Selection Finalists Announced for Iconic Scottish Landmark
15 Dec 2010
Border Crossing – Gretna Landmark has identified the three international practitioners who are in the running to design ‘The Great Unknown’, a structure anticipated to be part of a monumental contemporary Scottish landmark that will signify Scotland’s border with England and herald the main national gateway into Scotland at Gretna.
The Gretna Landmark is described as a truly innovative and multidisciplinary design. Charles Jencks and Andy Goldsworthy have already committed to working on the project.
The design for ‘The Great Unknown’ will work in collaboration with a large scale landform-engineered design by Charles Jencks and will be expected to engage with the overarching themes of energy, power and Scottish identity.
The selection process for ‘The Great Unknown’ has been long and meticulous and follows after reviewing expressions of interest from artists, architects, engineers and designers from across the globe. Of the submissions received, 19% came from international contenders, 52% from England and 29% from Scotland, signifying Border Crossing’s truly international and multi-disciplinary appeal. Charles Jencks said “Now we’re down to the final three, an artist, a designer and an architectural firm. The great thing about them is that they’re international, they’re incredibly high-calibre, they’re technically very good, and most of all you can see they’re committed in their writing for us and their presenting. It’s a big commission – they have to communicate something really important and deep about Scotland.”
The three highly innovative short-listed contenders are:
Balmond Studio/Cecil Balmond
“A border offers identity but one that is enriched by neighbours, so that it’s not so much a line of separation as a local set of interconnected values.”
Cecil Balmond is one of the most influential designers of his generation. Pushing the limits of what is possible, his “.genius has been crucial to the emergence of a new aesthetic” (Nicolai Ouroussoff, New York Times.) Interrogating and applying advanced geometric thinking in how space can be organised and experienced, Balmond creates new horizons in design and art. His dynamic approach is informed by the sciences of complexity, non-linear organisation and emergence of form. Balmond’s previous art works include ArcelorMittal Orbit, the UK’s largest public art sculpture, designed in collaboration with Anish Kapoor for London’s 2012; Temenos, a sculpture in Middleborough, also designed with Kapoor; and H_edge, a travelling fractal art installation. His work has been presented in a number of critically acclaimed exhibitions including Frontiers of Architecture at Museum of Modern Art in Denmark (2007); Artists Space in New York (2006); Graham Foundation for Advanced Studies in the Fine Arts in Chicago (2008-2009); Carnegie Museum of Art (2009-2010) and Element at Opera City gallery in Tokyo (2010).
Ned Kahn
“I am an admirer of the work of both Charles Jencks and Andy Goldsworthy so it would be a great honour to be involved in such an interesting project???sitting at a table with Charles, coming up with a spectacular idea for the landmark.”
An American environmental artist and sculptor famous for the way in which his art makes visible the typically invisible, secret ways of the natural world, Ned Kahn says of his philosophy on art, “I’ve tried to create things where I’ve basically framed a phenomenon, and I’m letting nature do the sculpting – it’s something bigger than me that’s actually doing the real sculpting that people see” (Interview with Joe Palca, NPR). Kahn’s art draws inspiration from science and reveals the way patterns of behaviour can emerge as dynamic recurring themes in nature. He has collaborated with architects and designers on a number of art projects all over the world, including museum exhibits for the Exploratorium in San Francisco, a 7-storey tall fog vortex for the EXPO 2000 in Hanover, Germany and converting a decommissioned, historic power plant in Austin, Texas into a series of fog vortex gardens.
Wilkinson Eyre Architects/Chris Wilkinson
“I am looking forward to working with Charles on this challenging and exciting project.”
A London-based firm described as one of the UK’s leading architectural practices with a portfolio of national and international award-winning projects, including unprecedented back-to-back success in the RIBA Stirling Prize for Architecture (the UK’s most prestigious award for architecture) for the Magna Project in 2001 and the Gateshead Millennium Bridge in 2002. Wilkinson Eyre’s architecture is based on an informed use of technology and materials and combines a commitment to the spirit of the new with an awareness of context. The designs of Wilkinson Eyre are recognised worldwide and have garnered the firm with a committed reputation for excellence. Some of the firm’s most celebrated designs include the Gateshead Millennium Bridge, the Magna Science Adventure Centre, the National Waterfront Museum in Swansea and the sustainable, energy-efficient Alpine House at Kew Gardens.
Early 2011 will see the final three candidates invited to spend time visiting the site and undertaking a workshops with Creative Director Charles Jencks, exploring the possibilities of collaboration and creativity for ‘The Great Unknown’. The successful candidate will be announced in the summer.
The selection panel was composed of local representatives and experts in the field, as follows:
Charles Jencks, International architectural theorist and land artist.
Andrew Dixon, Chief Executive of Creative Scotland
Professor Allan Walker, Deputy Director of Glasgow School of Art
Alasdair Houston, Tourism stakeholder and landowner
Laura Wilkinson, Gretna Landmark Community Representative
Councillor Patsy Gilroy, convener of Dumfries and Galloway Council.
Dr Jan Hogarth, Public Art Manager, dgArts
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Comments
16 Jun 2011
Kate Baxter
I notice that the three finalists have finally submitted their interpretations to the Borders public.
Each interpretation is rather shiny and metal. Not too different from much of the roadside ‘art’ we find perched on roundabouts.
Are any of these potentially iconic?
http://thecommonty.blogspot.com/2011/06/instant-icon.html
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16 Jun 2011
Kate Baxter
I notice that the three finalists have finally submitted their interpretations to the Borders public.
Each interpretation is rather shiny and metal. Not too different from much of the roadside ‘art’ we find perched on roundabouts.
Are any of these potentially iconic?
http://thecommonty.blogspot.com/2011/06/instant-icon.html
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16 Jun 2011
Kate Baxter
I’ve noticed that the three finalists have finally submitted their interpretations to the Borders public.
Each interpretation is rather shiny and metal. Not too different from much of the roadside ‘art’ we find perched on roundabouts.
Are any of these potentially iconic?
http://thecommonty.blogspot.com/2011/06/instant-icon.html
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19 Jan 2011
Matt Baker
To declare an interest from the outset, mine was one of the 29% Scotland based applications for the Gretna Landmark project. I worked as part of a team on the application, initially we were not really that interested in the actual commission but more drawn to the themes that we felt the project could be about. We had several very interesting debates and ideas session and decided that we would, in the end, make a submission for the commission. We were under no illusion about the way that the selection process had been configured – it was clear to us that the ‘Landmark’ itself was to be the work of Charles Jencks and the selection panel were choosing someone to assist in realising his overall vision (the brief made it clear that the final design would be recognised as the work of Charles Jencks).
We, and I guess everyone else, entered into the process with our eyes open about this. Hence the questions in comments here about the selected three finalists seem fairly academic to me -though it could be argued that the choice lacked political judgement in the decision to not include a single Scottish artist in the final 3 ‘supporting artists’. Charles Jencks is main artist for the project and he had already been commissioned – therein lies the point of debate, for me, about the whole process.
I would begin such a debate with discussion of the public nature of this project; it does seem to sit on an interesting threshold between public and private. This is a private site, owned by a local entrepreneur, so to some extent it is ‘none of our business’; but the site has been chosen by virtue of it’s extreme ‘publicness’ and the project is deliberately seeking profile (and funding) as an ‘icon for a nation’.
I accept that the reality of getting a creative project off the ground often means gathering together disparate groups and individuals with very different wants and needs; sometimes this means holding your nerve through some muddy waters, confident that the integrity that you hold dear will triumph in the end. The Gretna Landmark, has to its great credit been (mostly) conducted in the public domain – meaning that some of its origins are visible.
I am not suggesting anything scandalous here just that there does seem to me a conflict between the ambition to make:
1)a visitor attraction and an icon for a nation
or
2) a genuine creative exploration of ideas of nationhood and borders.
This really is EITHER/OR: because 2) could give rise (in time) in something that is 1); BUT if 1)is a pre-condition of the project then it cannot be 2) because the outcome is pre-determined.
I would hope that public arts funding for the project would be dependent on a clear statement that the intent of the project is ‘a genuine creative exploration of nationhood and borders’ (which could also state that project partners HOPE that this artistic endeavour MIGHT result in a significant visitor attraction) – but the primary objective being a commitment by all partners to support the very highest calibre of artists to work freely with this site and this agenda of ideas.
If this were to be the basis on which the project proceeds, then it would remain for the project team to give a clear rationale (based on previous track-record) for how and why Charles Jencks was selected as the artist to deliver such a brief on behalf of the nation. (At the moment the only justification given is that Charles Jencks is ‘well-known’)
That said, I would agree with the earlier comment made by T.Aikenhead that the ace in this particular game is Jan Hogarth, having worked with Jan on many occasions I know her to be an incredibly skilled and principled public art practitioner – the ‘art and the place’ are what Jan cares about. In my opinion Jan has earned the trust of the arts community and we should wait and see how the process proceeds from here.
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29 Dec 2010
Ruth Barker
Hello all, we’d be very interested in covering these issues in an article for PAR+RS.
In the New Year I’ll be looking for authors who might be willing to tackle some of these ideas – bearing in mind that it’s a complex and potentially sensitive subject, which is important to cover because of this complexity. If anyone wishes to volunteer themselves (remember that PAR+RS does not have a regular team of writers, we rely on contributions from our readers) please let me know by emailing me at producer[at]publicartscotland.com (just remove the square brackets and replace the ‘at’ with an @ – writing it in this way cuts down on my spam).
I want to leave this space free for more comments from readers, so I won’t be contributing to the discussion myself (tempted though I am, as there are loads of important ideas here). Do remember though that we’re looking for an article, so have a think about whether this is something you’d like to tackle. If you email me directly, we can discuss the nitty gritty.
Hope everyone’s having a good festive Season, and it’s very good to know that our readers feel passionately about this.
Ruth Barker (PAR+RS Producer).
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29 Dec 2010
William Skirving
It is somewhat despairing that a project which sets out to encapsulate the ‘Scottish identity’ has shortlisted three candidates who do not appear to have given any indication as to their understanding of this most complex of conundrums.
Were the designers of the world’s largest Audi showroom chosen because of the sites proximity to the start of the Scottish motorway network? Was the winner of the RIBA Charles Jencks award for Theory in Practice chosen because he’s been here on holiday? Was Ned Kahn chosen because Scotland is more often under cloud than not?
“Of the submissions received, 19% came from international contenders, 52% from England and 29% from Scotland.”
It troubles me that nearly one-third of the submissions came from Scotland, yet none made it to the shortlist stage. The competition was well publicised, the opportunity to be involved in a project which has the potential to garner worldwide attention presumably failed to attract reputable artists based in Scotland. Of those who did decide to use a Jencks plinth to showcase their work, none were deemed worthy of competing with a showroom designer, a bridge builder or a shiny building cladder?
It’s sad to say that the whole circus smells of the old boy network, both Belmond and Wilkinson have professional associations with Charles Jencks (who single-handedly appears to be intent on replacing Scotland’s natural curves with Telly Tubby hills.) Kahn, the only artist as opposed to designer, is famed in the States for puffs of smoke and shiny building exteriors and exudes school boy giddiness at the prospect of sitting at Jencks dining table.
I remain to be convinced that we will have nothing other than a safe shiny totemic entrance to a retail park rather than an iconic representation of a country with a globally significant cultural history.
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26 Dec 2010
T Aikenhead
Well met Tom
Thanks for sticking with this Gretna project – it had slipped by me.
Your frustrations here are useful in directing critical attention to this important undertaking; it does now open the field for constructive discussion from a clear standpoint of addressing this first and foremost as an art project (ie not an ‘angel of the north for scotland’).
I am in accord with you about the ‘risk averse’ nature of the shortlist of candidates announced in the press release above. It would have been good to have seen at least one artist on the list who brought something edgy/unexpected to the table; surely the point of having a shortlisted proposal stage is that you can allow yourself the opportunity of at least one long-shot?
If we focus on the positive ingredients in this mixture, Dr Jan Hogarth is someone who has been consistently delivering high quality context-driven projects in the South West. Striding Arches (Moniaive), Adamson Square (Creetown) and Cairnsmore of Fleet (Gatehouse) are all fine examples of contemporary art woven from local/global understanding. My question must be – what are the conditions around this Gretna project that are creating pressure for conservative outcomes? I wonder if it might be the sheers number of ‘prima-donnas’ that are, perversely, giving rise to mediocre compromises in decision-making?
I would hope that Creative Scotland might be looking for a way to use any financial contribution as a force that supports the best possible ART outcome here – could they make a condition of any grant that CS inserts a major figure from Scottish contemporary art into the steering group as a voice of support for Dr Hogarth and a counterbalance to the other heavyweight artistic egos involved? I do not think a CS grant officer would be sufficient in this instance (much as I respect their skills and commitment), I feel this should either be a well-respected Scottish artist with experience in the field (Ross Sinclair or Louise Scullion or Will Maclean?) or a figure from the wider arts sector like Steven Mackenzie or Andy MacKinnon. It needs to be someone who will be an extra voice for the overall integrity of the project who will not be swayed by the celebrities around the table.
This project is too important to write it off, I hope it might not be too late to bring positive pressure to bear on the situation.
Yours, aye
T
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24 Dec 2010
Tom Muir
Scotland is a NATION with a PEOPLE, a HISTORY and a FUTURE: it is not a BUSINESS PARK that requires an ENTRANCE FEATURE.
When the suggestion of a ‘Gretna Landmark’ first dawned on public consciousness (http://tinyurl.com/25npjxd) I was intrigued and hopeful that beneath the necessary flummery for politicians and media that this could be an audacious and ambitious attempt to support artists to get under the skin of ideas of identity and borders at a national level.
The announcement of the shortlist of contenders to join the team of Andy Goldsworthy and Charles Jencks on the project has, I fear, condemned this hope to join so many other good intentions in ‘being the sub-base of the motorway to Hades’.
The 3 chosen candidates are already fixtures on the International ‘icon-making’ circuit. It is as if the selection panel spent a pleasant but brief hour flicking through a mail-order catalogue and fixed on something that would keep up with the neighbours and was just within their price bracket. (The fact that at least two of the three selected people have an existing professional relationship with Charles Jencks is something that I feel sure others might want to highlight elsewhere)
There is no discernable ‘art-process’ proposed here whatsoever. Some meaningless platitudes about ‘the nature of borders and the uniqueness of Scotland’ will be muttered, a shiny and meaningless object will be left beside the M74 and the team will move on to the next ‘unique and exciting challenge’.
If this were a private matter of an entrepreneur who wanted to buy kudos for his enterprise park with a sculpture, then good luck to them. But, this project is being presented as something for our country (the presence of the director of Creative Scotland on the panel suggests that part of our cultural budget may be spent on this). The point must be made strongly that presenting the ‘Gretna Landmark’ to the world as an example of contemporary public art practice in Scotland will make us an international laughing stock. The world has moved on and we have moved on.
I believe that one of the essential characteristics of an art project is RISK – in the decisions taken to date the Gretna Landmark project has effectively removed all risk from the process. Anyone with an ounce of sensitivity to art already knows in their soul what the result of this project will be and how they will feel when they experience it – the same way that they feel when they see an sculpture of an anchor outside a business park.
I understand that Andrew Dixon has a history and sympathy towards public art. I hope PAR-RS gets a chance to make representations to our new national director about what contemporary public art is really about in Scotland and this might convince him to insist on a better working process for the Gretna project.
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