stirring @ the international festival of the sea
(Multiples, Public Art, Publications)


Bristol, thine heart hath throbbed to glory

Ann Yearsley - poem on the inhumanity
of the slave trade,

manuscript circa 1800: BCC Library Services


stirring, public art, multiples, publication, intervention, negotiation, bristol, maritime history, trade triangle, international festival of the sea, artist-led, site-responsive, design, sugar


Ann Yearsley

Paul Gough?s Faux Cenotaph: the contestation of rhetorical public space

Catherine Nash

Bristol & transatlantic slavery

Art in a vending machine...



Creative Commons License


a harbourside cafe

In 1997 the city hosted the International Festival of the Sea,
in which Bristol?s maritime past was celebrated and acted out
on the city?s docks, while the fact that the merchants of Bristol
had African slaves as their ships most significant cargo was not
officially acknowledged other than in a very subtle and powerful artwork/intervention, by the locally-based artist Annie Lovejoy,
called Stirring @ the International Festival of the Sea. Although
others have described this work as an ?intervention? , Lovejoy
describes it as a ?negotiation?. The key element of the piece was
sugar. This commodity had been the main import in Bristol?s
Triangular Trade. It had been bought from the profit of the sale
of African slaves, and had been produced by slaves on
plantations owned by Bristolian merchants. In Lovejoy?s piece
spoon-sized packets of sugar were distributed to caf?s around
the festival site. The packets alluded to the Triangular Trade
within the icon of the red triangle; a list of traded goods that
included slaves; and an eighteenth century typographic
rendering of the word ?Bristol?.

extract from 'Paul Gough?s Faux Cenotaph: the contestation
of rhetorical public space' by Sally Morgan, Professor of
Fine Arts at Massey University, Wellington, New Zealand.



interfaces of location and memory