Turner Contemporary and the Leas steps. What angles does he use the most in his work? Right angles. What shapes can they see in his work? Squares, rectangles, etc. Ask students to note down how the 2 spaces make them feel now. Has it changed the way they feel about the space? If so, how? What do they think it is that has created this change? Encourage as many questions as possible.  

4. Using a variety of pencils, graphite, etc., ask pupils to sketch the structures in their sketchbooks. Make several sketches from different angles. Focus on getting the perspectives correct.  

5. Back in class, compare drawings and discuss which of the 2 sites they feel the installation has had the most impact for them, and why. What aspects/conditions contribute to the impact it has?  

6. In teams, ask pupils to choose a location within the school (grounds) that they wish to create a willow (or cardboard) Krijn de Koning style installation. Students to sketch their designs and to choose the design they think is the best.  

7. Students to work together to create the willow (or cardboard) installations. If students choose to use willow, watch this clip for some inspiration of how to use willow, Bonnie Gale Living Willow Structures: http://www.youtube.com/watch?v=5sFnTXrU3gw  

8. Ask students from another class in school to come and visit the installations and ask them to record how it has made them look at the spaces differently. This could be recorded in a Monkey Survey report to monitor impact (cross-curricular ICT and Maths)  

9. Photograph the end results and upload onto school website or create a photographic display. Further cross-curricular links with this work: Art – compare and contrast work by different contemporary Dutch artists, compare previous installations made by Krijn de Koning to the ones he has created for Folkestone Triennial 2014 Numeracy – shape space and measure, angles, volume, area and perimeter Design Technolgoy – designing and making own installation Geography/Hisotry – study of prior use for both locations ICT – Use of Survey Monkey to record responses to questions, use ICT package to create designs for their installations MFL – learn some phrases in Dutch

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Sarah Staton Sarah Staton’s work has become increasingly prominent and admired in the UK over the past decade, presenting a beguiling mixture of traditional craft techniques with cutting edge technology. Her grounded sculptural forms occupy an edgy aesthetic territory between use value and sheer visual pleasure. She often collaborates with other artists, designers, architects and engineers, and is a natural animator of public space.

Title Steve Location The Stade (see below)

The Stade, Folkestone

Introduction Sarah Staton was born in 1971 in London. She divides her time between Sheffield and London and is a senior lecturer at the Royal College of Art in London Her practice is informed by architecture and design leading to collaborations with architectural studios including muf, who have designed Payers Park for this year’s Triennial. Staton’s work has been included in exhibitions at Tate Modern, The V&A, The Serpentine Gallery and the Crucible Theatre in Sheffield. THE SCHTIP is her most recent collaborative project representing ‘an artist’s space as artwork’ devised with RCA alumni Giles Round. For Folkestone Triennial 2014, Staton spent a year working with an architectural studio and steel fabricators to develop Steve, which she describes as a ‘monument to a person of the future’. Steve is constructed in articulated plates of Corten steel, known as ‘weathering steel’. This type of steel was developed to eliminate the need for painting, and to form a stable rust-like appearance if exposed to the weather for several years. To the casual observer it can look suspiciously unfinished. Despite this, it has many fans in the world of art and architecture and is popularly used in outdoor sculptures, such as Antony Gormley's 'Angel of the North' near Gateshead. It is also widely used in marine transportation. The Stade, where Steve is situated, is still a working area for ships to berth in the harbour, although there are fewer ships than there used to be, and mostly The Stade is given over to leisure and tourism. In recent years, it has hosted a pitch and putt and a bingo hall, both popular leisure activities in traditional English seaside towns. Local fishermen still use the open public space to lay out their nets and happily pass the time of day with locals and tourists alike taking a stroll along the Stade. Steve, and his associated satellite ‘children’ form a new seating area on The Stade inviting passers-by to stop, sit and ‘look out’, at the harbour - or consider their future! Locally grown coastal and edible

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plants have been planted alongside Steve to contrast with the hard, industrial steel. It is expected that local residents and the Rocksalt restaurant will use them as a food source. Staton has purposely placed a simple, concrete plinth in the middle of Steve, an invitation for you, the visitor, to propose your own ‘monument to the future’.

Sarah Staton: Steve

Secondary: Key Stage 3 Art and Design Focus National Curriculum Key Stage 3

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore idea for different purposes and audiences To organise and present this information in different ways, including using a sketchbook (cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design: Apply and extend their experience of a range of materials and processes, including drawing, developing refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study: Exploring a range of starting points for practical work including themselves, their experiences and natural and made objects and environments. Working on their own, and collaborating with others, on projects in two and three dimensions and on different scales Using a range of materials and processes, including ICT [for example, painting, collage, print making, digital media, textiles, sculpture. Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the internet].

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Secondary Key Stage 4 Art and Design Focus National Curriculum Key Stage 4

Explore and develop ideas: To record and analyse first-hand observations, to select from experience and imagination and to explore idea for different purposes and audiences To organise and present this information in different ways, including using a sketchbook (cc with ICT – could use electronic sketchbooks) Investigating and making art, craft and design Apply and extend their experience of a range of materials and processes, including drawing, developing refining their control of tools and techniques. Experiment with and select methods and approaches synthesise observations, ideas and feelings, and to design and make images and artefacts. Breadth of study Investigating art, craft and design in the locality, in a variety of genres, styles and traditions, and from a range of historical, social and cultural contexts [for example, in original and reproduction form, during visits to museums, galleries and sites, on the internet].

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Activities linked to National Curriculum: Design and make a ‘utility sculpture’ inspired by Sarah Staton’s Steve on the Stade

1. Look at the photograph of The Stade. Do students recoginse this area? What is it called? What was it used for in the past? The Stade was an area where the fishing boats used to land and be drawn up.

2. Discuss the title and where it is located: Steve on The Stade. Is this a typical title for a piece of sculpture? What do you notice that it includes? Alliteration.

3. Provide the following background information about the sculpture: Steve is Sarah Staton’s monument to the man of the future – someone who embraces sustainability. It is an assymetrical structure which is pertinent to late Capitalism – a little wharped and distorted. The planting works to conteract and balance out the coldness of the Corten steel. Staton chose the materials particularly because of the sculpture being in a marine environment because steel is very durable. Ultimately, Staton’s goal is for the piece to be a ‘utility sculpture’ to be used and enjoyed by the locals.

4. Visit the sculpture and make notes on what different uses the students believe it may have, i.e. seating, shelter, meeting place, etc. Was anybody using the sculpture when they arrived? What do they think of it? Do they think that Sarah Staton has achieved her goal? What aspects make them think of sustainability?

5. Ask students to make sketches and annotate aspects they think have different uses. 6. Back in class, hand out different locations in Folkestone in an envelope to groups, i.e. Town

Centre, Folkestone Train Station, end of the Harbour arm and on the Leas, etc. 7. In groups, students to discuss what they think the main uses for these areas are and begin to

sketch and design their own utility sculpture for their given location. Groups should come to a concensus for which design they want to make.

8. Using modelling wire and mod rock, students to work collaboratively to create their own design. Model the framework first and then wet and add sheets of mod rock to create the shape.

9. Allow the model to dry thoroughly and then select a metallic paint to match with the materials out of which they have chosen to make their designs.

10. The final products could be taken to the given locations and studnets could ask general public for feedback on their designs. This information could also be utilised and used for the final decision for the panel.

11. When the ‘utility sculpture’ is complete, groups to pitch their designs to an Apprentice-style panel and market their design.

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Further cross-curricular links with this work: Art – compare and contrast Steve with other sculptural works by Sarah Staton. YBA – what does the acronymn stand for and do they know of any other YBAs? Compare other buildings along The Stade, i.e recntly built Rocksalt with older, more traditional buildings Numeracy – symmetry and assymmetry, calculating areas, polygons, etc Literacy – write a letter of support or complaint to the local council from the perspective of a local Stade resident about Steve Geography/Science – study of plants that grow locally, i.e. sea fennel, sea cabbage, etc – why are the adapted to the marine climate? Visit to the nearby allotments to study plants grown there. PSHE – sustainability and the importance of communities History – study the history of The Stade and/or Folkestone Harbour. When did the fishing industry flourish? When did the Cross-Channel service stop? Science – properties of steel, metallic elements, properties of solar panels and how they work

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Andy Goldsworthy Goldsworthy is known internationally for his temporary outdoor sculptures and permanent installations, a practice he has evolved over thirty years exploring the idea of ‘materials in place’. In his ephemeral practice, he uses whatever natural materials and weather conditions are to be encountered at the place of making, creating short-lived, often formal works of tension and intensity.

Born in Cheshire in 1956, Andy Goldsworthy has lived and worked in southwest Scotland for over twenty years. Titles Clay Steps and Clay Window Locations 48 The Old High Street and 64 Tontine Street Introduction Goldsworthy is interested in how nature and buildings share similar states, and similar fates. He believes that landscapes don’t stop where buildings start – that the forces of erosion and change that occur in landscapes are also at work in towns. As nature degenerates, re-cycles and revives, so do buildings become a part of that powerful moment when things grow out of decay. For Folkestone Triennial 2014 Goldsworthy has made 2 new works, Clay Window and Clay Steps. Both are situated in one of the shops in the Creative Quarter. Clay Window is first encountered from walking down the Old High Street, where a shop window might be mistaken as having been whitewashed or papered over. However, on closer inspection, the surface behind the glass could be a number of things - Stone? Cement? Clay? Plaster? Observers are asked to consider possibilities, and imagine whether the surface might crack in unpredictable ways. Over time, the surface will break into fine black veins that will increasingly allow darkness to cut through from inside. The interior of the shop might at first be in total darkness. But here, the surface will break into piercing white fissures, gradually revealing the light and life from the street, with passing shadows that become silently present in the room. The window surface of Clay Window has been coated in white china clay. This has been chosen for its brilliant translucence and its ability to transform from dense mass to falling fragments. A video of this cracking sequence of the clay can be seen in a nearby location at 64 Tontine Street. This video will record the passing of time, the (economic) tide and the cycle of urban regeneration and decay. Clay Steps is situated in the doorway to the right of Clay Window. In contrast to the clay used in Clay Window, the heavy, grey gault clay of Clay Steps is solid and strong. The stairs have been covered with gault clay, which was collected from local beaches by people living or working in Folkestone. It was refined and mixed by them over several weeks and they assisted in the sculptures’ installation. This direct connection with the local clay and the local community ensures that the energy of the story continues, and the ideas are kept alive. Gault clay once provided widespread employment for Folkestone brick makers, and still attracts fossil collectors from around the world. It is as diverse in its history and rich in its composition as the town of Folkestone itself. Goldsworthy’s use of the different clays - refined white clay and raw gault clay - opens up a further dialogue about the people who have historically inhabited the town. The flat above 48 The Old High Street is now inhabited by plant life – nature taking over. Nature is already invading the derelict building in the Old High Street and the two installations Clay Window and Clay Steps intentionally make visitors think about the progress of nature and how it affects the social nature of the street.

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Andy Goldsworthy: Clay Steps

Activities linked to National Curriculum:

Create outdoor time-lapse photography

1. Has anyone heard of the artist Andy Goldsworthy? Explain that he is a British artist who likes to work in the natural environment with natural objects - he often creates his work outside. So, he uses objects from the natural world to make art. Watch this clip to give pupils an idea of Andy Goldsworthy’s work: http://www.slideshare.net/GeorgeKellyArt/andy-goldsworthy-2256456 2. Visit both Andy Goldsworthy sites – you may wish to think about in which order you do this. Ask questions such as: How did the clay sites feel from the inside looking out and the outside looking in? What did they notice from each perspective? 3. After watching the video footage of the installation what do they noitice about how Goldsworthy works? Are there any surprises? 4. Watch the following 2 clips to gain further insight into how Andy Goldsworthy works: http://www.artisancam.org.uk/pages/timelapse.php?artist=andy and what sort of an artist he is: http://www.artisancam.org.uk/pages/questions.php?artist=andy 5. Either in pairs or in groups of 3-4, walk the school grounds or a nearby woodland and choose 2 natural sites. Observe these environments in real time, noting the quality of light and shadow. Imagine the interaction of the wind and clouds; observe how the light will unfold and spread, and how the shadows will be cast. Try to predict any plant cycles and other subtle movement that might occur in the sites that you choose.

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6. Try to select sites that are captivating in the present time frame and that will have transformative potential in the future. Then, when you have agreed the 2 different sites, you will need solid tripod or rest to keep your camera stable. 7. Make up 2 different sized photo frames out of wicker cane. These should look like big picture frames and they will be used to frame your 2 sites – 1 should be big – about 1m squared, the other much smaller. 8. Then, choose different times of day/light and to photograph the same spots through the frames. Record these 2 different and keep the photos in 2 separate files. 9. When you feel you have sufficient photos, i.e. approximately 20, then put these time-lapse pictures together so that they run one after another. 10. What do you notice about the changing environments? Which were the best environments to record for environmental changes? Which changed the most? Further cross-curricular links with this work: Art/DT – working with clay – pots/sculptures, knitting leaves together, use of viewfinders/photography, create a time lapse documentary/installation, study other works by Goldsworthy Literacy – Nature themed poetry, Numeracy – geometric shapes out of natural objects, i.e. twigs, etc. History – of Folkestone’s coast/port, of The Old High Street and the Creative Quarter PSHE – respect for the environment, debate about land artists Science – materials and their properties, i.e. clay, shadows. Gault clay and its properties in comparison to white china clay

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Amina Menia Amina Menia was born in 1976 in Algiers, Algeria, where she still lives and works. She creates artworks that combine sculpture and installation, questioning the relation to architectural and historical spaces and challenging conventional notions around the exhibition space. Often in public spaces, her sculptural installations invite interaction from viewers through socio-spatial configurations. Grounded in the post-colonial history of her native Algiers, her work stands as an invitation to re-evaluate our understanding of heritage, and deconstruct conceptions of beauty. Title Undélaissé – To Reminisce the Future by Sharing Bread and Stories Location Memorial Garden, 51 Tontine Street Introduction For Folkestone Triennial 2014, Amina Menia has specifically chosen an empty, deserted site in the heart of Tontine Street that hides a poignant episode in Folkestone’s history in the First World War. During the war, a bomb fell on this site (situated directly next to the Brewery Tap in Tontine Street), killing and injuring a number of people queuing for food. All that remains today is a small, commemorative plaque that can easily be passed by that retells this event: ‘this tablet marks the place where on May 25th 1917 a bomb was dropped from a German aeroplane killing 60 persons and injuring many others.’ There remains no physical evidence of this fateful tragedy, only an emptiness of remembrance. Menia was moved and drawn to the sobriety of this commemoration and chose to base her artwork on a discreet site-specific intervention aiming to keep the spirit and essence of this ‘fertile emptiness’ alive. A number of differing accounts of this historical event exist. The widespread belief is that the shop was a bakery or grocers called Stokes Brothers. Menia wanted to tap into this urban myth by weaving in some peoples’ personal narratives alongside fragments of politics, geography and immigrant bread recipes. Menia sees bread as a metaphor for separation and gathering. There is nothing more communal that the sharing of bread, which also brings back memories of childhood. Menia spent time meeting and talking to different immigrant families brought together by Folkestone Migrant Support Group. This helped her to explore and understand the mosaic composition of the population of Tontine Street as well as Folkestone’s history. The sharing of different bread recipes was a form of storytelling, uniting the different migrant groups, their different routes to Folkestone and their life stories. It was like opening a family album, revealing symbols and many memories. The recorded sound installation captures and recounts the memories provided by the participants as a response to this project. In addition to acknowledging the centenary commemorations for the First World War, Menia intends to took towards and celebrate the future by means of this intervention that has strong resonance with both Folkestone’s past and present. The title is a mix, or mélange, of French and English words. ‘Délaissé’ in French means ‘derelict’ or ‘deserted’, whereas the English prefix, ‘un’ refers to ‘undoing’ this situation. Therefore, this work aims to create a sharing community that thinks about a common future where this empty space is no longer deserted. Menia hopes that visitors to this site will be inspired both to reminisce about the past but also think about the future though becoming informed about local immigrants’ shared bread recipes and the stories of arrival associated with them.

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Amina Menia: Undélaissé – To Reminisce the Future by Sharing Bread and Stories

Activities linked to National Curriculum:

Write an imaginary eye-witness account of the bombing at Tontine Street in 1917

1. Look at the photograph of the site that Amina Menia has chosen for her sculptural installation. What do you think the site was used for before? How long do you think it has been deserted?

2. Research about the bombing of Tontine Street on 25th May 1917. There is some information on

this link: http://freepages.genealogy.rootsweb.ancestry.com/~folkestonefamilies/Tontinestreet.htm. Or, you can visit the current commemorative exhibition in Grace Hill library – that finishes at the end of September 2014.

3. Share your findings with others in the class. Gather as many facts as you can and start to

create bullet points of facts about the bombing, i.e. when in the year it took place? What was the weather like that day? What was the site used for? What were people doing when the bombs landed? Was there any warning about the bombing? During which war was this? What kind of clothes would people be wearing? What was the currency? The more information you can gather, the easier it will be to write your eye-witness account.

4. Now, look at the photograph of Amina Menia’s installation. What has she created on this site?

Why do you think she has chosen to do this? What questions would you like to ask her if you had to conduct an artist’s interview with her?

Further information: For more information about Folkestone Triennial 2014’s learning programme please contact Frances Chiverton, Folkestone Triennial Public Programmes Coordinator: Schools and Communities, on 01303 760752 franceschiverton@creativefoundation.org.uk. Or, visit the learning section of the Folkestone Triennial website on: http://www.folkestonetriennial.org.uk/learning/ Folkestone Triennial Visitor Centre at 3-7 Tontine Street is open every day 10am – 5pm. Visitors can access more information about the Folkestone Triennial includingvideo interviews of the 2014 commissione artists, a reading area for visitors to explore issues relating to art in the public realm, audio guides to the permanent works, and maps.