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My Sky Ride

Posted in: Frontierland by Leo Burtin on 26 February 2014
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There it is: a ropeway that stretched out the park and over Marine Road to a tower on the promenade and back. Fixed seat cableway using two bull wheels with two intermediate towers. There it is: that blog picture separated from my memory. I didn't go for the ride. I came to Morecambe too late.

I do regret not having the chance to ride the Sky Ride at Frontierland. I do have faint memories of riding something similar as a child back home, in Poland. And what sticks out the most is that it was so much fun!

I am here now, visiting Marine Road, re-imagining the ride, and feeling like I am stealing people's  memories to bring back this intimate image of Frontierland, that, all of us want to believe, is gone only temporarily. Like it was an object on hold, or some kind of quasi-object that mediates between people.

To me the "Frontierland project" somehow represents or even creates the urgencies of the present in community and art. In this way the project is not only a celebration of More Music anniversary, but most importantly - it paints a skyline of the possible.

In a way, being involved in this project allows me for personal creative ride over this horizon.

I have been invited to contribute to the project and address some curatorial issues around the installations and programme. I was given a challenge to curate the posters exhibition. I was excited to bring an innovative posters' exhibition to Frontierland audience, developed many different ideas, research, and designed it, only to realise that this was not at all necessary. 

The project leader, Pete Moser, turned to me and said: The project budget does not allow us to use proposed hanging system, we will have to keep it simple, lets just simply blutac the posters onto the walls in the foyer, and see what happens.

So why would we even curate that? I first asked myself, only to quickly realise that by searching for some synergies within the programme unnecessarily feeds in to my ambitious curatorial pirouettes that I am so used to when dealing with funding applications, and having to justify every symbiotic collaboration. At the end of the day, Frontierland represents an effort, and keeping it simple, and going back to basics sits perfectly in this specific situation.

I can't help myself but thinking that if this is what a decrease in public funding can do, then maybe it is not as bad as we think it is. Maybe it is even ok?

 Ewa Witaszek

Curator and Contemporary Arts Consultant