"As History of Art students we felt that the different schools and nationalities at Kingston University did not collate social and academic experiences as much as they perhaps should. In order to bridge this divide between schools and nationalities we devised an exhibition with the theme of ‘Living in Britain’. This theme was highlighted due to the proximity of the celebration of St. Georges Day, a celebration of the roots of British culture yet unnoticed by the majority of the British populace. Notions of British national and cultural identity concern all people living in this country, regardless of ethnicity, creed or religion. This exhibition attempts to celebrate as well as unite these diversities."
As well as plenty of artworks there were performances throughout the day, noteable Ana Sekulic's "Part 3 (2008)". As a Serbian artist, Sekulic has first hand experience of the ritualistic British citizenship test. As an immigrant she was forced to undertake assessments which many British residents would have difficulty completing! The performance relates to a poignant personal experience and questions the purpose of the ritual and concepts of migration as a whole. Wouldn't it be more fitting to prove one's allegiance to Britain through engaing with the community rather than an oath performed in front of one official?
Another performance was by Peter Georgallou and Sophie Taylor, "Pig Piano II (2008)"
This collaboration draws on Georgallou's fascination with the interface and the blurring of human and machine. The creation of a musical instrument for Georgallou acts a representation of the symbiotic unity between the two. The object’s themes concern agriculture, hobby and eccentricity.
Instead of hammers hitting keys they hit pigs; the pigs in pain squeal into a microphone which is amplified through a P.A. Georgallou relates this creation to his view that “Agriculture is what keeps Britishness, British.”
"Ddim casáu y Saesneg hwy cyfiawn wankers" 2008 (Video, 3 minutes 53 seconds) a video by TurnHurst is an exploration of a British ritual that everybody has experience of. For lent this year, these Welsh artists gave up ketchup and mayonnaise respectively. This performance took place the first Friday after Easter when the self-imposed ban had been lifted. Neither artist is of Christian faith, or even religious, yet still took part in these events. The absurd nature of these rituals is highlighted by the making of a patriotic flag out of condiments.
