Something about contact and intimacy – it being disrupted in this time of pandemic. How do we get contact?
Sharing the creative process. Intimate process. To share our creativity. Letting others in, letting myself out – exchange.
Public facing. I don’t want to be doing a ‘socially engaged’ project.
Discourse around public engaged practice – thinking of a particular ‘public’.
Producing – ideas of public – ideas what a public needs – how you meet that need.
Looking at relationships. Tania Bruguera and Ana Mendieta – what it is about that one-to-one-ness. Your response to that project (Making at a Distance) was about your already established relationship with Mendieta – sharing something intimate / close/ important, letting us into your practice, a relationship I have behind closed doors. That feeling for another that I’m also sharing – that relationship.
One-to-one invitation. With Derek / artists/ friends. What am I meeting or sharing? Sharing a space. Having a conversation.
Live response.
Collaboration.
Different approaches in but exploring that same thing.
Responsive-ness. Ability to respond.
A live responsiveness. What will happen to the public, the viewer – the public could be one viewer – one public – one viewer – to see a performance.
How you assemble together.
Conversation between different parts of the body. (breasts feet and blood) – painting, offering back to the fire. Opened up as a ceremony, calling in Grandmothers.
Body Tracks – linked to this ritual.
Coat of breasts – shapeshifting – performative event happening in different places.
Performance Lecture:
Mud Crown – friend wrote a poem, I wrote a poem, soundbites of an interview, youtube clips.
People responded really well, like an artist statement, led my audience in, laid the foundation of my work… different elements of practice – helped audience feel welcomed, they knew where they were, they were invited. Warmed them up to the live performance, so they were ready and viewing from a more informed place. Less shocking. More digestible.
Lecture – expansiveness, framework, research, academic. Address. Invitation to a public outcome. Know where they were sitting in relationship to my practice.
I don’t want my work to be just uncomfortable. I don’t want it to be benign. Creating an atmosphere. Seat the personal and the intimate within that. I make work without thinking of it going public. Leaving space for the audience to have their response.
Tension between the private nad the public. I think there’s an expectation or demand to just give things out to the public. Oh here you go – have it.
I want it to be more conscious and considered.
Audience can feel the tension: here you go have it/ do I really want to give it
I have to give it to you – aggression? Covering up vulnerability?
Framework of public lecture. Mark Lechey – artist. Because its resolved some of this tension. I can feel the vibration and how personally he takes it. Talking about his feeling for people within the non-neural typical community. Making therapeutic gifts. As a character, feeling the acuteness of personal relationships and his interest in touch. Surface. Content of work. How hes negotiated public-ness, as a way to make public something that’s quite private – about relationships.
Polyphonic – including other voices. Playful. Doesn’t mean it has to be dense. When you know where you are as an audience person – can receive the work.
Invitation. But then something weird happens because it’s private and I don’t want to make it public. Something about the difficulty in being interested in the privacy of relationships, whether it’s the one-to-one relationship, it changes when public-ness is involved.
Footnotes. Presented extracts, beneath them have private roots and research. Behind the lines. Audience clear that they are on the outside of this space – pre-recorded performance. I really enjoy live-ness, but it becomes problematic to make live with an audience. Because the audience is in the space with me, at the party but not welcome!! Presented after the fact. I don’t want to turn it into documentation. Performance lecture – still something live, after the fact, all of these different spaces present in one space.
A weaving in of different perspectives. Following hyperlinks on the internet – following – threads – not sure where it’s taking you.
I didn’t have to fit everyone and everything in. diff spaces, moving around it, parts of a story, preserve something and find a way forward – different ways of doing the performative lecture.
Beatrice Gibson – artist – film maker – footnotes – makes films, theatre, literature and music – she cannot let go of her reading and resources – at the end of film lots of quotes, long reading list, lines of poetry – physical sense, reading something, jump between different spaces, up and down the page,
If I’ve made a space for viewer – where I know where they are. Responsiveness – where I send them, where I lead them – take the viewer to different places in their body, or in their mind.
One-to-one – them and me.
How to find a place for the viewer. Haven’t found a way to invite audience in.
Did happen when I was doing the lecture.
Can I take the audience – can I evoke – can I lead – taking someone somewhere else in their body.
Sound is a good way to do this.
What happens when you take being in the same space together out of it. Not immersive in the same way – which isn’t a one-to-one experience. How it’s given. Where someone else is when they receive it.
Responsiveness – initial response – then you stay – letting a deeper respond. Having time to give to things. Allowing time to receive and respond. SLOW DOWN. Open to ‘not knowing’ – when there’s time – easier not to know.
Lecture speaks of duration outside of delivery.
Ways the sudience is let into a whole experience with you – or if it’s in a continuum – on-goingness – encapsulation – not wanting to encapsulate anything and say ‘this it’ – because it happens and it flows and it changes and there’s all these threads.
Non-binary, plural-ness of it – pronoun of they. Provoke a performance, a response, through slight documentations / suggestions/ flirtatious/ promiscuous – just a hint, a sense of a happening – a sense of a relationship. A continuity ….
Not seduced into making a product for a market place. Transactional – come with an idea of certain requirements. Expectations. Social responsibility. Who am I making art work for? Practice isn’t just about a service. Draw some strong lines around myself.
I don’t have to think about an audience’s needs.
Reciprocal relationships and their needs – the practice does shift – puts me in a different space as an artist.
Interested in connection and touch without putting myself out there – don’t have to put myself in that position. Exploring that line.
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