tag:blogger.com,1999:blog-15105227390236071082024-02-20T04:21:22.641+00:00open-dialoguesOpen Dialogues: critical writing on and as performance
http://www.opendialogues.com/Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.comBlogger221125tag:blogger.com,1999:blog-1510522739023607108.post-59679863489361783712015-02-13T21:47:00.000+00:002015-02-13T21:49:12.762+00:00NOT A Contemporary Theatre Review<span style="color: #666666; font-family: Georgia, Times New Roman, serif;">By Rachel Lois</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Mary and I have just finished a text on NOTA for Contemporary Theatre Review's (CTR) Intervention series, commissioned to sit alongside CTR's special issue on 'Editing' <span style="background-color: white; line-height: 24px;">(25.1). </span><span style="background-color: white; line-height: 24px;">The </span>text features a selection of notes from our performance of NOTA at <a href="http://cclap.me/" style="-webkit-transition: all 0.4s ease-in-out; background-color: white; border-bottom-style: dotted; border-width: 0px 0px 1px; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.4s ease-in-out; vertical-align: baseline;" target="_blank">Cross-Cultural Live Art Platform</a><span style="background-color: white; line-height: 24px;">, curated by </span><a href="http://something-human.org/" style="-webkit-transition: all 0.4s ease-in-out; background-color: white; border-bottom-style: dotted; border-width: 0px 0px 1px; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.4s ease-in-out; vertical-align: baseline;" target="_blank">Something Human</a><span style="background-color: white; line-height: 24px;">, at the Proud Archivist in London, November 2014.</span> </span></span><br />
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<span style="background-color: white; line-height: 24px;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Johanna Linsley of the CTR Editorial team on NOTA in the context of the Intervention series: </span></span><br />
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<i><span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 24px;">'Alongside these features on editing, we also offer reflections from two different projects that deliberately subvert or refuse the edit. Both projects deal with performance documentation – </span><a href="http://www.contemporarytheatrereview.org/2015/nota/" style="-webkit-transition: all 0.4s ease-in-out; background-color: white; border-bottom-style: dotted; border-width: 0px 0px 1px; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.4s ease-in-out; vertical-align: baseline;" title="NOTA"><span style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">NOTA </span>is a performative intervention that occurs alongside performance events and explores notation</a><span style="background-color: white; line-height: 24px;">, while </span><a href="http://www.contemporarytheatrereview.org/2015/emergency-index/" style="-webkit-transition: all 0.4s ease-in-out; background-color: white; border-bottom-style: dotted; border-width: 0px 0px 1px; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.4s ease-in-out; vertical-align: baseline;" title="Delegitimizing the Performance Document: Tales from the Open Call"><span style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Emergency Index </span>is an annual compendium of performance documentation submitted by artists</a><span style="background-color: white; line-height: 24px;">. As well, both projects toy with a utopian idea of unmediated response, while complicating this idea with attention to mechanisms like administration and design. Questions of labour, funding and independent or autonomous production also connect </span><span style="background-color: white; border: 0px; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">NOTA </span><span style="background-color: white; line-height: 24px;">and </span><span style="background-color: white; border: 0px; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Emergency Index</span><span style="background-color: white; line-height: 24px;">, and add complexity to the wider discussion of what it means to not edit. Finally, while each is situated firmly IRL (in real life), they nevertheless explore a kind of radical indeterminacy that might be considered ‘virtual’.'</span></span></i></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The text and images are online <a href="http://www.contemporarytheatrereview.org/2015/nota/">here </a></span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 22.7999992370605px;">NOTA: NOT, NOTES, NOTER (NOTA), NOT/A, is a research framework produced by </span><a href="http://open-dialogues.blogspot.com/" style="-webkit-transition: all 0.4s ease-in-out; background-color: white; border-bottom-style: dotted; border-width: 0px 0px 1px; line-height: 22.7999992370605px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.4s ease-in-out; vertical-align: baseline;" target="_blank">Open Dialogues</a><span style="background-color: white; line-height: 22.7999992370605px;"> (Rachel Lois Clapham and Mary Paterson) that presses on the time, place and quality of notes in relation to performance. Read more about this long term project <a href="http://open-dialogues.blogspot.co.uk/2013/08/nota-oh-seminar.html">here</a> and<a href="http://open-dialogues.blogspot.co.uk/2012/11/nota-showtime-collection.html"> here</a>. </span></span></span><br />
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The LemonMelon series 'Lemonade everything was so infinite.' is launching on 15th February, 3.30–6.30pm at <a href="http://www.hundredyearsgallery.com/events/upcoming/">Hundred Years Gallery</a>, 13 Pearson Street, London E2 8JD with musicians responding to selected pages of the publication.<br />
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Cixous's translation of Kafka's sentence 'Lemonade xeverything was so infinite.' forms the basis of a series of seven titles written by seven different writers / artists – David Berridge, Julia Calver, Emma Cocker, Rachel Lois Clapham, Marit Münzberg, Tamarin Norwood and Mary Paterson.<br />
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Each title explores one of the seven segments of this sentence – 'Lemonade', 'x', 'everything', 'was', 'so', 'infinite', '.'.<br />
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Using a variety of apparatuses and improvisational techniques Douglas Benford, Steve Beresford,Blanca Regina and Manuela Barczewski will play a selection of pages of the combined publication.<br />
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More information about the publication, and to purchase a copy, <a href="http://www.lemonmelon.org/index.php/publications/lemonade--everything-was-so-infinite/">here </a><br />
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-37377316837890852372014-02-25T10:15:00.005+00:002014-02-25T10:16:44.347+00:00NOTA Chapter 1 launch at I'm with you: INDEX<div>
<span style="font-family: 'Book Antiqua', serif;">NOTA Chapter 1 launch at </span><span style="font-family: 'Book Antiqua', serif; letter-spacing: -0.75pt;">I'm
with you: INDEX</span></div>
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</span><span style="background-color: white;"><span style="font-family: Georgia, Times New Roman, serif;">Swan Wharf, 60 Dace Road E3 2NQ</span><span style="font-family: Book Antiqua, serif;"><o:p></o:p></span></span></div>
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<br /><span style="font-family: Book Antiqua, serif; font-size: xx-small;">I</span><span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: xx-small;">mage © Open Dialogues</span><o:p></o:p></span></span></div>
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<span style="letter-spacing: -0.75pt;"><span style="font-family: Georgia, Times New Roman, serif;">Please
join us for <b>I'm with you: INDEX,</b> an evening of performances, videos and
texts that focus overtly on indexing, notation and script. <o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="letter-spacing: -0.75pt;">Here, Open
Dialogues will be launching </span><b>Chapter 1 of NOTA</b>, a collection of notes made inside
live performances. NOTA CHAPTER 1 will be assembled and launched on the night
alongside Emergency Index Vol. 2, a bible of performance art activity. <br />
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Artists on the night include:<br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">] performance s p a c e [, Brian Lobel, Season
Butler, Warren Garland + Josh Baum, Yoko Ishiguro, Eirini
Kartsaki, Open Dialogues, Justin Hunt +<span class="apple-converted-space"> </span></span><span class="il"><span style="background-color: #ffffcc; background-position: initial initial; background-repeat: initial initial;">Johanna</span></span><span class="apple-converted-space"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> </span></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Linsley, Daniel Oliver
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">ABOUT NOTA</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">NOTA:<span class="apple-converted-space"> </span>NOT,<span class="apple-converted-space"> </span>NOTES,<span class="apple-converted-space"> </span>NOTER (NOTA),<span class="apple-converted-space"> </span>NOT/A, is a research framework
produced by Open Dialogues that presses on the time, place and quality of notes
in relation to performance. Chapter 1 is the first of ten publications to
accompany the work. It is a collection of time-stamped<span class="apple-converted-space"> </span>documents - handwritten notes,
absent-minded doodles and choreographic diagrams - that were NOTAted in
relation to SHOWTiME performance festival (Presented by Alex Eisenberg and John
Pinder (Present Attempt) at Rich Mix, London 2012), and includes </span><span style="line-height: 115%;">a critical text by Rachel Lois and Mary </span><span style="line-height: 115%;">of Open Dialogues</span><span style="line-height: 115%;"> on the subject of notes as the future</span><span style="line-height: 115%;"> of performance remains.</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">Chapter 1
will </span><span style="line-height: 115%;">be assembled live on the evening of the
launch by Rachel Lois and Mary, bound by hand and finished with a unique
time-stamp. No two publications are the same. <o:p></o:p></span></span></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">Available for the special launch price
of £4. <o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">ABOUT </span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">EMERGENCY INDEX:<br />
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<i>This is a bible of performance art
activity. And if you are, like I am, a believer in performance art and the
value of this ephemeral art activity to change the hearts and minds and
consciousness of people, then you need to have this bible in your life. The end</i>.
—Martha Wilson<br />
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<i>We’ve been seeing performance art
materialize around us, but without feeling that there was a context for such
ideas. Artists have been doing such pieces for a long time without much
recognition that in fact their ideas are related. Now, with Emergency INDEX, we
get the sense of a magical secret shared among many artists. Emergency INDEX is
a profoundly important publication. It guides us to a new place</i>. —Robert
Ashley </span><span style="line-height: 115%;"><br />
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</span><span style="color: #666666;"><span style="background-color: white; line-height: 115%;">Emergency Index: </span><a href="http://imwithyou.us3.list-manage.com/track/click?u=f802104455825b79db2d86434&id=d95c7e81e4&e=b56311d163" target="_blank"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">http://www.emergencyindex.com/</span></a><a href="https://www.blogger.com/null" name="_GoBack"></a><span style="line-height: 115%;"><br />
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<span style="background: white;">I’m with you: </span></span><span style="background-color: white; line-height: 115%;"><a href="http://imwithyou.us3.list-manage.com/track/click?u=f802104455825b79db2d86434&id=fda6558d69&e=b56311d163" target="_blank">www.imwithyou.me</a></span><span style="line-height: 115%;"><o:p></o:p></span></span></span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">Open Dialogues: </span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><a href="http://www.opendialogues.com/">http://www.opendialogues.com/</a></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="background-color: white; line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif;"><span style="color: #666666; font-size: x-small;">SHOW TiME: http://www.show-time.org.uk/</span><u><o:p></o:p></u></span></span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-84523183807608809252013-08-12T16:17:00.000+01:002013-08-13T15:22:32.210+01:00NOTA: Oh Seminar <div class="MsoNormal">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Oh Seminar is a three-day summer school at Villa Romana, Florence, which attempts to reconsider different pedagogical forms traditionally used in the production and transmission of knowledge. </span><br />
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<span lang="EN-US"><span style="font-family: Georgia, Times New Roman, serif;">For
Oh Seminar September 2012, </span></span><span style="font-family: Georgia, 'Times New Roman', serif;">Open Dialogues presented NOTA; taking up position at a
writing station within the Oh Seminar community and </span><span lang="EN-US" style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 10pt; line-height: 115%;">NOTAting</span><span lang="EN-US" style="font-family: Georgia, 'Times New Roman', serif;"> </span><span style="font-family: Georgia, 'Times New Roman', serif;">the various performances and presentations as they
happened. We also presented a performance lecture on NOTA and shared specially commissioned
writing experiments with participants.</span></div>
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<span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;">The cumulative effect of NOTA</span><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;"> </span><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;">over the three days speaks of notes as a practice, and form of knowledge production.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> <a href="http://www.scribd.com/doc/159726094/NOTA-Oh-Seminar-Collection" nbsp="" style="text-decoration: underline;" title="View NOTA: Oh Seminar Collection on Scribd">NOTA: Oh Seminar Collection</a></span></div>
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<iframe class="scribd_iframe_embed" data-aspect-ratio="undefined" data-auto-height="false" frameborder="0" height="600" id="doc_78678" scrolling="no" src="http://www.scribd.com/embeds/159726094/content?start_page=1&view_mode=scroll&show_recommendations=true" width="100%"></iframe></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The above PDF selection of individual NOTA documents is made by Oh
Seminar Curators Mirene <span style="font-size: 10pt; line-height: 115%;">Arsanios</span> and Valerio <span style="font-size: 10pt; line-height: 115%;">Del Baglivo</span>. It shows private notes made in proximity to seminar
delegates, vigorous marks made live and in public at the NOTA writing station,
and participant's scribbles made in the secluded Florentine gardens of Villa
Romana. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Special thanks to the NOTA: Oh Seminar commissioned artists Alex
Eisenberg, John Hall, Karen Christopher, Marit Muenzberg, Tamarin Norwood and</span><span lang="EN-US"> Viccy Adams<span style="background: white;">. </span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Georgia, Times New Roman, serif;">ABOUT<span style="background: white; letter-spacing: .75pt;"> <o:p></o:p></span></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><span lang="EN-US">NOTA: NOT, NOTES, NOTER (NOTA),
NOT/A</span></i><span lang="EN-US">
presses on the time, quality and place of notes in relation to live performance
and is part of Open Dialogues’ ongoing exploration of writing and documentation
as a medium within the context of collaboration, liveness and public space. </span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><span lang="EN-US">Oh Seminar</span></i><span lang="EN-US"> is a three-day summer
school which attempts to reconsider different pedagogical forms traditionally
used in the production and transmission of knowledge. Through a series of talks
and performances, the school will question fundamentally what it means to read,
write, discuss and listen in a pedagogical setting. Artists: <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; letter-spacing: 0.75pt;">Read-in Collective,
Open Dialogues, Grant Watson and Iacopo Seri<span class="apple-converted-space">.</span></span></span><span lang="EN-US"> </span>Curated by Mirene
Arsanios and Valerio Del Baglivo. Villa Romana Florence,
September 2012 www.villaromana.org</span><span style="font-family: Book Antiqua, serif;"><o:p></o:p></span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-90778128600845469272013-06-16T07:56:00.000+01:002013-06-16T09:59:42.488+01:00NOTAMOLESKINE: 16.06.13<div style="background-color: white; font-family: arial, sans-serif; font-size: 13px;">
<span style="color: #999999; font-family: georgia, serif;">Today is the last day of the New Performance Turku Festival.</span></div>
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<span style="color: #999999;"><span style="font-family: georgia, serif;">Over the last four days the NOTAMOLESKINE community has been working with festival artists and audiences to make small talk, </span><span style="font-family: georgia, serif;">maps, </span><span style="font-family: georgia, serif;">Vines, Zeegas and ethnographic pieces based on the performances.</span></span></div>
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<span style="color: #999999;"><span style="font-family: georgia, serif;">You can read our work on the NOTAMOLESKINE blog <a href="http://newperformance.fi/category/notamoleskine/?lang=en">here</a>. </span><span style="font-family: georgia, serif;">A public discussion about the festival - and our writing within it - will be held at Titanik Gallery at 6 today.</span></span></div>
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<span style="color: #999999; font-family: georgia, serif;">We hope you will continue to visit the NOTAMOLESKINE blog as new texts will be posted there by the NOTAMOLESKINE Fellows for up to another two weeks.</span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">NOTAMOLESKINE is a community of 7 writers/artists creating critical responses from the New Performance Turku Festival and uploading them onto web and social media platforms. </span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Creating documents from inside festival performances on handhelds, laptops and notepads, and in that moment of creation looking away from the presented work, NOTAMOLESKINE embraces a unique trajectory in which notes, diagrams, interviews and essays made from live performance can be located on festival web and social media as stand-alone pieces. <o:p></o:p></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;"><strong><span style="font-weight: normal;">The NOTAMOLESKINE community is Rachel Lois Clapham, Alex Eisenberg</span></strong><b>, </b><strong><span style="font-weight: normal;">Emilia Karjula</span></strong><b>, </b><strong><span style="font-weight: normal;">Venla Luoma</span></strong><b>, </b><strong><span style="font-weight: normal;">Maria Säkö</span></strong><b>, </b><strong><span style="font-weight: normal;">Miika Sillanpää</span></strong><b> </b>and <strong><span style="font-weight: normal;">Tuuli Suhonen</span></strong><span class="apple-converted-space"><b> (</b></span><strong><span style="font-weight: normal;">NOTAMOLESKINE Associate).<o:p></o:p></span></strong></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">See NOTAMOLESKINE documents in up-printed media in festival venues, on <a href="http://newperformance.fi/category/notamoleskine/?lang=en" style="text-decoration: none;">the festival blog</a>, <a href="https://fi-fi.facebook.com/newperformanceturku" style="text-decoration: none;">Facebook</a> or follow @NPTurku with #NOTAMOLESKINE</span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">NOTAMOLESKINE is produced by Rachel Lois Clapham as Open Dialogues with New Performance Turku Festival. It contributes towards NOTA, an Open Dialogues research framework pressing on the time, quality and place of notes in relation to performance.</span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-78368126211205740592013-06-06T09:08:00.001+01:002013-08-12T19:35:07.661+01:00NOTAMOLESKINE<div class="separator" style="clear: both; text-align: left;">
<span style="color: #999999; font-family: Georgia, Times New Roman, serif; font-size: x-small;">by Rachel Lois</span></div>
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<a href="http://2.bp.blogspot.com/-8A2bRImTHW0/UbBCj1go8PI/AAAAAAAAA6U/73PQJYWI4s0/s1600/NOTAMOLESKINE+C+Open+Dialogues+2013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-8A2bRImTHW0/UbBCj1go8PI/AAAAAAAAA6U/73PQJYWI4s0/s320/NOTAMOLESKINE+C+Open+Dialogues+2013.jpg" width="320" /></a></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">NOTAMOLESKINE is a
community of 7 writers/artists creating critical responses from the New
Performance Turku Festival and uploading them onto web and social
media platforms.</span><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"> </span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Creating documents from
inside festival performances on handhelds, laptops and notepads, and in that
moment of creation looking away from the presented work, NOTAMOLESKINE embraces
a unique trajectory in which notes, diagrams, interviews and essays made from live
performance can be located on festival web and social media as stand-alone
pieces. <o:p></o:p></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">The NOTAMOLESKINE community
will contribute to a real-time critical mass for the festival and form part of
a collaborative performance archive. The writing itself acts variously as prompt,
record and gift for artists and festival audiences alike. <o:p></o:p></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;"><strong><span style="font-weight: normal;">The NOTAMOLESKINE community is Rachel Lois Clapham, Alex
Eisenberg</span></strong><b>, </b><strong><span style="font-weight: normal;">Emilia Karjula</span></strong><b>, </b><strong><span style="font-weight: normal;">Venla Luoma</span></strong><b>,
</b><strong><span style="font-weight: normal;">Maria Säkö</span></strong><b>, </b><strong><span style="font-weight: normal;">Miika Sillanpää</span></strong><b>
</b>and <strong><span style="font-weight: normal;">Tuuli Suhonen</span></strong><span class="apple-converted-space"><b> (</b></span><strong><span style="font-weight: normal;">NOTAMOLESKINE Associate). <o:p></o:p></span></strong></span></div>
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<span style="color: #999999;"><span style="font-family: Georgia, Times New Roman, serif;">See NOTAMOLESKINE docu</span><span style="font-family: Georgia, 'Times New Roman', serif;">ments in up-printed media in
festival venues, on </span><a href="http://newperformance.fi/category/notamoleskine/?lang=en" style="font-family: Georgia, 'Times New Roman', serif;">the festival blog</a><span style="font-family: Georgia, 'Times New Roman', serif;">,
</span><a href="https://fi-fi.facebook.com/newperformanceturku" style="font-family: Georgia, 'Times New Roman', serif;">Facebook</a><span style="font-family: Georgia, 'Times New Roman', serif;"> </span><span style="font-family: Georgia, 'Times New Roman', serif;">or follow @</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #999999; font-family: Georgia, 'Times New Roman', serif;">NPTurku</span><span style="font-family: Georgia, 'Times New Roman', serif;">
with </span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #999999; font-family: Georgia, 'Times New Roman', serif;"> #NOTAMOLESKINE</span></span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">NOTAMOLESKINE is produced
by Rachel Lois Clapham as Open Dialogues with New Performance Turku Festival.
It contributes towards NOTA, an Open Dialogues research framework pressing on
the time, quality and place of notes in relation to performance. <o:p></o:p></span><br />
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #999999; font-family: Georgia, Times New Roman, serif;">Other manifestations of NOTA are <a href="http://open-dialogues.blogspot.co.uk/2013/08/nota-oh-seminar.html">here</a>, <a href="http://open-dialogues.blogspot.co.uk/2013/06/notamoleskine.html">here </a>and here. </span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Open Dialogues is a UK
collaboration, founded in 2008 by Rachel Lois Clapham and Mary Paterson, that
produces critical writing on and as performance. Open Dialogues has pioneered a
model of working closely with performance and Live Art artists to critically
respond, document and influence the moment of live performance. Programme
partners include The Live Art Development Agency (UK), Pacitti Company (UK),
Trinity Laban (UK), Performa Biennial (US) and Performance Saga (CH) amongst
others. <a href="http://www.opendialogues.com/" target="_blank">www.opendialogues.com </a></span><span style="color: #333333; font-family: Georgia, serif; font-size: 11.5pt;"><o:p></o:p></span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-46209693524188831602013-03-03T20:58:00.002+00:002013-03-03T21:00:41.058+00:00Review: SPLAT! by The Famous Lauren Barri Holstein<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">A figure roller-skates blindly across the stage, her vision obscured by a giant deer mask, her arms flailing at either side, her voice singing karaoke-style to a Disney ballad. Half girl, half Bambi, the skidding ingénue slips and slides over tomato juice, topples, wavers and almost falls, before a team of assistants rushes to her aid.</span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">This scene is one of a dizzying array of feminine stereotypes played outrageously by The Famous Lauren Barri Holstein in <em>Splat!</em> Here, she parodies a cutesy cartoon princess, held up (literally) by an entourage who whose devotion simply highlights her dependence on others. Elsewhere, the performer and her semi-naked, female assistants perform a range of roles including bad tempered porn star, mute doll, exploited sex object, fairy-tale narrator, murdered body and soppy victim of heartbreak.</span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">For Lauren Barri Holstein, the acting starts before the show begins. ‘The Famous …’ is, of course, a self-declared star. What she is famous for is not important - her name, like the products of her visual metamorphoses, is both a statement and an ambition. And, just like those visual changes, this declaration is less a form of identity than a claim to objecthood. By describing herself as ‘The Famous …’ Lauren Barri Holstein sets out how she wants to be seen. She’s not a woman play acting at celebrity – she is the very expression of fame. She’s not a woman who happens to be dancing (whether she’s performing in the guise of a Disney lead, a figure from an 80s film, or a demented R&B star) – she is the eternal dancing girl.</span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Even the artist’s desperation to be seen is a kind of parody-paradigm of femininity . As John Berger wrote in 1976, “men act, women appear”, so controlling what other people see is, in a twisted way, how women can access the means of their own production. Lauren Barri Holstein struts across stage like an early-80s Madonna, adopting a bossy demeanour (she orders her assistants around like slaves), an air of affected boredom (she moves between scenes as if it’s a burden to be there) and a casual, erotic awareness of her own image-making. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">But ventriloquism is a precarious kind of identity. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">As part of this image control<em>, </em>Lauren Barri Holstein forces her parade of underdressed assistants to film her travails, projecting a close up of her squashing tomatoes between her thighs, for example, to a large screen at the back of the stage. But there is also a single, male, fully dressed photographer who lurks around the edges of the show. This man does not seem to be under the star’s control. He photographs Lauren Barri Holstein even when she asks him to leave, and his photos remain hidden inside his camera. In a single moment, the iconic 80s Madonna becomes a vulnerable noughties Jordan, her picture taken and reused by those who don’t recognise her objecthood as power.</span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Indeed, it’s the relationship between objecthood and power that sits at the centre of <em>Splat! </em> Or rather, it writhes around in a vat of tomato juice, either waving or drowning. With each new identity that Lauren Barri Holstein shrugs on like an invisibility cloak, Lauren Barri Holstein herself disappears. This is partly because of the dramatic pointlessness of the task – it is of course a mainstay of feminism that a person cannot exist within a series of roles typecast from the outside. But the disappearance is also because the accumulated effect of multiple identities breaks down the mirage of appearance itself. Now a sexual predator, now a perpetrator of misogyny, now a fetish of desire, the variety of objecthoods Lauren Barri Holstein puts on display undermines any claims they have to representation. If a woman is either a virgin or a whore, then what are you looking at when you see her slip gracelessly between the two? </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Another way of describing this variety could be as a kind of excess - <em>Splat!</em> is an excess of (tropes of) femininity, baring their bones until their guts spill, lifeless, onto the floor. And excess is indeed the defining principle of the show: each scene explodes with more bodies, more representation, more confusion. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">But, inside <em>Splat,</em> excess becomes a kind of trope as well. Or, more accurately, this excess is not so much excessive, as conventional – albeit conventional in an alternative, performance art kind of way. The food-mess poured over young bodies recalls the artist Carolee Schneemann’s seminal performances like <em>Meat Joy </em>(1964)for example, while Lauren Barri Holstein’s impatient persona draws obvious comparison to the artist Ann Liv Young. Long passages in <em>Splat</em> are spent reading an alternative fairy tale in which a pliant female character explores the pleasures and dangers of her sexuality – a shadow, perhaps, of a revision by the feminist author Angela Carter. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">In this context, it’s unclear whether excessive behaviour is being parodied as one more feminine trope that has been normalised beyond meaning, or whether it’s appearance is a genuine grab for power. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">On one hand, these behaviours are now part of the encyclopaedia of voices available to women – identify with a pop star, or a princess, or a 1960s performance artist. But, just like Madonna’s 80s attitude, their efficacy has been dulled by distance from the socio-political context in which they were conceived. On the other hand, these devices of excess have a special status within <em>Splat!</em>: they define its structure and limit its content. Food-blood-bodily fluids accumulate onstage throughout, the fairy tale pulls the only narrative thread, and each new scene adds to a catalogue of excessive representations. As I watch the chaos pile up on stage, I wonder if Lauren Barri Holstein is making fun of the styles of radical feminist performance art, with the same wide eyed cruelty she uses to pull apart Disney’s saccharine charm. Or has she mistaken the tropes of stylistic excess for real power?</span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">None of Lauren Barri Holstein’s relationships are simple. She seems to hold genuine affection for power ballads, princess dresses and roller-skating Bambis, even while she squashes their dreams like melons dropped from a great height. So perhaps it is only my prejudice that imagines she takes the sacred cows of performance art too seriously. Unlike Disney, I hold Carolee Schneemann to be important and admirable, and while I can laugh at Disney in almost any context, Schneemann commands a different kind of attention. But I also know that what was radical in 1964 is not radical in 2013; the grandmothers (or even the aunts and sisters) of feminist performance art cannot be copied, only revised. I long for someone with a name like ‘The Famous Lauren Barri-Holstein’ to tell me what feminism can be, what women can be, in the twenty first century. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">But of course, that’s not her job. I’m sure if you asked her, Lauren Barri Holstein would say she’d rather hang upside down and eat a hamburger. The show ends with what can only be described as a masterstroke of visual spectacle, and it’s at moments like this – brash, bizarre and fiercely independent – that ‘The Famous …’ lives up to her self declared name.</span></div>
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Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-87755887882697301482013-02-01T12:51:00.002+00:002013-04-09T20:26:05.977+01:00THE DARK WOULD<div class="separator" style="clear: both; text-align: left;">
<span style="color: #999999;"><span style="font-family: Georgia, "Times New Roman", serif;"></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: xx-small;">By Rachel Lois</span></span></div>
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<span style="color: #999999; font-family: Georgia, "Times New Roman", serif;"><a href="http://stephenpperry.co.uk/">Stephen P Perry</a> and I are pleased to let you know that our contribution to the forthcoming language art anthology THE DARK WOULD will be launched at the <a href="http://www.southbankcentre.co.uk/">Southbank Centre</a> in London on 6 Feb 2013, 8-9.30pm and the Whitechapel Gallery 11 April, 7-9pm. </span></div>
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<span style="font-size: xx-small;">Image: C. The Dark Would 2013</span></div>
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<span style="color: #999999;"><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif;">Our one page piece for the anthology is entitled 'Q & A', and is a biography taken from a larger unpublished work entitled <a href="http://open-dialogues.blogspot.co.uk/2012/01/hold-it.html">HOLD IT,</a> developed by Stephen P Perry and I from a 2012 performance at <a href="http://otherroom.org/">The Other Room</a>. The piece plays with the limitations of printed biography and occupies the particular space between questions and answers, questions and questions, and answers and answers (infinitum). </span></span><br />
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<span style="color: #999999; font-family: Georgia, "Times New Roman", serif;">THE DARK WOULD is a pioneering anthology of text artists and poets, edited by Philip Davenport, which includes work by over 100 contributors including Richard Long, Fiona Banner, Maggie O' Sullivan, Tacita Dean, Ron Silliman, Shin Tanabe, Marton Koppany, Tsang Kin-Wah, Charles Bernstein, Susan Hiller, Tony Lopez, Caroline Bergvall, Sarah Sanders, Kay Rosen, Robert Grenier and many, many more. </span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;">THE DARK WOULD comes in two volumes, one paper
and one virtual, sold both together for £29.99, published
by <a href="http://www.applepie-editions.co.uk/Introduction.htm">Apple Pie Editions. </a></span></span><br />
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<span style="color: #999999; font-family: Georgia;">Stephen and I hope you enjoy this amazing book. </span><br />
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<span style="font-family: Georgia, "Times New Roman", serif;"><br /></span>Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-45930055446521715772013-01-06T13:52:00.000+00:002013-01-06T14:50:50.548+00:00Inside Performance Volume 24 no. 4 2011<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: xx-small;">By Rachel Lois</span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Misalignments in this issue of Dance Theatre Journal yield interesting thoughts about editing, published mistakes and the columns of my columns.</span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Inside Performance for Dance Theatre Journal Volume 24 no. 4 2011, entitled Writing AVANT GARDE PERORMANCE OR, is written in two vertical columns to a page. The columns are read in parallel, moving towards and bouncing off each other at certain critical points.</span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">The left hand column is the dominant narrative outlining key critical aspects of US writer Richard Kostelanetz’s On Innovative Performance(s), Three Decades of Recollections on Alternative Theater ; a fascinating thirty year collection of Kostelanetz's typed notes-cards from the burgeoning 1960-1980 New York performance art scene. Staying close to On Innovative Performance(s) the left column presents excerpts from Kostelanetz's text, posits the context for his work, and outlines his outsider position in relation to the mainstream New York and dominant theatre press, including his living and working within a small circle of Manhattan artists (an infamous roll-call of performance pioneers such as John Cage, Merce Cunningham, Alison Knowles, Nan Goldin, Deborah Hay, Dick Higgins and Ann Halprin amongst others). The left hand column touches upon Kostelanetz’s critical modus operandi, his writerly rootedness to Manhattan, and his sometime lay approach to experimental performance. The text also speculates on the familiar patterns of the </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">performance </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Avant Garde (professional exclusion, public incomprehension, gathering a small yet loyal following and eventually leading to widespread critical acclaim) and the scene's inherent smallness.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ_Q7uz3DsCBnu5JZwSh6IVf1k8CvFuS3mFrUqDFFSaZ5oMRMr6YPE6pYGZnPpgk-DTKK4UJ25mbCpHevwWpwcY5iycPGcl0aqiE33AQZoGrMbtM8Hbc-zehLpNqMg_8VT2LtTE1NYUjM/s1600/DSCF6213.JPG" imageanchor="1" style="display: inline !important; margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ_Q7uz3DsCBnu5JZwSh6IVf1k8CvFuS3mFrUqDFFSaZ5oMRMr6YPE6pYGZnPpgk-DTKK4UJ25mbCpHevwWpwcY5iycPGcl0aqiE33AQZoGrMbtM8Hbc-zehLpNqMg_8VT2LtTE1NYUjM/s400/DSCF6213.JPG" width="400" /></span></a></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Running alongside, </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">the right column often accompanies the left in the form of no comment or long silences (blanks). At other times </span><span lang="EN-US"><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">the right column openly interrogates ideas in the left and is </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">more aphoristic and circumspect in tone. </span></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Left column (</span></span><span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">An e</span></span><span lang="EN-US"><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">xcerpt from </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Richard Kostelanetz's On </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Innovative Performance(s)):</span><br />
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Claims (private loft, 93 Grand Street). </span></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">I’d not seen any of Vito’s new performance pieces-at least not since the deep breathing at N.Y.U a year and one-half ago, which I liked more in contextual retrospect than I did then. Always ‘experimenting with himself’ so to speak, he sets up a situation hazardous, initially to himself, whose results compromise the piece. For example, he had the Post Office forward his mail to the Museum of Modern Art, where he had to go and pick it up. Or he does the same exercise (such as jumping on and off a stool) for a fixed period of time every day. Or he burns the hair off his chest. The term ‘body art’ might be appropriate, because what happens to his body is now the content. ‘Conceptual Art’ is really a more accurate epithet. For Claims Vito sat at the bottom of a stairway with a collection of long poles. Blindfolded, he assigned himself the job of protecting his territory – the bottom of the stairway- from intruders. A close-circuit camera was trained on him, and the results were immediately broadcast ‘live’ on a TV monitor upstairs, as well as recorded on videotape. Thus, his voice could be heard not only through the door leading downstairs but also over the electronic playback system. He did this for a full four hours, constantly mumbling to himself that he had to protect his territory; but nothing else ‘happened’ or changed in the course of the performance. The audience never numbered more than a dozen people, most of whom were (like me) his friends. </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">(September 1971) </span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">I do find myself wanting to question 1960’s – 1980’s New York as bedrock for AVANT GARDE PERFORMANCE. Maybe this kind of reverse reflection is a symptom of the AVANT GARDE. The smallness that once was in part its generative appeal, to both those both inside and out, festers and begins to look flawed upon insertion into the history books. To this end, it is interesting to note that Kostelanetz recalls Carolee Schneeman ‘feeling excluded’ from the then PERFORMANCE scene. Perhaps then, hindsight is not required in order to see the AVANT GARDE as insular (in this case as a predominantly North American white, male domain).</span></span></div>
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">The misalignment of the text in Volume 24
no. 4 2011 gives way to several new readings from left to right. </span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Left column:<br /><br />On Innovative Performance(s) comprises
of thirty years worth of 4 x 6” typed note-cards that Kostelanetz made
from PERFORMANCEs he saw between 1960 and the late 1980’s. For
publication the note-cards were sifted through, re-typed and sorted into
alphabetical order by artist name. Several contextualising essays on
experimental PERFORMANCE are also re-printed. As a collection, it remains
almost entirely unedited from the original cards.</span></span></div>
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<span style="color: #666666;">Indeed.</span></span></div>
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">The mistakes continue through the text with varying degrees of success. My particular favourite is pictured </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">and </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">re-typed </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">below. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6PTZeiMABpVc1w4jHbU6lQu8p22U_XtqQ40MWfLVuId1OTHyWZlKxv4NU_Q2T-fIY3XdlJcRWoigpK5J999cOEcSTWy8bOqhg1AhmzxhRgxl9yzW69DaLXPW49rdN1YZ3xrCgGN-5fQA/s1600/DSCF6212.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6PTZeiMABpVc1w4jHbU6lQu8p22U_XtqQ40MWfLVuId1OTHyWZlKxv4NU_Q2T-fIY3XdlJcRWoigpK5J999cOEcSTWy8bOqhg1AhmzxhRgxl9yzW69DaLXPW49rdN1YZ3xrCgGN-5fQA/s400/DSCF6212.JPG" width="400" /></span></a></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Left column (</span></span><span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">An e</span></span><span lang="EN-US"><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">xcerpt from </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Richard Kostelanetz's On </span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Innovative Performance(s)):</span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Vito Acconci</span></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Claims (private loft, 93 Grand Street). I’d
not seen any of Vito’s new performance pieces-at least not since the deep
breathing at N.Y.U a year and one-half ago, which I liked more in contextual
retrospect than I did then. Always ‘experimenting with himself’ so to speak, he
sets up a situation hazardous, initially to himself, whose results compromise
the piece. For example, he had the Post Office forward his mail to the Museum
of Modern Art, where he had to go and pick it up. Or he does the same exercise
(such as jumping on and off a stool) for a fixed period of time every day. Or
he burns the hair off his chest. The term ‘body art’ might be appropriate,
because what happens to his body is now the content. ‘Conceptual Art’ is really
a more accurate epithet. For Claims Vito sat at the bottom of a
stairway with a collection of long poles. Blindfolded, he assigned himself the
job of protecting his territory – the bottom of the stairway- from intruders. A
close-circuit camera was trained on him, and the results were immediately
broadcast ‘live’ on a TV monitor upstairs, as well as recorded on videotape.
Thus, his voice could be heard not only through the door leading downstairs but
also over the electronic playback system. He did this for a full four hours,
constantly mumbling to himself that he had to protect his territory; but
nothing else ‘happened’ or changed in the course of the performance. The
audience never numbered more than a dozen people, most of whom were (like me)
his friends. (September 1971) </span></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">And the right column simply: Hmm.</span></span></div>
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<span style="color: #666666;">I am struck by the new levels of meaning created in relation to this comparatively niche publication by Kostelanetz. It has me wondering. </span><span style="color: #666666;">Examples of essayistic misprints are no doubt
numerous throughout history. An anthology of such texts, </span><span style="color: #666666;">bound together in their full and wrongful glory, </span><span style="color: #666666;">to my knowledge has not recently been published and seems overdue. </span></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Inside Performance is a serialised writing
project developed by Rachel Lois Clapham for Dance Theatre Journal that takes the
form of a regular newspaper or magazine column. </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">The column features Rachel Lois' own
writing on and as performance, as well as conversations, commissions, page
works and texts from other artists.</span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Previous columns in the series</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><a href="http://open-dialogues.blogspot.com/2009/03/inside-performance.html">Volume 23 No. 2 </a> </span><span lang="EN-US"><br />
</span><span lang="EN-US" style="line-height: 115%;"><br /><a href="http://open-dialogues.blogspot.com/2010/10/inside-performance-dance-theatre.html">Volume 23 No. 4 </a></span></span></div>
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<span lang="EN-US"><span style="font-family: Georgia, Times New Roman, serif;"><br /><a href="http://open-dialogues.blogspot.com/2011/03/inside-performance-volume-24-no1-2011.html">Volume 24 No. 1 </a></span></span></div>
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<span lang="EN-US"><a href="http://open-dialogues.blogspot.fr/2012/03/inside-performance-volume-24-no-2-2011.html"><span style="font-family: Georgia, Times New Roman, serif;">Volume 24 No. 2</span></a></span></div>
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<span lang="EN-US"><a href="http://open-dialogues.blogspot.com/2011/11/inside-performance-vol-24-no-3-2011.html"><span style="font-family: Georgia, Times New Roman, serif;">Volume24. No.3</span></a></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Dance Theatre Journal is the UK's leading
magazine for dance and live art. Published four times a year, it contains reviews, features, interviews and in-depth discussions by
leading dance writers and artists, as well as talented new writers. It also
includes up-to-date listings of dance performances and workshops throughout the
UK.</span></span></div>
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<span lang="EN-US"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Open Dialogues is a UK collaboration,
founded by Rachel Lois and Mary Paterson in 2008, that produces writing on and
as performance. <a href="http://www.opendialogues.com/">www.opendialogues.com</a></span></span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-62749231157170436252012-11-11T12:28:00.000+00:002013-08-12T19:30:39.891+01:00NOTA : SHOWTiME Collection<br />
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<span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">NOTA (NOT, NOTES, NOTER (NOTA), NOT/A), towards a sometimes set of performance writing tools. NOTA is a research framework for Open Dialogues that presses on the time, place and quality of notes in relation to live performance. <o:p></o:p></span></span></div>
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The NOTA : SHOWTiME Collection is a </span><span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">selection of <a href="http://www.opendialogues.com/">Open Dialogues</a> notes from the launch of NOTA at </span><span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.show-time.org.uk/about-2/">SHOWTiME</a></span><span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">, Rich Mix London July 2012. The collection features notes made by Rachel Lois and Mary live and in public from a writing station on the </span><span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">SHOWTiME</span><span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif;"> stage.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirJ5MENsVSY7ApAZkDkveLZ76Zd-yIHx_1i0lY0VYPAUWnpadguzjRhSNFn4YQav8BaUvKb5B6uX6rLe2BtZv9Pa7pCFhhHzmeivlnoedUqkjESXgdJbJ675VjLgEyMgI1jryoDWjwlak/s1600/150612.20.00.1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirJ5MENsVSY7ApAZkDkveLZ76Zd-yIHx_1i0lY0VYPAUWnpadguzjRhSNFn4YQav8BaUvKb5B6uX6rLe2BtZv9Pa7pCFhhHzmeivlnoedUqkjESXgdJbJ675VjLgEyMgI1jryoDWjwlak/s400/150612.20.00.1.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">NOTA 150612 20.00 1</td></tr>
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<i><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">START</span></i><br />
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<i><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">OK, how do you want to start? Have I got a coffee moustache? Let’s not start there...<o:p></o:p></span></i></div>
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<i><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">The stamp<o:p></o:p></span></i></div>
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<i><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Maybe start with the actual stamp... There is a lot in the gesture, or the action of the stamp. It is really old fashioned...</span></i></div>
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<span lang="EN-GB" style="line-height: 15.6pt;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;"> </span></span><i style="line-height: 15.6pt;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">It’s a standard stationery item in many ways, off the shelf. Only one part of it is customised - the word ‘NOTA.’ I tried to get the word ‘received’ removed from it too but then decided against it.</span></i></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVllE1oqOc7jDJcfG_nZvxBVHrGQLiK4soCOI-oVW-2Q6WtFXnK-zy-cKWh9aYapR4dMmceYE6BMqELbjOLKhQVagMcjYnfRBz1PFBpPJ5cPBhxqaTzEw2-436aDJKFQxn4wkXp2VmYc/s1600/160612.20.00.3.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVllE1oqOc7jDJcfG_nZvxBVHrGQLiK4soCOI-oVW-2Q6WtFXnK-zy-cKWh9aYapR4dMmceYE6BMqELbjOLKhQVagMcjYnfRBz1PFBpPJ5cPBhxqaTzEw2-436aDJKFQxn4wkXp2VmYc/s400/160612.20.00.3.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">NOTA 160612 20.00 3</td></tr>
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<i style="line-height: 20px;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><br /></span></i><i style="line-height: 20px;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">... This is graft. We are at a workstation, stamping documents. And it is work.</span></i><br />
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<i style="line-height: 15.6pt;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">For me, it’s a process of thinking through writing, through mark making. The notes represent my thought processes.</span></i></div>
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<i style="color: #666666; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;">Provisional, lightweight and ‘un-publishable’, the notes capture a particular insight. The particular invitation they make is important. As a form of conversation there is space for other people to speak.</i></div>
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;">The first of several NOTA publications is due out soon. It will feature some of the </span><span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;">SHOWTiME notes specially selected and re-worked by Alex Eisenberg and John Pinder of Present Attempt and a choreographed interview transcript between Mary and Rachel Lois. </span><br />
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<span lang="EN-GB" style="color: #666666; font-family: Georgia, 'Times New Roman', serif; line-height: 15.6pt;"><span style="line-height: normal;">Other manifestations of NOTA are </span><a href="http://open-dialogues.blogspot.co.uk/2013/08/nota-oh-seminar.html" style="line-height: normal;">here</a><span style="line-height: normal;">, </span><a href="http://open-dialogues.blogspot.co.uk/2013/06/notamoleskine.html" style="line-height: normal;">here </a><span style="line-height: normal;">and here. </span></span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;">NOTA (NOT, NOTES, NOTER (NOTA), NOT/A), towards a sometimes set of performance writing tools. NOTA is a research framework for Open Dialogues that presses on the time, place and quality of notes in relation to live performance. <o:p></o:p></span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><span lang="EN-GB">SHOWTiME is curated by Present Attempt. The July 2012 event included </span>Haranczak/Navarre Performance Projects, Present Attempt, Joseph Mercier, Mischa Twitchin and Penny Francis, Chloé Dechery, Rachel Mars and Rosie Kelly, Bill Aitchison Company, Lisa Jeschke and Lucy Beynon, Augusto Corrieri, Seke Chimutengwende & Friends, Yoko Ishiguro. <span lang="EN-GB"><br /><br />Open Dialogues is a UK collaboration, founded by Rachel Lois Clapham and Mary Paterson, that produces writing on and as performance. </span></span><span style="font-family: "Book Antiqua","serif"; mso-bidi-font-family: Helvetica-Bold; mso-bidi-font-weight: bold;"><o:p></o:p></span><br />
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-63651637494223680902012-11-09T12:19:00.001+00:002012-11-11T12:38:09.360+00:00Month of Performance Art- Berlin<span style="background-color: white; color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: xx-small; line-height: 1.3em;">By Rachel Lois</span><br />
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<span style="background-color: white; color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: small; font-weight: normal; line-height: 1.3em;">I am part of the international Curatorial Collaboration Initiative</span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: small; font-weight: normal; line-height: 1.3em;"> (CCI) </span><span style="background-color: white; color: #666666; font-family: Georgia, 'Times New Roman', serif;"><span style="font-size: small; font-weight: normal;"><span style="line-height: 1.3em;">for the </span></span><a href="http://www.mpa-b.org/"><span style="font-size: small; font-weight: normal;"><span style="line-height: 1.3em;">Month of Performance Art- Berlin (MPA-B) </span></span></a></span><br />
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<span style="font-family: Georgia, Times New Roman, serif; font-size: xx-small; font-weight: normal;">Programme B with Ying-Mei Duan and Elana Katz - May 22nd -
Photo © Marco Berardi 2012</span><br />
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<span style="font-size: small; line-height: 1.3em;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><span style="font-weight: normal;">The CCI consist of an international panel of curators, theorists and artists who contribute to the </span><span style="font-weight: normal; line-height: 115%;">production,
programming, promotion and network development </span><span style="font-weight: normal;">of MPA-B, with
discussions happening in Berlin, online via Wiki and Skype. The 3rd MPA-B is
in May 2013 and the CCI November 2012 meeting will focus on the dissemination
of authorship in performance. </span></span><span style="font-weight: normal;"><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; line-height: 1.3em;"><span style="background-color: white;">Join in, and
contribute to the conversations via live written chat via the </span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; line-height: 1.3em;"><a href="http://new.livestream.com/accounts/1892747/mpa-berlinCCImeeting1">livestream</a> </span></span></span><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: small; font-weight: normal; line-height: 1.3em;">between 11-17.00 CET 10 November 2012. </span><br />
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Texts from the collaboration will be published on the MPA-B <a href="https://sites.google.com/site/mpabtextroll/">Text roll here</a></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">, a selection of these will also feature here
on the <a href="http://open-dialogues.blogspot.fr/">Open Dialogues blog </a></span></span></span><br />
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-28701959093960354952012-11-04T13:49:00.001+00:002012-11-11T12:39:31.280+00:00Strategies for Approaching Repeating Problems<span style="color: #666666;">By Rachel Lois</span><br />
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Leung, Andrew McGettigan, Francesco Pedraglio, David Raymond Conroy, Alex
Vasudevan</span><span style="font-family: 'Times New Roman', serif; font-size: 10.5pt;"><o:p></o:p></span></span></div>
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<span style="line-height: 19.2pt;"><span style="color: #666666;"><i style="line-height: 19.2pt;"><span style="font-family: "Baskerville","serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Times; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Re —</span></i><span style="font-family: Baskerville, serif; font-size: 8pt; line-height: 115%;"> Rachel Lois Clapham
and Emma Cocker, presented at Quad, 2012</span></span></span></div>
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<span style="color: #666666;"><i><span style="font-family: Baskerville, serif; font-size: 10.5pt;">Strategies for approaching repeating problems</span></i><span style="font-family: Baskerville, serif; font-size: 10.5pt;"> </span><span style="font-family: Baskerville, serif; font-size: 10.5pt;">presents a series of performances, presentations and talks
around the ideas explored in the exhibition,</span><span style="font-family: Baskerville, serif; font-size: 10.5pt;"> </span><i><span style="font-family: Baskerville, serif; font-size: 10.5pt;">Accidentally
on Purpose</span></i><span style="font-family: Baskerville, serif; font-size: 10.5pt;">, at Quad. Taking the notion of a repeating problem as a
starting point, invited artists, writers and curators discuss elements of
their practice within this framework. Notions of recurring issues are explored
from artistic and wider social perspectives; from difficulties inherent in
language and communication; to the way artists and writers position themselves
in relation to political events and wider social issues.</span><span style="font-family: 'Times New Roman', serif; font-size: 10.5pt;"><o:p></o:p></span></span></div>
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<span style="color: #666666;"><i><span style="font-family: "Baskerville","serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Times; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Re —</span></i><span style="font-family: "Baskerville","serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Times; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> Rachel Lois Clapham
and Emma Cocker, presented at Quad, 2012</span></span></div>
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<span style="color: #666666;"><span style="font-family: Baskerville, serif; font-size: 10.5pt;">For</span><i><span style="font-family: Baskerville, serif; font-size: 10.5pt;"> </span></i><i><span style="font-family: Baskerville, serif; font-size: 10.5pt;">Strategies
for approaching repeating problems,</span></i><span style="font-family: Baskerville, serif; font-size: 10.5pt;"> Emma Cocker and I performed a new version of Re — an ongoing
iterative project that essays the relation between meaning and intention,
hesitation and purpose, and the visible and invisible states of not knowing
within the event of practice. Re — presses on two writers coming together
to explore process, product and performance (of text).<o:p></o:p></span></span></div>
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<span style="font-family: Baskerville, serif; font-size: 10.5pt; line-height: 115%;"><span style="color: #666666;">More details on the event
<a href="https://docs.google.com/viewer?a=v&q=cache:SgMDNH6gcawJ:www.derbyquad.co.uk/sites/derbyquad/files/press-releases/Accidentally%2520On%2520Purpose%2520Exhibition%2520closing%2520event%2520in%2520QUAD%2520Derby%2520in%2520October%25202012%2520v2.doc+&hl=en&gl=uk&pid=bl&srcid=ADGEESi8cAEOAGxHSJqmGLPS4PYMxPAKwsGJat1xvJ7zYA1A0A0gDCpuXff2TSncNRPYVHLbct7gn5cdOg1fnagtZpbvdVtFLVIdqjpBXwdDrDsWxf2x1m9pHGlbm7VL7Zw_THKbS3ik&sig=AHIEtbQDGPJYznun9wTFCUMMyIopmfwYPQ">here</a> or <a href="http://open-dialogues.blogspot.co.uk/2012/09/accidentally-on-purpose.html">here</a>. </span></span></div>
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<br />Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-7900347797692302582012-10-21T20:30:00.001+01:002012-10-21T20:31:21.118+01:00#networkwriting<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Courier New, Courier, monospace;">A week of dialogue between Mary Paterson and Nathan Jones (<a data-mce-href="http://www.mercyonline.co.uk/" href="http://www.mercyonline.co.uk/" style="color: #007bff;" target="_blank" title="Mercy Online">Mercy Online</a>) in relation to 'PERFORMANCE WRITING NETWORK.'</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Starts on the Performance Writing page on Facebook (19/10/12)</span></div>
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<a data-mce-href="https://www.facebook.com/performancewriting?fref=ts&filter=2" href="https://www.facebook.com/performancewriting?fref=ts&filter=2" style="color: #007bff;"><span style="font-family: Courier New, Courier, monospace;">https://www.facebook.com/performancewriting?fref=ts&filter=2</span></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Continues on Netbehaviour (21/10/12)</span></div>
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<i><span style="font-family: Courier New, Courier, monospace;">More details to be updated soon</span></i></div>
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Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-59193745409583770182012-10-21T20:29:00.001+01:002012-10-21T20:32:39.722+01:00Thompson's Live - The Chris Goode & Co. Podcast<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #444444; font-family: Courier New, Courier, monospace;">On Monday 5th November, Mary Paterson will be joining Wendy Houstoun, Dominic Lash and Chris Goode for the fourth of Thompson's Live series of podcasts, recorded at Stoke Newington International Airport. </span><br />
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The <strong style="line-height: 23.100000381469727px; margin: 0px; padding: 0px;">Chris Goode & Company</strong><span style="line-height: 23.100000381469727px;"> podcast focuses on conversation around theatre and performance, poetry and music, arts and ideas.</span></span><br />
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More information on STK site</span><br />
<span style="color: #444444; font-family: Courier New, Courier, monospace;"> <a href="http://www.stkinternational.co.uk/STK/STK.html">http://www.stkinternational.co.uk/STK/STK.html</a></span><br />
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(And on 22nd November, listen out for Rajni Shah and John Hall)</span><br />
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Download the podcasts here:</span><br />
<span style="color: #444444; font-family: Courier New, Courier, monospace;"> <a href="http://chrisgoodeandco.podbean.com/">http://chrisgoodeandco.podbean.com/</a></span></div>
Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-20311359410629915912012-09-24T19:35:00.003+01:002012-11-11T12:41:18.499+00:00Accidentally on purpose<div>
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<span style="font-size: small; font-weight: normal; line-height: normal;"><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">By Rachel Lois</span></span></h1>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;">I am presenting a new performance reading at this event, below, in collaboration with Emma Cocker.</span> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija4zm91v_WLMaubqqx4uiHXDBFeRjq6HRsqonODVC14RDFBvkX720qZ6bcoPeV9KzIwSDwCmg1v8zf1IxigghrEfOyUMIYXk9hzw2Tc5pBEmd4vC5z-or5V0OtOgVx4biRxEfO90PS4E/s1600/David_RC_reality_effect_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija4zm91v_WLMaubqqx4uiHXDBFeRjq6HRsqonODVC14RDFBvkX720qZ6bcoPeV9KzIwSDwCmg1v8zf1IxigghrEfOyUMIYXk9hzw2Tc5pBEmd4vC5z-or5V0OtOgVx4biRxEfO90PS4E/s320/David_RC_reality_effect_3.jpg" width="320" /></a></div>
<strong style="color: #666666; font-family: Arial; font-size: 26px; line-height: 26px;"><span style="font-size: 11px;">David Raymond Conroy, </span></strong><span style="color: #666666; font-family: Arial; font-size: 11px; line-height: 26px;"><em>I know that fantasies are full of lies, </em>2012</span><br />
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><em>Emma Cocker & Rachel Lois Clapham, Fatima Hellberg, Gil Leung, Andrew McGettigan,</em><em> Francesco Pedraglio, David Raymond Conroy, Alex Vasudevan</em></span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><br /><strong>Forming part of <em>Accidentally on Purpose</em> curated by Candice Jacobs and Fay Nicolson and produced in collaboration with QUAD</strong><br /><br /><strong><a href="http://onethoresbystreet.us2.list-manage.com/track/click?u=5d04be49c539b7bf74c6c9fd7&id=905ff03b13&e=8275f5d776" style="font-weight: normal; text-decoration: none;" target="_blank">www.accidentalpurpose.net</a></strong></span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;">6 October 2012, 11am – 5pm</span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;">The Box, QUAD, Market Place, Derby, DE1 3AS</span><br />
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><strong><em>Strategies for approaching repeating problems</em></strong> presents a series of performances, presentations and talks around the ideas explored in the <strong><em>Accidentally on Purpose</em></strong> exhibition at QUAD, connecting the exhibition to wider contemporary issues in cultural production and discourse.<br /><br />From difficulties inherent in language an</span><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">d communication to the way artists and writers position themselves in relation to wider social issues, such as education and the public sphere, this event will identify an array of current or ever-present difficulties, discuss their perception from different positions and consider whether notions of progress or return are clichés or inevitable fates.<br /> </span></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;"><strong>Rachel Lois Clapham & Emma Cocker</strong><br />Artists and writers, Rachel Lois Clapham and Emma Cocker will perform a new version of <em><strong>Re</strong> —</em> an ongoing iterative project that essays the relation between meaning and intention, hesitation and purpose, and the visible and invisible states of not knowing within the event of practice.</span><br />
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<strong><span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Fatima Hellberg</span></strong></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif;">Curator Fatima Hellberg will be performing <strong><em>Wooden Eyes, Why Are You Looking at Me? </em></strong>a series of reflections on productivity and anxiety, starting with an autobiographic narrative, told from the perspective of a pencil. Turning to American economist Leonard E. Read’s ‘I Pencil’, alongside a number of other neo-liberal management treatises Hellberg explores the use of the fable and mysticism as a way of containing, and coping with vulnerability in management.<br /><br /><strong>Andrew McGettigan</strong><br />Recognising that we are in the midst of a strong push to reform education, writer and researcher Andrew McGettigan asks<em> </em><strong><em>What is Education For? </em></strong>Responding to the fall in recent GCSE and A level exam results and the rise in University tuition fees, McGettigan will probe recent shifts away from state administered and funded provision towards private educational operations that favour competition, fees and test outcomes.<br /><br /><strong>Francesco Pedraglio</strong><br />Francesco Pedraglio is an artist, writer and co-founder of the art-space FormContent. Pedraglio will be performing <em><strong>Writing methods for hands and windows</strong></em>, creating a direct link between internal and external space this performance reflects on the mechanics of storytelling in relation to the subjectivity and perception of shape and form. Speaking and <span style="font-size: 10pt;">writing directly in a foreign language, Pedraglio faces the problems associated with ‘making sense’ while delivering a story to an audience. </span><br /><br /><strong>David Raymond Conroy </strong><br />Artist David Raymond Conroy will be performing <strong><em>I know that fantasies are full of lies</em>,</strong> a talk that combines Roland Barthes' <em>Reality Effect</em>with McDonald’s advertising photography to explore imperfection’s role in creating a sense of authenticity. Using mobile phone pictures and YouTube clips, Conroy will map out what roles humility, fallibility and disappointment might have to play in seduction, desire and capitalism.<br /><br /><strong>Alex Vasudevan</strong><br />Dr. Alex Vasudevan is a Lecturer in Cultural and Historical Geography at the University of Nottingham. His research focuses on radical politics in Germany and the wider geographies of neo-liberal globalisation. He also works on the spatial politics of contemporary art. Within <em>Strategies for approaching repeating problems</em> Vasudevan aims to consider the question of failure and loss in relation to urbanism, the aesthetics of politics, and activist communities.<br /><br /><strong>Gil Leung</strong><br />Gil Leung is a writer, artist and curator based in London. She is Distribution Manager at LUX and editor of Versuch journal. She writes for Afterall and other independent publications. For <em>Strategies for approaching repeating problems,</em> Leung has been invited to chair the final panel discussion with other participants.</span></div>
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<strong style="background-color: white; color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: 13px; line-height: 19px;">For more information about the participants download this <a href="http://gallery.mailchimp.com/5d04be49c539b7bf74c6c9fd7/files/AoP_Closing_Event_A4.pdf">PDF</a></strong></div>
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<span style="color: #666666; font-family: Georgia, Times New Roman, serif; font-size: x-small;"><span style="line-height: 19px;"><b><br /></b></span></span><span style="background-color: white; color: #666666; font-family: Georgia, Times New Roman, serif; font-size: 13px; line-height: 19px;">Please email <strong><u><a href="mailto:JillC@derbyquad.co.uk" style="font-weight: normal; text-decoration: none;" target="_blank">Jillc@derbyquad.co.uk</a></u> </strong>to book a place.</span><br />
<span style="background-color: white; color: #666666; font-family: Georgia, Times New Roman, serif; font-size: 13px; line-height: 19px;"><br />Visit the QUAD website for details <u><a href="http://onethoresbystreet.us2.list-manage.com/track/click?u=5d04be49c539b7bf74c6c9fd7&id=edc5fe3206&e=8275f5d776" style="text-decoration: none;" target="_blank">www.derbyquad.co.uk</a></u> or call QUAD Box Office: <span class="skype_pnh_container" dir="ltr" skype_menu_props="{'numberToCall':'+441332290606' , 'isFreecall':false, 'isMobile':false, 'isRtl':false}" style="background-attachment: scroll !important; background-color: transparent !important; background-image: none !important; background-position: 0px 0px !important; border-collapse: separate !important; border: 0px none rgb(0, 0, 0) !important; bottom: auto !important; clear: none !important; clip: auto !important; cursor: pointer !important; direction: ltr !important; display: inline !important; float: none !important; font-size: 1em !important; 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bottom: auto !important; clear: none !important; clip: auto !important; cursor: pointer !important; direction: ltr !important; display: inline !important; float: none !important; font-size: 1em !important; left: auto !important; letter-spacing: 0px !important; list-style: disc outside none !important; margin: 0px !important; overflow: hidden !important; padding: 0px !important; page-break-after: auto !important; page-break-before: auto !important; page-break-inside: auto !important; position: static !important; right: auto !important; table-layout: auto !important; text-shadow: none !important; top: auto !important; vertical-align: baseline !important; width: auto !important; word-spacing: normal !important; z-index: 0 !important;"><img class="skype_pnh_logo_img" src="chrome-extension://lifbcibllhkdhoafpjfnlhfpfgnpldfl/numbers_button_skype_logo.png" style="background-attachment: scroll !important; background-color: transparent !important; background-image: none !important; background-position: 0px 0px !important; 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background-color: transparent !important; background-image: none !important; background-position: 0px 0px !important; background-repeat: no-repeat no-repeat !important; border-collapse: separate !important; border: 0px none rgb(0, 0, 0) !important; bottom: auto !important; clear: none !important; clip: auto !important; cursor: pointer !important; direction: ltr !important; display: inline !important; float: none !important; font-size: 1em !important; left: auto !important; letter-spacing: 0px !important; list-style: disc outside none !important; margin: 0px !important; overflow: hidden !important; padding: 0px !important; page-break-after: auto !important; page-break-before: auto !important; page-break-inside: auto !important; position: static !important; right: auto !important; table-layout: auto !important; text-shadow: none !important; top: auto !important; vertical-align: baseline !important; width: auto !important; word-spacing: normal !important; z-index: 0 !important;"><span class="skype_pnh_container" dir="ltr" skype_menu_props="{'numberToCall':'+441332290606' , 'isFreecall':false, 'isMobile':false, 'isRtl':false}" tabindex="-1"> <span class="skype_pnh_highlighting_inactive_common" dir="ltr" skypeaction="skype_dropdown"><span class="skype_pnh_textarea_span"><img class="skype_pnh_logo_img" src="chrome-extension://lifbcibllhkdhoafpjfnlhfpfgnpldfl/numbers_button_skype_logo.png" /><span class="skype_pnh_text_span">01332 290 606</span></span></span></span></span></span></span></span> </span><a href="http://onethoresbystreet.us2.list-manage1.com/track/click?u=5d04be49c539b7bf74c6c9fd7&id=0015db3262&e=8275f5d776" style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 13px; line-height: 19px; text-decoration: none;" target="_blank">www.accidentalpurpose.net</a></div>
Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-87673529612364348222012-08-09T19:10:00.005+01:002012-11-11T12:48:54.824+00:00Will you NOTA?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-GB" style="color: #999999;">Open Dialogues will be presenting NOTA as part of <i>Oh Seminar</i> at Villa Romana, Florence in September 2012. </span><span style="color: #999999;"><span lang="EN-GB" style="line-height: 115%;">As well as note-taking in response to events, we will
be presenting a performance lecture and a series of small, conversational
invitations to artists and audience members. We would like to invite you
to draft a note for us to share with seminar participants on the subject of </span><span lang="EN-GB" style="line-height: 115%;">NOTA. </span></span></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">All notes will be treated
carefully, credited and enjoyed. <span lang="EN-GB"><o:p></o:p></span></span><br />
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Thank you<o:p></o:p></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">Mary and
Rachel Lois<o:p></o:p></span></div>
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<span lang="EN-GB"><span style="color: #999999; font-family: Georgia, Times New Roman, serif;">About</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="color: #999999;">NOTA: NOT, NOTES, NOTER (NOTA), NOT/A is a framework for research that
presses on the time, place and quality of notes in relation to performance. It
is produced by Open Dialogues towards a sometime set of performance writing
tools. <span lang="EN-GB">Oh Seminar is a three day artist-led programme that
questions writing, reading and the seminar as forms of knowledge transmission;
curated by Mirene Arsanios and Valerio Del Baglivo. </span></span><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="color: #999999; font-family: Georgia, Times New Roman, serif;">www.villaromana.org</span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-71887645506540548412012-06-23T09:42:00.004+01:002012-11-11T12:42:59.678+00:00Writing Machine: Live Art UK Gathering<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;">by Mary Paterson</span></span></div>
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<span style="font-family: Verdana, sans-serif;">Live Art is not interested in the
articulation of real talent; live art is interested in the articulation of real
desire. <b>If you can tolerate this,
then see what’s coming next. </b></span><span style="font-family: Verdana, sans-serif;">Art is the name for all
the things we do that try to change the world. </span><b><span style="font-family: Verdana, sans-serif;"> A lot of direct
action is bad performance. </span></b><b><span style="font-family: Verdana, sans-serif;"> </span></b><b><span style="font-family: Verdana, sans-serif;"> </span></b><span style="font-family: Verdana, sans-serif;">Online space is
corporately owned, private space.</span><b><span style="font-family: Verdana, sans-serif;"> </span></b><b><span style="font-family: Verdana, sans-serif;">Good things happen on the periphery.
</span></b><span style="font-family: Verdana, sans-serif;">Is it important that I like the work that I produce?
</span><span style="font-family: Verdana, sans-serif;"> </span><b><span style="font-family: Verdana, sans-serif;">How things are valued is very much to do with where
they are – that’s not right, but it is a fact.</span></b><b><span style="font-family: Verdana, sans-serif;"> </span></b><b><span style="font-family: Verdana, sans-serif;"> </span></b><span style="font-family: Verdana, sans-serif;">We are interested in artists; but what we’re really
interested in is ideas. <b>I promise
you, I never deliberately programmed any live art.</b></span><span style="font-family: Verdana, sans-serif;">
None of this is new, but what it is, these days, is really fashionable.</span><span style="font-family: Verdana, sans-serif;"> <b>There
is no work that is not participative – so what are we talking about when we say
“participation” and “engagement”?<br /><o:p></o:p></b></span><span style="font-family: Verdana, sans-serif;"> </span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">A collection of statements from the
Live Art UK Gathering, BAC June 2012. <o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;">Stacy Mackishi.</span><span style="font-family: Verdana, sans-serif;"> <b>Matt</b> <b>Ball. </b>Andy Field.<b> </b></span><b><span style="font-family: Verdana, sans-serif;">Kevin Smith. </span></b><span style="font-family: Verdana, sans-serif;">Boo Chapelle.</span><span style="font-family: Verdana, sans-serif;"> <b>Louise
Jeffreys. </b>Joshua Sofaer<b>. </b></span><b><span style="font-family: Verdana, sans-serif;">Lyn Gardner</span></b><b><span style="font-family: Verdana, sans-serif;">. </span></b></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Helen
Marriage.<b> Louise Jeffreys. </b>Helen
Marriage. </span><b><span style="font-size: x-small;"> Joshua Sofaer. </span><span style="font-size: xx-small;"><o:p></o:p></span></b></span></div>
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Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-76994008848928640252012-06-10T16:33:00.001+01:002012-11-11T12:49:39.010+00:00NOTA at SHOWTIME<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US"><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">By Rachel Lois and
Mary</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2e9JyGM1YwETK8FtTxZ-uLbdkvl9xJY9C738-kH25IXpXKb4cKAW4eZXVHzmWBuiSoi6KgVGAOUkkQhVSKN6lVieHc8ZxwSRfw3KBdiCmg9UgqDnP2uK7Qvt2BbFIumuxnhI15i9dOAs/s1600/RotaryDateTimeStamp-e1339168509475.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2e9JyGM1YwETK8FtTxZ-uLbdkvl9xJY9C738-kH25IXpXKb4cKAW4eZXVHzmWBuiSoi6KgVGAOUkkQhVSKN6lVieHc8ZxwSRfw3KBdiCmg9UgqDnP2uK7Qvt2BbFIumuxnhI15i9dOAs/s320/RotaryDateTimeStamp-e1339168509475.gif" width="319" /></span></a></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">Open Dialogues has
been commissioned by Present Attempt to produce documents from <a href="http://www.show-time.org.uk/" target="_blank">SHOW TiME</a>, a
programme of performances taking place from 15-17 June at Rich Mix.</span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US">For </span><a href="http://www.show-time.org.uk/" target="_blank">SHOW TiME</a><span lang="EN-US"> Open
Dialogues will take up position at a writing station in the audience. We will use a manual stamp to </span>NOTA moments of the event in a series of time stamped documents. The documents will explore the time, place and quality of notes in relation to performance.</span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">The
<a href="http://www.show-time.org.uk/" target="_blank">SHOW TiME</a> project is part of Open Dialogues’ framework for research for 2012 - NOTA:
NOT, NOTES, NOTER (NOTA), NOT/A, towards a sometimes set of performance writing
tools. It explores documentation as a
medium within the context of collaboration, liveness and public space. </span><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">After
</span><a href="http://www.show-time.org.uk/" style="font-family: Georgia, 'Times New Roman', serif;" target="_blank">SHOW TiME</a><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"> a
selection of NOTA documents will be published online, along with an accompanying conversation
between Mary and Rachel Lois about our work. </span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US"><b>About</b><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US"><a href="http://www.show-time.org.uk/" target="_blank">SHOW TiME</a> is an artist-led event which creates </span><span lang="EN-US">a
vibrant, hospitable and unusual weekend of </span><span lang="EN-US">performance that makes </span><span lang="EN-US">more space for experimental work in
professional venues. Curated and produced </span>by artists Present
Attempt, the weekend blends work-in-development and rarely seen pieces in a
series of <span style="line-height: 115%;">dynamic and provoking sessions.</span></span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><span style="line-height: 14px;">This year's programme includes </span><a href="http://www.show-time.org.uk/showtime/show-time-3/rachel-mars-%e2%80%93-spoiling-it-for-everybody-else/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Rachel Mars and Rosie Kelly Spoiling It For Everyone Else">Rachel Mars and Rosie Kelly</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/present-attempt-m-o-u-s-e/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Present Attempt – M.O.U.S.E">Present Attempt</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/bill-aitchison-company-indifference/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Bill Aitchison Company – Indifference">Bill Aitchison Company</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/augusto-corrieri-musical-pieces/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Augusto Corrieri – Musical Pieces">Augusto Corrieri</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/karen-christopher-sophie-grodin-control-signal/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Haranczak/Navarre Performance Projects – Control Signal (work in progress)">Haranczak/Navarre Performance Projects</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/yoko-ishiguro-occupied/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;">Yoko Ishiguro</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/chloe-dechery-a-duet-without-you/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Chloé Déchery – A Duet Without You">Chloé Déchery</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/joseph-mercier-good-boy/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Joseph Mercier – Good Boy">Joseph Mercier</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/seke-chimutengwende-friends-mr-lawrence/" style="background-color: white; line-height: 18px; outline: none; text-align: -webkit-auto;" title="Seke Chimutengwende & Friends – Mr Lawrence">Seke Chimutengwende & Friends</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/mischa-twitchin-with-penny-francis-the-field-of-memory-and-in-the-zone-of-stones/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Mischa Twitchin with Penny Francis – The Field of Memory and In the Zone of Stones">Mischa Twitchin with Penny Francis</a>, <a href="http://www.show-time.org.uk/showtime/show-time-3/head-of-a-woman-grey-matters-a-play-for-six-brains/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;">Head of a Woman</a> & <a href="http://www.show-time.org.uk/showtime/show-time-3/lisa-jeschke-and-lucy-beynon-hes-dead-hes-dead-ive-shot-him-in-the-head%c2%a0sections-i-ii-iii/" style="background-color: white; line-height: 18px; text-align: -webkit-auto;" title="Lisa Jeschke and Lucy Beynon – he’s dead / he’s dead / i’ve shot him in the head (sections I-II-III)">Lisa Jeschke and Lucy Beynon</a> and takes place at <a href="http://www.richmix.org.uk/" target="_blank">Rich Mix</a>, in East London. </span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">Book tickets <a href="http://www.richmix.org.uk/whats-on/festival/show-time/" target="_blank">here</a>.</span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><b><span lang="EN-US">Present Attempt </span></b><span lang="EN-US">is a collective of artists making and
producing collaborative, interdisciplinary </span>performance works including studio-based pieces, interventions,
writing and research. Present Attempt <span style="line-height: 115%;">are
James Bush, Alex Eisenberg and John Pinder.</span></span><br />
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<span lang="EN-GB"><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><b>Open
Dialogues</b> is a UK collaboration, founded by Rachel Lois Clapham and Mary
Paterson, that produces writing on and as performance. As Open Dialogues Rachel
Lois and Mary have worked internationally with Pacitti Company (UK), Performa
(US), Performance Saga (CH) and Wooloo Productions (DE) amongst others. In 2012,
their work focuses on NOTA; towards a
sometimes set of performance writing tools.
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Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-54648377968499590572012-06-03T13:01:00.002+01:002012-11-11T12:54:03.627+00:00SOB BASIC<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif; font-size: xx-small;">By Rachel Lois Clapham</span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">A WRITING STATION is used to produce short texts live and in public. The WRITING STATION includes two typewriters, little pebbles, white A4 80gsm and black carbon copy paper (it generally keeps things close to the ground). The invitation is to type, punch-in and publish. There and then. The texts act variously as gift, context, conversation slip or document/ation at the discretion of the typist.</span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">ABOUT </span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">SOB BASIC (initially entitled DocU) was first performed by David Berridge (<a href="http://verysmallkitchen.com/">VerySmallKitchen)</a> and Rachel Lois Clapham (<a href="http://www.opendialogues.com/">Open Dialogues</a>) at <a href="http://www.inxclusion.com/">(in)Xclusion </a>at East Street Arts, Leeds March 2012. It is part of NOTA: NOTES, produced by Open Dialogues towards a sometime set of pedagogic performance writing tools.</span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">A gathering of resources on typewriter as art-writing practice, compiled by VerySmallKitchen, can be seen <a href="http://verysmallkitchen.com/2012/02/25/sob-basic-wirtten-with-a-wooden-laptop-typewriter-as-art-practice/">here</a>. TYPE TYING TYPINGS TYPIST TYBE, a dialogue on the typewriter with artist Marianne Holm Hansen, is <a href="http://verysmallkitchen.com/2012/02/23/type-tying-typings-typist-tybe/">here</a>. David's published reprise on SOB BASIC is <a href="http://verysmallkitchen.com/2012/09/04/sob-basic-wirtten-on-a-wooden-laptop-reprise/">here</a>. </span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">Rachel Lois Clapham is Co-Director of Open Dialogues; a UK collaboration, founded by Rachel Lois Clapham and Mary Paterson, that produces writing on and as performance. opendialogues.com @rachellois1</span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">David Berridge is a writer based in London. He curates VerySmallKitchen and is writer in residence at X Marks the Bökship</span><br />
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-64941101581091867622012-05-20T20:33:00.001+01:002012-05-22T20:40:22.420+01:00Are We Asking For it?<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: x-small;">by Mary Paterson</span><br />
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<b>Are We Asking For It?</b> is a score for remote performance. It's a pop song of questions, shouted at the top of your voice, to whoever is listening. It is (not) a protest and it is (not) part of the global Occupy movements.<br />
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I first wrote the score as <b>Getting to Know You</b>, for<a href="http://imwithyouclapton.wordpress.com/2011/12/07/im-with-you-occupy-london/" target="_blank"> <i><span style="color: blue;">I'm with you: Occupy London</span></i></a>, an evening of performances curated by I'm With You for the Bank of Ideas, at the Occupy London protest camp in December 2011.<br />
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Like the original, <b>Are We Asking For It?</b> is a performance score for three people. The three performers are passers by or audience members invited to read the score - a series of questions that should be read (or shouted) in three minutes: the length of the average pop song. It has been written for Occupy Zeitgest, an exhibition about the global Occupy movements, which is taking place at <a href="http://www.gallery25.org/" target="_blank"><span style="color: blue;">Gallery 25</span></a> in Fresno, California in June 2012, curated by Janice Ledgerwood.<br />
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The relationship between live art and protest movements in Europe and the US stretches back to the early 20th century, when Dada and Futurist performances were used as strategies of radical disruption. Contemporary protest groups like UK Uncut use live art as a form of direct action against government policy. Art in all its forms is an important part of the worldwide Occupy movements, which rely on the rapid spread of ideas through social networks as well as traditional media channels.<br />
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What are the currencies of artistic strategies in the context of protest? What kind of participation does artistic protest demand, and who is participating? Are avant garde strategies aligned to forms of radical individualism, or collective action?<br />
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<u>Extract from Are We Asking For it? </u><br />
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<span style="font-family: 'Courier New', Courier, monospace;">Do you like to stand too close to
people on purpose?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">Do you prefer conversation,
fashion or physical comfort?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">Can you bear the sound of other
people breathing?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">Do you think it is warmer in
cities?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">If you saw me crying on public
transport, would you offer to help?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">How many people do you need to
make you feel anonymous?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">What is keeping you?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">What is keeping you here?</span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">Are you asking for it?<o:p></o:p></span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">Are you asking for it now?</span></div>
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<span style="font-family: inherit;"><u>About Gallery 25</u></span></div>
<span style="font-family: inherit;"><span style="line-height: 14px;">Formed in 1974, Gallery 25 is one of the oldest cooperative galleries in the country. Located in downtown Fresno, the gallery has been a forum for contemporary art since its inception.</span></span><br />
<span style="font-family: inherit;"><span style="line-height: 14px;"><br /></span><span style="line-height: 14px;">The gallery was founded by Joyce Aiken, professor of art at California State University, Fresno. Professor Aiken was the director of the second Feminist Art program (the first program was created by Judy Chicago at CSUF in 1970). The program focused on women creating artwork from their experience as women. By establishing the gallery, Aiken gave the women in the program the chance to exhibit their work to the public and gain professional experience as artists.</span></span><br />
<span style="font-family: inherit;"><span style="line-height: 14px;"><br /></span><span style="line-height: 14px;">The 25 founding members began exhibiting at 1986 Echo Street, moving to a larger space at 1526 Fullton Street in 1981. The gallery opened its doors to men as well as women in 1989. </span><span style="line-height: 14px;">To expand its quarters in April of 2004, the gallery moved to its present location, 660 Van Ness, adjacent to several other galleries and artist studios.</span></span><br />
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<span style="line-height: 14px;"><span style="font-family: inherit;">Gallery 25 is a non-profit organization dedicated to educating the public. Seminars, discussion groups and classes are held in relation to exhibits. The gallery also participatges in international exhibitions and gallery exchanges.</span></span></div>
<br /></div>Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-65040410181191640442012-05-16T19:10:00.000+01:002012-11-11T12:51:45.314+00:00In The Presence of Multiple Possibilities<br />
<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif; font-size: xx-small;">By Rachel Lois</span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">I have been invited to contribute to an exhibition/ publication by Ordinary Culture, as part of the exhibition In The Presence of Multiple Possibilities at <a href="http://www.frenchriviera1988.com/information">French Riviera, London</a>. </span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">My contribution entitled ? MARK (Question Mark Mark) takes the form of five discrete A5 elements interspersed across the publication. Each A5 page is a pared down, poetic piece that offers a definite speculation, a wayward marker and ultimately a question mark mark. </span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Background to the exhibition</span><br />
<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">In The Presence of Multiple Possibilities combines sculpture, video, performance and publication to draw attention to, and attempt to manifest, the discrepancy between predicted future and actual outcome.</span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">The exhibition brings together eight artists who explore the complex contingencies of translation, spontaneity, prediction and speculation. Either creating a structure for a continued development or deliberately leaving a work incomplete or uncertain, their works provide a space for the contemplation of multiple possible outcomes. Whether durational or static, all of the works hint towards their role in a longer trajectory. The project will include new commissions by Kimi Conrad, Matthew Noel-Tod and a commissioned publication by collective Ordinary Culture (formerly YH485). Ordinary Culture’s contribution to the project explores the publication as incomplete and subject-to-change, encouraging the participation of the audience in the materialisation of the exhibition’s legacy. </span><br />
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Organised by MA Curating Contemporary Art students at the Royal College of Art, the project is funded by Arts Council England through Wysing Arts Centre’s Escalator Programme. </span><br />
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<br />Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-62734425574156376822012-04-29T20:19:00.001+01:002012-04-29T20:20:42.847+01:00Performance Writing Weekender<br />
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<span lang="EN-GB"><span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Open Dialogues are currently preparing to contribute
to the Performance Writing Weekender at the Arnolfini, Bristol 3-5 May. <o:p></o:p></span></span></div>
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-GB">The Performance Writing Weekender </span>involves live
performances, a temporary library, and an exhibition of Performance Writing. The
weekend also comprises chaired panel discussions on cross disciplinary writing, looking at how
to support it and its artists nationally, both in and out of academic
institutions. Articles, excerpts of discussions and examples of participants
work will also feature a special edition of Journal of Writing in Creative
Practice. Details of the line up can be found <a href="http://www.arnolfini.org.uk/downloads/misc/PWweekendApril.pdf">here.</a> <o:p></o:p></span></div>
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<span style="color: #666666; font-family: Georgia, 'Times New Roman', serif;">Rachel
Lois will contribute to the temporary library, giving participants a chance to
(w)read a special boxed edition of (W)reading Performance Writing : A Guide.
Available as a freely downloadable PDF commissioned by the <a href="http://www.thisisliveart.co.uk/resources/Study_Room/guides/rachel_lois_clapham_guide.html">Live Art Development Agency</a>, the guide is used on
the Arnolfini’s <a href="http://www.arnolfini.org.uk/whatson/events/details/1107">MA Performance Writing</a> and features <span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; line-height: 115%;">practitioners from diverse fields of poetry,
theatre, visual art and performance on the topic of Performance Writing</span>. See it in Bristol, or download it <a href="http://www.thisisliveart.co.uk/resources/Study_Room/guides/rachel_lois_clapham_guide.html">here.</a> <o:p></o:p></span></div>
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<span style="color: #666666;"><span style="font-family: Georgia, 'Times New Roman', serif;">Mary
will be participating in the panel and audience discussion ‘Future of
multi-media writing’, which looks at the
opportunities posed to inter-media or cross-disciplinary writing by the digital.
Participants are John Hall (UCF), Lucy English (Bath Spa), Christine Atha
(Arnolfini), Mary Paterson (Open Dialogues) and Nathan Jones (Mercy Online). </span><span style="font-family: 'Book Antiqua', serif;"><o:p></o:p></span></span></div>
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<br /></div>Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-66847914215837293532012-04-27T21:21:00.001+01:002012-04-27T21:21:48.724+01:00Access All Areas: Live Art and Disability, Eds. Lois Keidan & CJ Mitchell<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPoC2xlKWKCBxS-1cIhTvNV6rjksR1ELMaTnbBTlvKs9r9l-6CH6kRCZO2qVPcXXSuFRdARuAd71N3b9UMzrmIj38SCwRYXjP5o-vX7uHqPhYN1td6zFeZYs99oYoRntt_euSGBk6VHnb8/s1600/aaa_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPoC2xlKWKCBxS-1cIhTvNV6rjksR1ELMaTnbBTlvKs9r9l-6CH6kRCZO2qVPcXXSuFRdARuAd71N3b9UMzrmIj38SCwRYXjP5o-vX7uHqPhYN1td6zFeZYs99oYoRntt_euSGBk6VHnb8/s1600/aaa_cover.jpg" /></a>A new publication about Live Art and Disability, arising from last year's Access All Areas event at Club Row, London E1. <br /><br />Access All Areas is published by the Live Art Development Agency, who write:<br />
<br /><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 14px; text-align: -webkit-auto;">"Access All Areas is a combination of artists’ writings, creative dialogues, critical commentaries and DVDs featuring documentation of artists’ presentations and performances spanning 20 years, which reflect the ways in which Live Art has represented issues of disability in inventive and radical ways. This 200 page publication and double DVD set has been developed from the groundbreaking Access All Areas public programme of performances, screenings and talks produced by the Agency in March 2011"</span><br />
<span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 14px; text-align: -webkit-auto;"><br /></span><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 14px; text-align: -webkit-auto;">The publication includes two essays by Mary Paterson: 'Reflections on Access All Areas' (first <a href="http://open-dialogues.blogspot.co.uk/2011/03/reflections-on-access-all-areas.html">published on this blog</a>) and 'Undress Redress." </span><br />
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<span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 14px;">It is available to buy from the Live Art Development Agency's online platform, Unbound</span></div>
<a href="http://thisisunbound.co.uk/index.php?main_page=product_book_info&cPath=23&products_id=350">http://thisisunbound.co.uk/index.php?main_page=product_book_info&cPath=23&products_id=350</a><br />
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</div>Open Dialogueshttp://www.blogger.com/profile/04726480848884587812noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-69544699962417159052012-03-27T21:14:00.000+01:002012-11-11T12:53:37.125+00:00OF FINGERBy<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"> Rachel Lois</span><br />
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">I have been
invited by Megan and Phil of Tertulia to present my work at Spike Island in
association with Arnolfini on April 10. <sup><o:p></o:p></sup></span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">I will be
presenting OF FINGER- a talk from recent scores, readings and live performances
that presses on embodied acts of (w)reading and writing, finger(ing) texts and
pointing to pointing at things. I will bring a selection of recent publications
with me to Spike Island for participants to read and buy, including a special (travelling) edition of <a href="http://www.thisisliveart.co.uk/resources/Study_Room/guides/rachel_lois_clapham_guide.html">(W)reading
Performance Writing : A Guide</a> (Live Art Development
Agency). I hope to see some of you there. Thanks.</span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">Tertulia’ is a Spanish word ordinarily applied to social
gatherings with literary, artistic or bohemian overtones.<span class="apple-converted-space"> </span> <a href="http://www.blogger.com/goog_1558299026">Tertulia</a><a href="http://tertuliablog.wordpress.com/"> </a>is supported by <a href="http://www.arnolfini.org.uk/">Arnolfini</a> and <a href="http://www.blogger.com/goog_1558299031">Spike Island. </a><a href="http://www.spikeisland.org.uk/"> </a><o:p></o:p></span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">Rachel Lois Clapham produces writing on and
as performance as part of UK collaboration <a href="file:///C:/Documents%20and%20Settings/rachellois/My%20Documents/rachels%20stuff/ind%20practice/tertitula/wwwopendialogues.com">Open Dialogues</a> and curates radical writing with the Arts Council
partnership <a href="http://writingencounters.squarespace.com/in-a-word/"><i>In a word</i>….</a> Her own practice points...,
punctuates movement and presses on physical gestures as text. Work includes <a href="http://www.blogger.com/goog_1558298981">Re-</a><a href="http://open-dialogues.blogspot.co.uk/2010/02/re.html"> </a>(PSL Gallery, Norwich Arts Centre and John Latham
Archive), <a href="http://www.blogger.com/goog_1558298988">WORK TRY HARD</a><a href="http://www.kaleideditions.com/eshop/what-are-artists-books/performancewriting"> </a>(Kaleid Editions) and WRITING the SPACE (<a href="http://www.wildpansypress.com/index.php?/about-wild-pansy-press/">Wild Pansy Press</a>). In 2012 she is performing and publishing with <a href="http://otherroom.org/">The Other Room</a>, <a href="http://www.lemonmelon.org/">Lemonmelon</a>,
<a href="http://www.knivesforksandspoonspress.co.uk/theknivesforksandspoonspress/HOME.html">Knives, Forks and Spoons Press</a>, <a href="http://verysmallkitchen.com/">VerySmallKitchen </a> and <a href="http://open-dialogues.blogspot.co.uk/">Open Dialogues</a>. </span></div>
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<span style="font-size: 11px; line-height: 12px; text-align: center;"><span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;">Image c- Re- (Unfixed) Rachel Lois Clapham and Emma Cocker 2010. </span></span>
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<br />Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0tag:blogger.com,1999:blog-1510522739023607108.post-26851260127833589392012-03-10T10:53:00.002+00:002012-11-11T12:55:27.938+00:00Inside Performance Volume 24 no 2. 2011<br />
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<span lang="EN-GB" style="font-family: 'Book Antiqua', serif;">By Rachel Lois<o:p></o:p></span></div>
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My column for this issue of Dance Theatre Journal features the latest
manifestation of the score <i>How is Art Writing?
</i>‘How is Art Writing?’ was originally performed in 2009 by Mary Paterson for
the launch of <a href="http://thisisunbound.co.uk/index.php?main_page=product_book_info&products_id=266">RITE </a>at <a href="http://www.projectspaceleeds.org.uk/">PSL Leeds </a>as part of <a href="http://writingencounters.squarespace.com/in-a-word/">In a word</a>. </span><span style="font-family: 'Book Antiqua', serif;">It was made in proximity to (1) a green
pepper on Rachel Lois’s kitchen table at the time of writing and (2) Rachel
Lois and Alex Eisenberg’s text ‘? MARK’ for RITE, a text that presses on the particular
space created by questions, including impossible questions.<o:p></o:p></span></div>
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<span style="font-family: 'Book Antiqua', serif;">How is Art Writing?<o:p></o:p></span></div>
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<span style="font-family: 'Book Antiqua', serif;">Impossible
questions that open up a definite but speculative space for saying something
about </span><span style="font-family: 'Book Antiqua', serif;">Art Writing</span></div>
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<i><span lang="EN-GB" style="font-family: 'Book Antiqua', serif;">How is
Performance Writing?</span></i><span lang="EN-GB" style="font-family: 'Book Antiqua', serif;"> has been re-made in 2011 for the particular context
and form of Dance Theatre Journal. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua', serif;">First remove Art and insert PERFORMANCE. Then break the score up into pink units via
pink French index or Fiche cards.
Gradually condense, diagram and re-arrange the units over a period of
days (in between doing lots of other things). Pay particular attention to the
grid aspect, what is on the BACKSIDE of the cards, printing mistakes, folded
corners and punctuation. Note handwriting. Spread the resulting composition across
the whole magazine to create a sense of fragmentation and pace. Note the
see-through nature of the gridded cards when holding one page in one hand. <o:p></o:p></span><br />
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<span lang="EN-GB" style="font-family: 'Book Antiqua', serif;">READ. <o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; font-family: Tahoma, sans-serif;"><i>Inside Performance</i> is a serialised writing project developed by Rachel
Lois Clapham for Dance Theatre Journal. Taking the form of a regular newspaper
or magazine column Inside Performance is a personal journey into the practice
of writing from or as performance from Rachel Lois’ position as a writer and
Co-Director of Open Dialogues. The column features Rachel Lois' own writing, as
well as conversations, commissions, page works and texts from other artists.<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; font-family: Tahoma, sans-serif;">Dance Theatre Journal is the UK's leading magazine for dance and live
art. Published four times a year, Dance Theatre Journal contains reviews,
features, interviews and in-depth discussions by leading dance writers and
artists, as well as talented new writers. It also includes up-to-date listings
of dance performances and workshops throughout the UK. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif;">Previous columns feature here: <o:p></o:p></span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; line-height: 115%;"><a href="http://open-dialogues.blogspot.com/2009/03/inside-performance.html">Volume 23 no. 2 </a></span><br />
<span lang="EN-GB"><o:p></o:p></span></span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><a href="http://open-dialogues.blogspot.com/2010/10/inside-performance-dance-theatre.html">Volume23 no. 4 </a></span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><a href="http://open-dialogues.blogspot.com/2011/03/inside-performance-volume-24-no1-2011.html">Volume 24 No1</a> </span></div>
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<span style="color: #999999; font-family: Georgia, 'Times New Roman', serif;"><a href="http://open-dialogues.blogspot.com/2011/11/inside-performance-vol-24-no-3-2011.html">Volume 24.No3</a> </span></div>
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Open Dialogueshttp://www.blogger.com/profile/17693487238071033388noreply@blogger.com0