Wednesday, 7 April 2010

Audience horror stories and ‘The Many Headed Monster’ by Joshua Sofaer

written by Mary Paterson

We all have a horror story like this one. It was a Sunday night in Battersea. I was given a lollypop as I entered the room. Someone said, ‘feel free to walk around the space.’ The space was filled with raw chickens hanging from the ceiling like fat, dimply, headless men. I did not feel free to walk around, but, like the rest of the audience, clung to the walls with a growing sense of unease. Artists began to manipulate chickens enthusiastically. They tried to get the audience to ‘participate’ by flinging bits of flesh our way. I left when a piece of fowl landed in my wine.

Audiences, naturally, sit at the centre of any artwork. They’re invited to watch, asked to immerse, encouraged to join in. The relationship between artist and audience is delicate and personal, and the more unusual the artistic method (for example, the further a piece of performance gets from the proscenium arch), the more carefully the artist must consider who and how is her audience.

Joshua Sofaer’s new publication, The Many Headed Monster, published by the Live Art Development Agency, promises to be an indepth look at the relationship between artists and audiences. It is a boxed set containing a lecture, a DVD and image cards. Most importantly, it knows exactly who it’s aimed at. The Live Art Development Agency says:

‘Monster has been specifically conceived and created with higher education in mind as a tool kit that can be used as a resource to undertake personal research, or as an illustrated lecture suitable for students at all levels, or as a template for workshop and seminar programmes, or even as the foundation for an entire teaching module.’

I don’t know why it’s called The Many Headed Monster yet (I’ll be heading to the launch event on 8th April to find out), but I hope it has nothing to do with horror stories. There are two events to mark the launch – one at Tate Modern on the evening of April 8th, and one at Whitechapel Gallery on the afternoon of 7th May. For more information, including the type of audience each event is aimed towards, and how to buy the publication for a special launch price, follow this link to the Live Art Development Agency website.

Tuesday, 6 April 2010

Notes towards a navigation through Unbound: from U for Unbound to A for Authority.

by Mary Paterson


In 2009 I began a residency at the Live Art Development Agency.

res•i•den•cy [rez-i-duh n-see] –noun,plural-cies.
1. residence (def. 3).
2. the position or tenure of a medical resident.
3. (formerly) the official residence of a representative of the British governor general at a native Indian court.
4. (formerly) an administrative division of the Dutch East Indies.
[["residency." Dictionary.com Unabridged. Random House, Inc. 31 Mar. 2010. .]

I have been looking at Unbound, which is the Agency’s online publication and distribution arm. Unbound is an online shop for books, documentation and the paraphernalia surrounding live art. It is also a commissioning platform for new works, and as such it stocks art historical text books like (for example) Body Art by Amelia Jones, as well as limited edition, commissioned artworks made to mark the Live Art Development Agency’s 10th birthday, which are exclusive to Unbound.
res•i•den•cy ['re-z&-d&n-sE] –noun, plural -cies
1. an often official place of residence
2. the condition of being a resident of a particular place
["residency." Merriam-Webster's Dictionary of Law. Merriam-Webster, Inc. 31 Mar. 2010. .]

At the Art Writing Field Station event in Leeds last week, I presented some notes towards the text I’m writing for the residency. I described Unbound as my field of study. “Imagine that we are looking.” I wrote, “Imagine that this is what we find – a series of resources labelled Unbound; a metaphorical sheaf of published and commissioned paraphernalia connected to the suggestion of live art. Imagine that this website Unbound is the field of study.”

But a field of study is normally a finite entity, and Unbound is not finite in two important ways. Firstly, it is effectual: unlike an archive, it does not simply claim to record a set of influences, but also to define those influences and shape the discipline. Secondly, it points to resources, but does not map their contents. You have to click on the elegant photographs, enter your credit card details, and wait for a parcel before you can access the knowledge described on Unbound.

res•i•den•cy [rez-əd-ən-sē] –n, pl -cies
: a period of advanced medical training and education that normally follows graduation from medical school and licensing to practice medicine and that consists of supervised practice of a specialty in a hospital and in its outpatient department and instruction from specialists on the hospital staff
["residency." Merriam-Webster's Medical Dictionary. Merriam-Webster, Inc. 31 Mar. 2010. .]

But it is this oblique relationship to knowledge that interests me about Unbound.

residency: The position or term of a medical resident; The position of a musical artist who commonly performs at a particular venue; The condition of being a resident of a particular place; The home or residence of a person, especially in the colonies
en.wiktionary.org/wiki/residency accessed 31st March 2010

Unbound does not represent knowledge, but it does give information about it. And information is, of course, another kind of intellectual resource; arguably, one that is more relevant to contemporary living than the weighty facts of knowledge.

I remember sitting round the kitchen table when I was 11 or 12, helping my brother learn the capital cities of the world so that he could pass an exam. He was sliding round the kitchen in his socks and he learnt the capital cities by rote, to the rhythm of his body making laps of the table.

No-one needs this kind of knowledge anymore. It’s all available on the internet, and so accessing the internet is more important than being able to remember words or phrases. This amounts to a change in status that I think of as a change of location. The names of the capital cities of the world are no longer resident in the bodies of schoolchildren. Instead, they live in a shared, virtual system that everyone can access, but which no-one needs to possess. It is a change in status from knowledge to information.

residency: The location that a student is deemed to live for the purpose of funding.
www.learnnowbc.ca/course_finder/glossary.aspx accessed 31st March 2010

What does it mean to have access to “a shared, virtual system”? Is it the same thing as “virtual memory”? Or “cultural knowledge”? Or “common sense”?

residency: Please refer to the Residency Classification Guidelines.
www.umich.edu/~regoff/tuition/explanation.html accessed 31st March 2010

In Leeds, I asked Simon Zimmerman to read out the text I had written, which was about memory and meaning. I asked him to insert some of his memories into my text. He talked about childhood games with his sister, and about travelling on buses with his aunt. When he spoke his memories he lifted his head from the script, and the left corner of his mouth rose in a shy smile. Everyone in the room was captivated.

residency: they tax anyone who lives there, regardless of citizenship;
www.answers.com/topic/multiple-citizenship accessed 31st March 2010

It reminded me of the time when something traumatic happened to a friend of mine. The event was so traumatic, that to describe it was to hold an audience’s attention. After I had described the event to people, they would retell the story elsewhere. Soon, people who did not know my friend would tell the story of the traumatic event. Sometimes I would find myself in a crowd of people where I was known as the person who had a friend who had been affected by this traumatic event. One or two people admitted that they were jealous of me for being so close to such a shocking incident. Nevertheless, they restyled my feelings into their own language. The event had become “common knowledge”, or “cultural memory”, or perhaps “virtual sense.”

Main Entry: domicile/ Part of Speech: noun/ Definition: human habitat/ Synonyms: abode, accommodation, apartment, castle, co-op, commorancy, condo, condominium, crash pad, dump, dwelling, habitation, home, house, joint, legal residence, mansion, pad, rack, residence, residency, roof over head, roost, settlement
http://thesaurus.com/browse/residency, accessed 31st March 2010

After Simon had finished speaking at Art Writing Field Station, we had a short discussion. Emma Cocker (who made a presentation later that morning in relation to rhizomatic diagrams on graph paper that refer, obliquely, to the knowledge and information of her studio and her practice) said that she had been thinking about ‘residency.’ She said (rhetorically): ‘What does it mean to take residency inside someone else’s text?’ Simon said that he was interested in parasitic writing – writing that lives off another source.

Main Entry: dwelling/ Part of Speech: noun/ Definition: home/ Synonyms: abode, castle, commorancy, den, digs, domicile, dump, establishment, habitat, habitation, haunt, hole in the wall, house, lodging, pad, quarters, residence, residency
http://thesaurus.com/browse/residency, accessed 31st March 2010

Aren’t we all parasites? Quotations, definitions, references, libraries, archives, styles, fashions, networks, nods, winks … the building blocks of culture are other people’s ideas. Or, as it says on the gates of the British Library, ‘An original idea. That can’t be too hard. The library must be full of them’ (Stephen Fry). Or to put it another way, we’re all ‘standing on the shoulders of giants’ (Isaac Newton). Or, to put it another way, the moment when you know you are an adult, when you know that you are symbolically present and able to participate in your culture, is when you realise that everyone else is making it up as well (Mary Paterson). Authority is the relative value that we ascribe to cultural artefacts, which turns them into shared experience, implicit or otherwise.

par•a•site [par-uh-sahyt]–noun
1. an organism that lives on or in an organism of another species, known as the host, from the body of which it obtains nutriment.
2. a person who receives support, advantage, or the like, from another or others without giving any useful or proper return, as one who lives on the hospitality of others.
3. (in ancient Greece) a person who received free meals in return for amusing or impudent conversation, flattering remarks, etc.

Perhaps the difference between being a parasite and being a resident is ‘any useful or proper return.’ While a residency is defined by its location, a parasite is defined by its (lack of) production. My work in relation to Unbound is parasitical. It uses the resources to gain nutriment, without offering any of its own. But it is also about location – the location of knowledge, the location of information, and the location of meaning.

The Parasite is the name of several fictional characters that appears in Superman comic book stories published by DC Comics. ...
en.wikipedia.org/wiki/Parasite_(comics) accessed 31st March 2010


Tuesday, 30 March 2010

18:31:01/ 18:44:38 / 18:56:25/ 19:13:09/ 19:48:07. 20:45:04

By Mary Paterson


A field analysis of Art Writing Field Station according to Instruction, Memory, Performance, Quotation and Time.

Notes from Art Writing Field Station, curated by A Very Small Kitchen. Patrick Studios, East Street Arts, Leeds, Saturday 26th March 2010, by Mary Paterson

Beginning: Flourescent light over platform 8b of Leeds Train Station: 18:31:01

Instruction: When I say matter, I don’t mean it literally.

Memory: It is a white room with a high ceiling, wooden beams and tall thin windows. Performance: When he speaks away from the script he comes to life, and those are the bits that everyone remembers.

Performance: What’s it like to be a writer in public? To bring the white squares into a public space, to press the nib of the pen til it squeaks?

Quotation: She says something like improvisation is often a quotation. Something like improvisation produces what is familiar.

Time: Imagine you could regulate time. Inbetween stations, the train driver speeds up or slows down so that it always takes five minutes. You must read more or less attentively, depending on how far you have to go. You must regulate your thoughts for each period of motion.

Time: 18:44:38

Time: Rolling out of Leeds in an empty train, the suburbs are a network of gently pulsing brake lights.

Instruction: When I say journey, I probably mean travel.

Memory: It is a large room with a chill in the air.

Quotation: He talks about Mark Rothko, who looks. He looks repeatedly (he looks repeatedly), and he looks hard. She looks as well. She looks for things she can’t see yet.

Performance: What’s it like to be a writer in public? To be identified with the words that fit you badly? To invite a reading and expect it to happen right then.

Instruction: When I say write, I probably mean think.

Time: 18:56:25

Time: We regret to announce there is no trolley service. Please relax, enjoy your journey, and have a very good evening.

Memory: It is an old building that wears its modernisation lightly.

Instruction: Write, then. Write to make it matter, to understand, to give yourself an alibi, to avoid eye contact, to generate words, to remember, to make a mark, to move your hands, to hear the sound of the pencil on the page, to join the dots, to regulate time, to travel.

Time: I’m meant to be somewhere else today. This afternoon I’m meant to be in London, where politics and art are being cut into a young man’s flesh.

Time: 19:13:09

Memory: She unfolds three beautiful rhizomes flattened on graph paper, which contain or illustrate or point to or simulate maps of her practice, and maps for her practice.

Instruction: What does it mean to inhabit a text? To take residency inside it? To roll your tongue over its syllables and coat it in your own saliva?

Time: 19:48:07

Time: As the train waits, my belongings roll gently off the table. My belongings are regulating time, or they know something I don’t.

Memory: The room’s long thin windows frame a view of a carpark, a lawn and a row of cottages owned by the church.

Quotation: Perhaps quotations are resistant to oral reading. Perhaps sensory, personal memories are easier to engage with than words written on the page.

Instruction: When I say page, I probably mean screen.

Memory: He used to place his teeth on the metal rail of the seat in front of him, and feel the vibrations of the bus run through his body.

Instruction: When I say audience [ ].

End: between Peterborough and Kings Cross Station, too dark to see outside: 20:43:04


Tuesday, 23 February 2010

RITE LAUNCH


Published in 2009, RITE is the result of a nine month collaboration with Critical Communities, a New Work Network and Open Dialogues project exploring the practice of critical writing on and as new work (interdisciplinary and live art).

RITE is available to buy on Unbound.


LAUNCH

RITE was launched at PSL Gallery Leeds March 26 2010 6.30-8pm. The evening was supported by Open Dialogues, In a word, PSL Gallery and East Street arts and included a temporary library, two new performance commissions and a spoken score. The archive from the evening is at the In a word website




ABOUT RITE

RITE is commissioned by New Work Network, designed by Wood McGrath, edited by Open Dialogues and produced by the members of Critical Communities. It includes a foreword by New Work Network and introduction by Open Dialogues. External editorial advisor Maria Fusco. All material is copyright the authors and Critical Communities 2009.

Contributors include Emma Bennett, David Berridge, Rachel Lois Clapham and Alex Eisenberg, Emma Cocker, Hannah Crosson, Amelia Crouch, Chloe Dechery, Tim Jeeves, Emma Leach, Johanna Linsley, Joanna Loveday, Charlotte Morgan, Mary Paterson, Jim Prevett, Nathan Walker and Wood McGrath.


Details on the wider Critical Community can be found here


Details on Re- one of the commissions to mark the launch of RITE by Emma Cocker and Rachel Lois Clapham can be found here.




FALAFEL ROAD

Oreet Ashery and Larissa Sansour are undertaking a residency with Artsadmin and the Live Art Development Agency throughout February 2010.

The residency is inspired by Orientalism, chapter six of Ashery and Sansour’s experimental graphic book The Novel of Nonel and Vovel. In this residency Falafel is used as a contested national symbol and a metaphor for the systematic obliteration of Palestinian culture by the state of Israel. Falafel Road comprises of twenty publicly engaged meals in various falafel eateries in London, from restaurants to supermarkets and market stalls.

For more details of locations, please see: http://www.falafelroad.blogspot.com/

As part of the 20 meals there are 2 larger scale events:

23rd of February, Politics: Home and Away, 19.00, with Serpentine Gallery, at Al Shishawi, 51-53 Edgware Road, Marble Arch, London, W2 2HZ

Student activists from Goldsmiths College, The London Institute, and others, with Jacqueline Rose, Professor of English at Queen Mary University and an active member of Independent Jewish Voices, are invited for a discussion around the ways in which Middle Eastern politics resonate in London.

http://www.serpentinegallery.org/2010/01/edgware_road_discussionpolitic.html

25th of February, Thursdays@Artsadmin, 18.00, Arts Bar & Café and Artsadmin, Toynbee Studios, 28 Commercial Street, London, E1 6AB,

The Falafel Road Open Studio, will show work culminated during the residency.

http://www.falafelroad.blogspot.com/

Monday, 8 February 2010

“LOUDER THAN BOMBS” Art, Action & Activism

Stanley Picker Gallery and the Live Art Development Agency present
“LOUDER THAN BOMBS” Art, Action & Activism

- 9 February to 27 March 2010

- 7 Weeks, 7 Residencies, 7 Ways to Activate Change

- STEVEN LEVON OUNANIAN & THOMAS THWAITES ÁINE PHILLIPS / SEAN BURN / ANSUMAN BISWAS / STACY MAKISHI & YOSHIKO SHIMADA / PRICK YOUR FINGER / THE VACUUM CLEANER

“Art that cannot shape society and therefore also cannot penetrate the heart questions of society, [and] in the end influence the question of capital, is no art.” Joseph Beuys 1985

Over the course of seven weeks, the Stanley Picker Gallery in Kingston is handing over its entire exhibition space to host a series of week-long Live Art residencies – details below.

Co-curated with the Live Art Development Agency, London, through an open call for proposals “Louder than Bombs”: Art, Action & Activism is an ambitious programme of public workshops and live events that will focus on challenging social, political and global issues of the day, addressed through the seven invited artist/activist’s individual working practices and the Gallery audience’s direct participation and responding involvement.

Its title borrowed from a compilation album by iconic anti-establishment beaus The Smiths (in turn borrowed from Elizabeth Smart's extended prose poem By Grand Central Station I Sat down and Wept), “Louder than Bombs”: Art, Action & Activism addresses the highly charged political possibilities of Live Art that have been taken to new levels by a new generation of politically invested artists who are blurring the boundaries between art and activism in exciting and engaging ways.

Please visit www.stanleypickergallery.org for further information on the artists and the exact times and details of public events, workshops and activities taking place during each residency.

Stanley Picker Gallery, Faculty of Art, Design & Architecture, Kingston University, Knights Park, Kingston upon Thames KT1 2QJ

t 0208 417 8074 e picker@kingston.ac.uk

Gallery Open: Tues - Fri 12-6pm; Sat 12-4pm

www.stanleypickergallery.org

Tuesday, 2 February 2010

Tim Etchells at Gasworks

Tim Etchells, Art Flavours (2008). Photo credit: Tim Etchells

Gasworks presents the first solo exhibition in a London public gallery by Tim Etchells, which brings together two works previously unseen in the UK.

Private view, Thursday 4th February
Exhibition runs 5th Feb - 28th March 2010 http://www.gasworks.org.uk/exhibitions/detail.php?id=522

Tim Etchells (1962) is an artist and a writer based in the UK. He has worked in a wide variety of contexts, and is the artistic director of the world-renowned performance group Forced Entertainment. He has collaborated with a range of visual artists, choreographers and photographers and his work spans performance, video, photography, text projects, installation and fiction. He is the author of Certain Fragments (Routledge, 1999) and published his first novel The Broken World with Heinemann in 2008. He has exhibited widely in venues including MACBA, Barcelona (2009), Göteborg Biennial (2009), Art Sheffield (2008), Manifesta 7 (2008). He is currently Legacy: Thinker in Residence (2009-2010) at Tate Research and LADA in London. For more information see: www.timetchells.com and www.forcedentertainment.com

EVENT:

Wednesday 3 March 2010, 7-9pm
Instructions: Tim Etchells in conversation with Ant Hampton

Artist and writer Tim Etchells will invite performer and writer Ant Hampton to discuss delegation and collaboration across different fields of practice. The two practitioners will reflect on how different strategies for relinquishing control of the final outcome are embedded in their work and on their relationship to improvisation and incompleteness.


Gasworks, 155Vauxhall Street, London SE11 5RH

+44 (0)20 7587 5202