Performance by Maria Agiomyrgiannaki & Roberto Sánchez-Camus @ MKII in Clapton, London
26.10.10
Ancient Evenings by Matthew Barney, Act Two: Khu
Artforum nauseatingly focuses on the shoulder bumping but manages to get in some gems of description for this massive performance art meets Detroit rock city:
19.10.10
Susan Philipsz: SURROUND ME
Cycled around the desolate centre of the financial district in London searching for Philipsz sound installations. It was beautiful to wander around trying to find this secluded location and hearing the song from a main road which would lead us into a secluded area. The work itself made all sounds in the city heightened and navigated us to new locations which would have alternately been undiscovered or easily looked over....
Susan Philipsz: SURROUND ME
A Song Cycle for the City of London
Saturdays & Sundays only, 10am - 5pm
9 October 2010 - 2 January 2011
At the weekends an eerie quiet descends on the City of London, in offices, squares, churchyards and streets, broken by the occasional sound of traffic and church bells. The silence of the city has inspired artist Susan Philipsz’s first commission in the capital. Her unaccompanied voice resonates through empty streets around the Bank of England, across postwar walkways and medieval alleyways and along the banks of the River Thames.
SURROUND ME: A Song Cycle for the City of London takes inspiration from the heightened presence of the human voice in Elizabethan London.
Padded Cell and Other Stories - Gallery Exhibition
The new show by Gerard Mannix Flynn and Farcry Productions will be opened officially in October 2010
The space will be open from 16th Sept onwards to view Padded Cell and Other Stories
The space will be open from 16th Sept onwards to view Padded Cell and Other Stories
This exhibition creates a fictitious character James X, an victim archetype complete with student reports, psychological assessments and police records detailing a horror story of criminal abuse inflicted upon a child lost within a civic-religious state system of 'care'. Based upon actual records the work is engaging and provocative and unfortunately completely believable.
7.10.10
Participate in Things exhibition at Wellcome Trust
London:
A call to update Henry Wellcome’s curious collection. Please give us a 'thing' no bigger than your head.
- Bring us a thing during our great bring-a-thing-athon
- Bring this, bring that, bring the other, just nothing bigger than your head
- Lend it, gift it, or if you can't bear to part with it, upload a photo of it
- Snooping is positively encouraged, so tell your friends about Things. No one should miss this feast for the voyeur!
15.9.10
Crude 2010 - Liberate Tate
Oil Painting Protest over BP sponsorship in Tate Modern Turbine Hall
Liberate Tate calls for footprint of art museum to be free from Big Oil
Tuesday (14 September) art activists from Liberate Tate staged a guerrilla art intervention in Tate Modern, covering the floor of the iconic Turbine Hall with dozens of litres of oil paint in protest at the museum taking sponsorship from BP.
The flash mob-style event was staged a day before a Tate Board of Trustees meeting. Liberate Tate are part of a growing public movement calling on Tate’s governing body to end its sponsorship agreement with the oil company. Tate’s Board of Trustees has decided to review the BP corporate sponsorship.
At 5pm, around 50 figures dressed in black entered the gallery each carrying a BP-branded oil paint tube. In a circle they placed the paint tubes on the floor and each stamped on one, spraying out dozens of litres of paint in a huge burst across the floor. The installation art work, ‘Crude’, was then signed ‘Liberate Tate’ and offered to Tate for its collection.
Continue Reading
26.8.10
Art in Odd Places
 |
| Bokyung Jun |
A festival exploring the odd, ordinary and ingenious in the spectacle of daily life.
Art in Odd Places aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. AiOP reminds us that public spaces function as the epicenter for diverse social interactions and the unfettered exchange of ideas.
5.8.10
Invisible Topographies - Blind-folded walks at the end of the trainline
Back from the Rifrazioni residency... completed three separate one-to-one performances based on a blind-folded walk through a specific location. It was in interesting experience, the festival organisers where really hard-working and dedicated. And apart from the chaotic environment of 30 or so artist in a concrete state school overlooking the mediterranean sea, I was able to carve out some thinking space....
My original intention was to create one walk and repeat it in various sites but it became clear that each site had its own significance I wanted to respond to, and metaphors I wanted to create. So I ended up devising three narrated walks that took in the local environment - part fact part fiction - and in all cases were a parallel to how I sensed each space reflected the larger landscape of the city and the culture around it...
Anzio and Nettuno are these twin cities bordering each other and hugging the Mediterranean.
Like good siblings they compete incessantly and draw their own identities in their comparisons. Though at first glance the sun, the beach, the tans, the streets, the palm trees have this really elevating holiday feel, in actuality I sensed a deep tremor of insecurity, struggling identity and financial pain. But can't this be said about everywhere and everyone?
The three sites were the Medieval quarter of Nettuno, The port of Anzio and the train station of Nettuno. I mixed the actual inhabitants of each area with metaphorical ones, shadows of people who existing in each place and who in some ways I felt represented the spirit locked in the brick and mortar. I'd give more away but I plan to translate the walks back into English from Italian and give them in London as part of the Translocated preview coming up in a few weeks...
It was great to put the dvd of life on pause and go into a totally new situation to create and make. After burning the candle on both ends with the PhD and teaching, being free and creative helped me bring all the loose threads of my interests together and create something that I felt was really successful. The participants emerged from the walk, opening their eyes somewhat dazed, and often sought me out to give me a big hug and thank me, which was really nice...
After all each walk was really just an analogy of our own lives, how does waiting at a train station for days, years, ages, reflect how our own longing for something? The port, with its fishing industry, seemed like the womb of the city, from where it was born to grow upon on the shores and then die back into the sea. The waves were like each generation, you barely had a chance to grow big and strong before you were collapsing upon the shores staring back at the next generation that took your place....
Well the sun is still shining in London today so alas back to work, check out some of the other festival artists and their work, interesting stuff...
My original intention was to create one walk and repeat it in various sites but it became clear that each site had its own significance I wanted to respond to, and metaphors I wanted to create. So I ended up devising three narrated walks that took in the local environment - part fact part fiction - and in all cases were a parallel to how I sensed each space reflected the larger landscape of the city and the culture around it...
Anzio and Nettuno are these twin cities bordering each other and hugging the Mediterranean.
Like good siblings they compete incessantly and draw their own identities in their comparisons. Though at first glance the sun, the beach, the tans, the streets, the palm trees have this really elevating holiday feel, in actuality I sensed a deep tremor of insecurity, struggling identity and financial pain. But can't this be said about everywhere and everyone?
The three sites were the Medieval quarter of Nettuno, The port of Anzio and the train station of Nettuno. I mixed the actual inhabitants of each area with metaphorical ones, shadows of people who existing in each place and who in some ways I felt represented the spirit locked in the brick and mortar. I'd give more away but I plan to translate the walks back into English from Italian and give them in London as part of the Translocated preview coming up in a few weeks...
It was great to put the dvd of life on pause and go into a totally new situation to create and make. After burning the candle on both ends with the PhD and teaching, being free and creative helped me bring all the loose threads of my interests together and create something that I felt was really successful. The participants emerged from the walk, opening their eyes somewhat dazed, and often sought me out to give me a big hug and thank me, which was really nice...
After all each walk was really just an analogy of our own lives, how does waiting at a train station for days, years, ages, reflect how our own longing for something? The port, with its fishing industry, seemed like the womb of the city, from where it was born to grow upon on the shores and then die back into the sea. The waves were like each generation, you barely had a chance to grow big and strong before you were collapsing upon the shores staring back at the next generation that took your place....
Well the sun is still shining in London today so alas back to work, check out some of the other festival artists and their work, interesting stuff...
13.7.10
Rifrazioni V Edizione: Live Art Festival
Will be completing a residency in Italy for this festival:
http://www.rifrazioni.org/
check them out on facebook as well:
http://www.facebook.com/rifrazioni?ref=ts
Works examine site, locale, history, memory...
I'll be devising a one-to-one blindfolded performance tour that corresponds to the location and the participants palm lines.... Did an experiment here in London, read the review here: http://www.ctrl-n.net/journal/archives/blind-stories-blind-walks-the-cinema-of-the-mind/
24.6.10
Home: Our Cities Ourselves
Our Cities Ourselves matches ten of the world’s leading architects with ten of the world’s most fascinating cities. It helps us imagine those cities in 2030, when 60 percent of the global population – or five billion people – will live in urban areas, mostly in the developing world.
www.ourcitiesourselves.org
www.ourcitiesourselves.org
22.6.10
Summer Solstice and Documenta
Still going strong Documenta (13)'s first artwork was inaugurated on June 21st, 2010 at 12 noon, an auspicious date as its also when I was born!
The work was Giuseppe Penone's Idee di Pietra (Ideas of Stone) in the Auepark of Kassel.
The Documenta started in 1955 and takes place every five years since 1972. I love this website as it really maintains a retro feel:
www.documenta.de
12.6.10
7.6.10
I'm With You - Performance Series
Saturday 12th June, 2010 from 3pm to 8pm.
‘I’m with you’ is a series of performance events, mostly taking place in houses and gardens but sometimes other types of places. The third installment of "I'm with you" on will open 3 gardens in and around Lower Clapton.
219 Glyn Road • 74 Mayola Road • 72 Powerscroft Road
Arrive at 219 Glyn Road for a map and schedule of events (free entry to entire event).
Durational performance, short acts, and installations.
WITH:
Ania Bas
David Cranmer
Alun Davies
Anastasia Dumarey (VA London)
Sharon Husbands w/Oriana Fox
Oliver Hymans
Vasileios- Pavlos Kountouriotis
Barbara Lambert
Johanna Linsley
Arkem Mark
Jan Mertens
Owen Parry
Herbert De Colle & Hannes Ribarits
Alexa Reid
Olivier Ruellet
Roberto Sánchez-Camus (with Yasmin Ghrawi)
Helena Walsh
The event will end with a group interactive performance at 72 Powerscroft Road at 19:00
- come and join in the act!
Check out the event on facebook: http://bit.ly/dAvTGq
Print Event Map: http://bit.ly/9pBvMA
You are invited to attend some or all and join in celebration after at the local
www.imwithyouclapton.wordpress.com
16.5.10
Sarah Cole and Coram Young Parents: Smother
Went to see this latest Artangel Interaction commission at a unique triangular-shaped empty house on Farringdon Street. The work was created by Sarah Cole in collaboration with young single mums at a drop-in centre. Cole populates the house with an eerie combination of installation, performance, sound and lighting that makes the space feel like a faded memory that refuses to be exorcised. The small cramped floors and large bright windows play with the internal/external of space, memory and storytelling. Its excellent to engage the stories of lives that are not often heard...
An Artangel Interaction Commission
13 May - 5 June 2010
Thursday, Friday and Saturday evenings only; 5-8 pm
Starts from Clink Hostel, 78 Kings Cross Road, London, WC1X 9QG
Conceptualised and developed with a group of parents from age fourteen to mid-twenties and their children, Smother encapsulates the vastly different experiences of these young mothers and fathers as they pass through weekly drop-in sessions at Coram.
Smother has been developed over nine months through a series of workshops and discussions. Artist Sarah Cole worked with composer Jules Maxwell and the young parents to direct an experience that offers the audience a rare invitation into an honest and intimate personal space.
The Coram Young Parents drop-in is a weekly opportunity for young parents to share experiences and find support with a wide range of issues whilst their children can play in a stimulating environment.
Hans Rosling's new insights on poverty
Why you should listen to him:
Even the most worldly and well-traveled among us will have their perspectives shifted by Hans Rosling. A professor of global health at Sweden's Karolinska Institute, his current work focuses on dispelling common myths about the so-called developing world, which (he points out) is no longer worlds away from the west. In fact, most of the third world is on the same trajectory toward health and prosperity, and many countries are moving twice as fast as the west did.
http://www.ted.com/talks/hans_rosling_reveals_new_insights_on_poverty.html
Even the most worldly and well-traveled among us will have their perspectives shifted by Hans Rosling. A professor of global health at Sweden's Karolinska Institute, his current work focuses on dispelling common myths about the so-called developing world, which (he points out) is no longer worlds away from the west. In fact, most of the third world is on the same trajectory toward health and prosperity, and many countries are moving twice as fast as the west did.
http://www.ted.com/talks/hans_rosling_reveals_new_insights_on_poverty.html
2.5.10
Youth Visions Documentary Screening in Ghana, West Africa
Screened the documentary of the project Youth Visions we created two years ago, a collaboration between myself and Sebastian Fuller who was working with Youth Development Alliance in the Northeastern region of Ghana. We merged my arts practice with his public health work to create a new model of disseminating the HIV/AIDS prevention material. We worked with two different schools, one in a village and one in a city to create a mural and a performance. Participants also went on a radio programme hosted by DJ Kimo of URA Radio Bolgatanga, Part of the project was documenting the process with the students who helped film their work. It was delayed two years but finally thanks to the work of filmmaker Malina de Carlo the footage was edited and a story created from the piles of footage.
Returning to show the film was intense. A 10-day tour that included screenings in three different locations, including an outdoor projection on the side of the school in the village of Kongo, where dry thunder came overhead whilst the movie played to a host of villagers who arrived to see the event... (pic above)
Most of our students were in their last year of school when we ran the project so after two years many had moved to other cities, gone to university, gotten married and had kids and so forth.. But we did have a couple attend, one student Lucy bused into Accra for four hours to attend a screening. She wore the Youth Visions t-shirt we gave them on the last day, it was stark white and new, she had saved it for the two years awaiting our return as we had promised we would. This really filled me with happiness to be able to return and deliver an impressive film marking a great project. Our facilitators flew in from California and China to be there for this as well! Was intense all around...
Read more about the project here: link
See photos here: link
Movie will be screened at the Brunel University School of Arts Postgraduate Researching the Arts Conference on Wednesday May 19, 2010 throughout the day. link
1.4.10
South London meeting for Artists working in Social Care
St Christopher's Hopisce is hosting a forum to bring together a broad range of artists and musicians who work in health and social care across South London or who have an interest in developing work in the area.
Although there is a special interset in end-of-life care, working in care homes and demenita, anyone using, or interested in using, the arts with any client population is welcome.
At this introductory meeting, there will be an opporunity to present your work and discuss ideas and interests. There will also be time to discuss the need for an ongoing platform to share ideas and experiences in the future.
All are welcome to attend and share your work, thoughts and ideas:
14th April between 6 and 7.30pm
St Christopher's Hospice
51-59 Lawrie Park Road
London SE26 6DZ
tel 020 8768 4500
or email info@stchristophers.org.uk
http://www.stchristophers.org.uk
28.3.10
Violent Flash Mobs
Interesting article about youth gatherings turned into violent rushes through civic areas:
From NYTimes:
PHILADELPHIA — It started innocently enough seven years ago as an act of performance art where people linked through social-networking Web sites and text messaging suddenly gathered on the streets for impromptu pillow fights in New York, group disco routines in London, and even a huge snowball fight in Washington.
Young people filled South Street in Philadelphia on Saturday in what officials said was the latest flash mob to turn dangerous. Seth Kaufman was injured in the flash mob Saturday, which he called “a tsunami of kids.” But these so-called flash mobs have taken a more aggressive and raucous turn here as hundreds of teenagers have been converging downtown for a ritual that is part bullying, part running of the bulls: sprinting down the block, the teenagers sometimes pause to brawl with one another, assault pedestrians or vandalize property.
Keep reading
From NYTimes:
PHILADELPHIA — It started innocently enough seven years ago as an act of performance art where people linked through social-networking Web sites and text messaging suddenly gathered on the streets for impromptu pillow fights in New York, group disco routines in London, and even a huge snowball fight in Washington.
Young people filled South Street in Philadelphia on Saturday in what officials said was the latest flash mob to turn dangerous. Seth Kaufman was injured in the flash mob Saturday, which he called “a tsunami of kids.” But these so-called flash mobs have taken a more aggressive and raucous turn here as hundreds of teenagers have been converging downtown for a ritual that is part bullying, part running of the bulls: sprinting down the block, the teenagers sometimes pause to brawl with one another, assault pedestrians or vandalize property.
Keep reading
22.3.10
National Review of Live Art
Finally attended the performance love-fest that's the National Review of Live Art, and it was really worth it. This was officially the last event after 30 years, though it's returning in a changed format for next year. The event manages to bring together a diverse array of artists working across performance / live art fields under one umbrella. But it true magic lies in the ability to create a level playing field where established and emerging artists can meet and mingle and just be together. Helps its in such a cool city like Glasgow, that's the real deal right there...
One person complained to me about the constant queueing for performances, but actually for me these moments were a great opportunity to chat to strangers, meet new people and spend some time together in one of those odd social moments when otherwise we would usually commit ourselves to getting to the other side of the queue with as little distraction as possible.
Highlights for me:
The gothic ritual sermon by Julia Bardsley called Aftermaths: a tear in the meat of vision, where a zombie-like pentecostal-inspired preacher rants about profits... or was it prophets...
John Byrne's presentation was excellent, especially his Border Interpretive Centre, bringing awareness of the border as object in Northern Ireland.
Frenchmottershead, who I am interviewing as one of the artists I am surverying in my PhD were very receptive as well. They were commissioned to create a one off of their piece Were you Here the Last Time, where at a designated time and space a photo is taken. I positioned my self towards the front with some friends and felt pretty ecstatic with the countdown from 30 (for each year). It created a wonderful shared moment in time, something I truly appreciate.
A low point for me was being scolded and locked out after arriving 1 minute late to La Pocha Nostra presentation, but this was incredibly remedied by sharing drinks with them at the bar!
There's ofcourse so much more, a good place to read up on the work is the NRLA blog, look for the poetic words of Mark Caffrey reviewing the work and interviewing the artists...
(photo above is an unrelated graffiti on the streets of Glasgow but I loved it)
20.2.10
Throw your Art in the Bin
Michael Landy transforms the SLG into 'Art Bin', a container for the disposal of works of art. As people discard their art works the enormous 600m³ bin becomes, in Michael Landy’s words, “a monument to creative failure”.
Until 14 March 2010 works can be brought to the South London Gallery to be disposed of in 'Art Bin' from Tuesday to Sunday, 12-6pm. Alternatively, artists and collectors can visit www.art-bin.co.uk to apply to dispose of works, multiple applications are welcome.
www.art-bin.co.uk
On view at South London Gallery
So I'll be bringing a triptych down to donate, if he accepts it as 'proper' trash I'll post it up....
18.2.10
National Identity Renunciation Bureau
http://www.identityrenunciation.org/
We are born and socialized into our national identities. We learn to belong to a community defined by claims to a common culture, language, ethnicity, history, place, and religion.
This sense of identity is not ethically neutral. If we take pride in our nation and its members, we must also bear responsibility for their moral failures.
The National Identity Renunciation Bureau certifies indi-viduals who wish to renounce their national identity and free themselves from that responsibility. The Renunciation Bureau issues identity cards to such individuals after they undergo a rigorous application process.
This renunciation does not address the renunciant’s legal relationship to their nation or state. However, it has seri-ous consequences. The renunciant must forgo all special concern for their nation's past, present and future, and all feelings of national pride, attachment and belonging.
Only those who understand the gravity of this symbolic act are encouraged to apply.
We are born and socialized into our national identities. We learn to belong to a community defined by claims to a common culture, language, ethnicity, history, place, and religion.
This sense of identity is not ethically neutral. If we take pride in our nation and its members, we must also bear responsibility for their moral failures.
The National Identity Renunciation Bureau certifies indi-viduals who wish to renounce their national identity and free themselves from that responsibility. The Renunciation Bureau issues identity cards to such individuals after they undergo a rigorous application process.
This renunciation does not address the renunciant’s legal relationship to their nation or state. However, it has seri-ous consequences. The renunciant must forgo all special concern for their nation's past, present and future, and all feelings of national pride, attachment and belonging.
Only those who understand the gravity of this symbolic act are encouraged to apply.
Wrestle an artist
Press Release: If you need to direct your feelings of disappointment and negativity somewhere constructive, Anthony Schrag has the answer. For one day only he will be your human punch-bag, because he wants to see you ‘smile and sweat’. Schrag is fed-up with culture that plays it safe and offers cerebral solutions. He is far more interested in making a direct physical connection with his audience, even if it means he ends up pinned to a wrestling mat.
“Violence occupies an important place within history and mythology, but all too often (and especially in this current political climate) it is relegated to being undesirable, unwelcome, and base. We sometimes forget about its cathartic ability; as a great unifier; as a mirror to the common and raw beast inside us all.”
www.anthonyschrag.com
Come along to spectate, support your friends, or if you are brave enough, take on Schrag for a round. For more information or to book your round, contact Limbo on 078 1278 0984 or email info@limboarts.co.uk giving your name and telephone number – or just turn up.
Okay I'm considering going, could use a good venting... of course it's a bit of a trek from London.... feel free to sponsor my wrestle
Revolutions in Public Practice
This is an interesting article By Clare Bishop in Artforum regarding Creative Time's summit at the New York Public Library late last year. She problematises the format of presenting socially-engaged work in this way, as well as the kinds of work produced. But most interesting is the Talkback section (link at the bottom of the article) where people can respond to her review. One specific comment to read is Harrell Fletcher's response to her criticism of selling an expensive carpet made in India as art, to then donate the proceeds to the worker/workers who made the carpet. I'll reserve judgement on that, to just say that the exchange itself is worth reading...
Artforum Article
Talkback comments
Artforum Article
Talkback comments
30.1.10
The Realities
FABLE
Once upon a time there was a reality
With her own flock of sheep in real wool
And as the king's son came passing by
The sheep bleated Baaah! how pretty she is
The re the re the reality
Once upon a time there was a reality
Who never could get to sleep at night
And so her fairy godmother
Really took her by the hand
The re the re the reality
Once upon a time there was an old king
Who got very bored as he sat on his throne
His cloak slipped off into the evening
So then they gave him for a queen
The re the re the reality
CODA: Ity ity the rea
Ity ity the reality
The rea the rea
Ty ty The rea
Li
Ty The reality
Once upon a time there was THE REALITY
~ Louis Aragon 'Paris Peasant" 1926
Once upon a time there was a reality
With her own flock of sheep in real wool
And as the king's son came passing by
The sheep bleated Baaah! how pretty she is
The re the re the reality
Once upon a time there was a reality
Who never could get to sleep at night
And so her fairy godmother
Really took her by the hand
The re the re the reality
Once upon a time there was an old king
Who got very bored as he sat on his throne
His cloak slipped off into the evening
So then they gave him for a queen
The re the re the reality
CODA: Ity ity the rea
Ity ity the reality
The rea the rea
Ty ty The rea
Li
Ty The reality
Once upon a time there was THE REALITY
~ Louis Aragon 'Paris Peasant" 1926
25.1.10
The Pigs of Today are the Hams of Tomorrow
Just got back from this symposium performance series in Plymouth, headed my Marina Abramović, who unfortunately didn't show up but was there via a Skype video chat feed. Though the event was fairly disorganised and revealed how insular the world of Live Art can be there were still some great highlights, including of course meeting interesting people.
The Royal William Yard was a stunning venue, housing most of the events and performances. There were six artist performing at the Slaugherhouse
Davide Balliano: sharpening a knife slowly and repeatedly while facing a corner where two large mirrors created a grouping of 4 identicals. A single lightbuld illuminated the space adn the sound was quite evocative. The piece was a bit cliche, in that its use of a man in black in a black cap in a dark corner became a certain character type that would immediately be evocative.
Snezana Golubović: who stood on a stage stepping into a series of shoes...
Eva and Franco Mattes: who recreated performances in Second Life. This was mostly interesting because I had never seen Second Life in action before.
Francesca Steele: created one of the more engaging and evocative works, a one to one piece where you stood on a stage with her while she took the gestures of professional body building next to you. As a body builder herself she has transformed her body and the work made me think of gaze, obsession and body image as well as nearness and personal space.
Bill Wroath: who was slated to perform at the Market in the centre of Plymouth was moved here due to an issue with the council and his work. He sewed a full pig corpse back together dressed as a butcher/medic while behind hime the numbers of pigs slaughtered in each country per year was projected across the wall. I enjoyed this work as I've been feeling that the ecological situation on this planet has been turning my vegetarianism into something more political which it never has been. Unfortunately most people absorbed the information and the proceeded to think it was funny to order pork at the pub, I suppose this is why the world isn't going to change any time soon....
The Market in Plymouth is an incredible space, looks like you are inside a giant pool. There is a unique culture there as well between the traders and buyers and I definitely sensed that the performances were generally an intrusion. One person working the event told me the last day "They hate us by now and can't wait for us to leave". This lack of integration with the general public was something that was a bit disappointing about the event in general but then again I suppose performance art may be one of the less accessible works as it is.
One exception was Ania Bas who performed as a working vendor, selling a variety of media information and possible instructions taped up and down her jacket. The last day I chose 'Chewing gum and people watching". She took me to her favourite spot and we talked about the market and the event, we easily picked out the skinny jean black clad art goers and the overweight, pasty shoppers. She told me about the shopkeepers and how engaging them brought varied responses. Though some were not interested, some where. I felt very happy that at least someone was bringing the work towards dialogue and integrating the actual existing culture of the site. One vendor bought one of her instructions for another, while a third was going to serve as witness...
For a full list of performers click here: Pigs
Seeing Marina on Skype in bed, blowing her nose and coughing was rather humanising. She said two interesting things, she explained the title. Performance artists are the pigs of today and their work in many ways needs to die in order to be consumed as ham. This gave the entire symposium a lens towards archiving and the issues surrounding performance documentation... She also said students always ask her about entering the art market and how to succeed, she explained that she spent 30 of her 40 years making performances unpaid. Though she recognised this wasn't fair she recommended to young artists to stay true to their work and to stay true to the context...
But by far the highlight of the weekend was Tehching Hsieh... That gets a post of its own...
Conversations with Tehching Hsieh
Chatting with Tehching was the highlight of the Symposium (see prior post). During his chat chaired by Adrian Heathfield, he talked about leaving Taiwan on a freight ship to Iran picking up oil en route to Philadelphia where he jumped ship. He spoke about how he had heard tow words in Taiwan 'conceptual happenings'. He had no idea what they meant or how they would be so seminal in his work. In the US as an illegal immigrant he spent 4 years in his studio doing no work. His studio was empty and he just sat their thinking. Then he had this idea, if I've been doing this 4 years why not one more? This was the first one year performance 1978-1979. He then completed 4 more and finished with a final 13 year piece where he would complete work but not present it publicly and basically disappeared. He emerged in 2000 and released a DVD of his work.
He was incredibly humble and genuine. I spoke to him after the event on the freezing cold pier in Plymouth. Tehching apologised for his English skills and said 'I am not as educated as everyone here'. I responded that he was genuine and that this was what people responded to, for he really received a loud applause. It was a welcome relief from an overly cerebral event!
I asked him if he ever had the impetus to make work... he responded 'whats impetus?'... i said need, want... he restated what he said earlier, that he already had his great ideas, that he had no more. and even if he did more it would become formulaic. He added that he also already stated as an art piece that he would not create any more work. And if he reneged on this then all his work would be a lie.
I love this man....
He also still lives in Bed-Stuy (Bedford-Stuyvesant) area of Brooklyn. Recently the grocer in his building was pistol-whipped and robbed. But he said he's been there for the last 12 years and he's never moving again...
Speaking with him reminded me of why I am an artist why I am drawn to what I do. There was such a strong spiritual sense in his work, my friend Debbie compared it to a form of Zen meditation. This is what makes great work, perhaps avoiding a paralyses by analyses and tapping into a deep well of energy that can exist in performance as in life...
He was incredibly humble and genuine. I spoke to him after the event on the freezing cold pier in Plymouth. Tehching apologised for his English skills and said 'I am not as educated as everyone here'. I responded that he was genuine and that this was what people responded to, for he really received a loud applause. It was a welcome relief from an overly cerebral event!
I asked him if he ever had the impetus to make work... he responded 'whats impetus?'... i said need, want... he restated what he said earlier, that he already had his great ideas, that he had no more. and even if he did more it would become formulaic. He added that he also already stated as an art piece that he would not create any more work. And if he reneged on this then all his work would be a lie.
I love this man....
He also still lives in Bed-Stuy (Bedford-Stuyvesant) area of Brooklyn. Recently the grocer in his building was pistol-whipped and robbed. But he said he's been there for the last 12 years and he's never moving again...
Speaking with him reminded me of why I am an artist why I am drawn to what I do. There was such a strong spiritual sense in his work, my friend Debbie compared it to a form of Zen meditation. This is what makes great work, perhaps avoiding a paralyses by analyses and tapping into a deep well of energy that can exist in performance as in life...
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