Dear Members and Others

Dear Members of Transmission,


My name is Kajsa Dahlberg and I've been invited to develop a project/piece within the framework of an exhibition taking place in November at Transmission, Moot Points, that will discuss different interpretations and representations of self-organization in contemporary art practice. The exhibition project aims to discuss "the methodologies of participation and communication as means to dismantle hierarchies and the active use of an audience in challenging the integrity and authorship in a work of art."
For this exhibition I would like to collaborate with you around a project I'm calling: The Name Of This Association Shall Be Transmission.

There is this whole history of artist thinking about, and reacting to, institutions as well as their role in relation to the public sphere. The Art Workers Coalition formed in the US in 1969, the Artists’ Union formed in Britain in the 70s and The Artist's Reserved Rights Transfer and Sale Agreement developed by Seth Siegelaub in 1971 are just a few examples of artists and art workers responding to their contemporary political situation. The current privatization of culture, both in Scotland and elsewhere, might call for a rethinking around these issues today. However, while thinking in terms of a broader political scope there is possibly also a need to be specific in terms of ones own particular position. To think about issues of class, ethnicity, gender, sexuality, age etc, as well as how these definitions intersect, might be important in order to maintain a complex discussion about culture and representation.

I would like to look at how these negotiations around representation might be expressed and activated through the constitution of a given place. I asked to read the Transmission constitution and found it interesting that the "OBJECTIVES" contained the following formulation:

OBJECTIVES: To advance the education of the public generally and in particular the inhabitants of Glasgow and its environs by securing and maintaining premises for the purpose of presenting the arts in all their forms. In particular the works (in the widest meaning) of persons who under normal circumstances would be denied a platform for expressing their artistic ideas, so long as such ideas expressed through their work are not subversive of all religion and morality.

These OBJECTIVES, further, are what much of the rest of the document depends upon and refers back to. I decided to try and specify the OBJECTIVES of Transmission Gallery through collaborations with other associations, organizations and individuals. The aim for the project is to bring about a change in the Transmission constitution, based on these discussions and proposals. What does it mean to work within the frame of a public (exhibition) space? and how can the limits of such a place be formulated and renegotiated? By who? and on what grounds? Is there a need to be specific in the description of OBJECTIVES? What does it mean, for instance, to express the artistic ideas, so long as such ideas expressed through their work are not “subversive of all religion and morality”? What structures or scenarios lie behind specific formulations? How could the OBJECTIVES be formulated to suit the needs and ideas of those involved?

The Transmission constitution will offer a sort of case study for thinking about what would be changed in order to fit your specific ideas, aims and beliefs? I would be very happy to receive new proposals or formulations of the OBJECTIVES from you. Every one of these new proposals will be considered and discussed in a Transmission general meeting and might contribute to the change of the OBJECTIVES, and hence the Transmission constitution. This could be any small, large or personal change. All comments and/or suggestions are welcome.

I'm hoping for your contribution and look very much forward to being in dialogue with you.
All the very best
Kajsa