Late Home

JJ, Eelyn and Bipolar as part of the second Parallel State discussion panel

When I was 18, I moved out from my parents
home in Doncaster. A lot of my friends did the
same thing and most of us didn’t move back.
I meet people from Doncaster all the time,
wherever I am, so it seems like we weren’t the
only ones. I had always wondered why my
parents chose it as their place to settle, but
to be honest, I miss it.
When I was invited home this summer, I
was invited back to a different Doncaster;
Doncaster in the Parallel State. A place, I
was told, where all citizens were equal. I
was asked to think about an alternative
Doncaster where we might all want to
go, and the first thoughts that came to
my mind were, what and where might
it be that we are leaving from? What
might we want to take with us?
What of Donny did I take with me?
When Covid 19 first emerged, Mark
Rappolt, who is the editor of a magazine
called Art Review Asia, wrote that “the
devastating impact of Covid-19 makes
art, and the communities that engage
with it, more worthy of preservation than
ever”. I responded to this later on, writing
in another magazine called ArtAsiaPacific,
asking: “what’s worth preserving?” I wasn’t
sure what Mark wanted to save about
contemporary art and the communities
that engaged with it. Is the art world that
we currently have, something we really
want to keep? Would it belong in a parallel
state where all citizens are equal? What kind
of art was he talking about, I wondered, and
who made up most of the communities that
engaged with it? His statement seemed to
separate those who did and did not engage with
art, and left me wondering, whether the people
he had in mind really were the ones that needed
the most protection? Now as many of us talk
about a return to normal, I wondered whether the
normal is really where we want to be, if the normal
is anything like what we had before…
“As we start to rebuild our normalities,” I wrote “we
need to ask ourselves what our past normalities had
neglected, what they had marginalized, and what
we might bring with us into the newly emerging.”
As we emerge out of lockdown, what normalities are
we going to accept?

What you’ll find below are a few more questions for us
to think about as we emerge. All of these questions are
rhetorical – by the time they are not, we’ll need to come
up with some new ones.
I’ll start with these…
Is it normal for contemporary art to be exclusive?
Is it normal for the art world to rely on unpaid labour?
Is it normal for contemporary art to rely on inequality? LATE HOME

A tear,
A puddle
A bubble (are we in a bubble?)
fake news
bad news
good news too
S o m e t h i n g ’ s o n f i r e
(I hope it’s ok).

C a n y o u s e e m e ?
(can you hear me?) Can’t you see me?

Blueprints for the Otherwise
Something new
Something old
Break out room
Feedback loop
Do you believe in racism?
B l a c k
Ye l l o w R i b b o n
Pride Flag
Clap for the NHS.
Put me on your insta story
I n v e n t o r y
O f i n fo – g ra p h i c s
(calm down)

Football // Vaccine //Heat-
w a v e / / B r ex i t / / M i s s i l e / /

Love Island
I hear that Team GB is doing well.

I am always late to these things…

Contemporary art is open to the public again we are
told. Welcome, we are told.
But who is really welcome here; who feels welcome
here? Is art as inviting as it claims to be? Can
everyone take part, and take part to the same
Some issues are systemic, right? So who makes
the rules then? Who decided we ought to go
back to the way things were always done? Who’s
normal might we want to return to? What parts of
Doncaster should we keep hold of? As we emerge
from lockdown – do we want to bring anything with
us into the newly emerging? From here, from this
time and space.
The art world is a set of relations, of which we are a
part. That Donny is a part of too. In fact, the world
is a set of relations of which we are a part, and
what exists tomorrow we all help to construct in the
present. In this last year it has become clear to us
that we experience ourselves not as isolated entities;
our breath has become toxic to other bodies, our
proximity a danger to strangers around us. No one
acts alone – what I mean is that our actions in the
world don’t only affect ourselves. We know that
others can easily implicate us, and our actions
implicate others, our words implicate others, our
ideas implicate others. Who do our thoughts affect?
Who do we think with? Who do we think for?
We have been implicated. Breathe me in, breathe
me out, I don’t know if I can ever be without (I nicked
that line from a song by Harry Styles).
How many of the words leaving my mouth right
now will become words that form beneath a new
tongue, speaking, sharing, building worlds to come?
What and whose questions will come from these
questions I ask, here?
It’s easy to blame our problems on our institutions.
It’s not personal, is it? They are larger than life –
they are imagined and mystified. Yet. Where is the
start? Who forms a part? Who is the institution?
Through whom does the institution have its words,
its rules, it’s systems, and what do they become in
the realities of the everyday, what do they become?
A punch in the face,
A pinch at the waist

Who forms the institutions of the parallel state?
Here I am trying to find my place, still in the
meantime looking for myself. What does tomorrow
look like? What does the emerging look like? What
utterances today might be worlds tomorrow? What
did England end up bringing home?
This is a critique, a moan, a whine, a whinge…
How can we transform critique, our words, our
images, into a praxis of optimism, action and
change? How do we leave inequality out? How do
we operate within structures that rely on it, without
working for them?
Stepping up ( B e i n g l o u d )
Speaking out ( B e q u i e t )
Saying no ( W h y n o t ? )
Letting go ( O f w h a t ? )
Lifting up ( S h a r e t h e m i c )
Stepping back ( W h o f o r ? )
M o v i n g
S h a k i n g
D r i n k i n g

Will you step up,
speak out,
say no,
let go,
lift your friends up?
Speak up, speak now, speak soon, speak later
What does it mean to be emerging?
Could emerging be our method, is it a process? Is
it to embody the work-in-progress, an ‘identity (or
ontology if you will) as in-process’ writes Annouchka
Bayley, an ontology of a being-in-practice, seeking
a momentary glimpse of absolute contentedness
in the face of capitalist time, to undermine the
now – to leap into tomorrow. We are all emerging
and emerging together. Co-emerging, co-creating,
forming the relations that will support one another
(or not). We might be co-creating relations that
exclude, that support some and not others, we
might be imagining our tomorrow as a time and
space in which some people are absent. Where will
they be present? Why are they absent? What is
not in our forums and our magazines; who is not
in our news, and our newletters – missing from our
conversations? Who isn’t in our minds today, and
how are they implicated?

The relations that will form the arts of tomorrow are
ours to make. The quorum is ours to decide. What will
replace the future when the future goes away? What
will we imagine instead? What will come after, that will
not mimic or replicate, or recreate a practice of the

colonial… and this question comes with another ques-
tion: who should have control, who should have the

agency, and the power? Who forms a part? Who is the
B e i n g l a t e i s a l s o s o m e t i m e s e a r l y .
Before the punch, the pitch, the tear, the puddle, the
bubble, the news. “What time is it?” Asks Leigh Ann
Naidoo “it is the pain” she writes “of being forced back
into the present world after premonition of a different
one, like a trap or a curse.”

T h e w o r l d i s t i c k i n g ,
w o r k i s c a l l i n g ,

emails emails emails

Who’s gonna the pay bills?

S k y p e ,
meeting after meeting,
pub quiz,
L e a v i n g d o ,
baby shower


What can artists do all day? Who’s time it anyway?
Let’s talk about it next time? In new time, let’s make
time to ask these rhetorical questions. Time to dream?
Take the time to dream?

I d e a s m a t t e r w o r l d s .

I m a g i n e a n e w t i m e .
O u r w o r k i s t o d r e a m .
I n D o n c a s t e r , w e d r e a m .

We are early.

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