objects and atmospheres- non-verbal workshop with geraldine pilgrim (part 2)

ok- so these are photos from the exercise where we were asked to place self in the environment in a way that expresses an emotion- site-specific body sculpture.

in analysing these we were to consider the whole body- postion, site, aesthetic in relation to the emotional concept expressed.

i'm going to leave it at that for now- what emotion am i conveying? is it obvious (?!) what i am interested in is how the photograph gives me a new way of looking- seeing what i looked like according to one viewer- i asked them to move around me which raises interesting issues about audience perception and vantage point on promenade performance work.

more photos in next post...

objects and atmospheres- non-verbal workshop with geraldine pilgrim (part 1)

this site-specific workshop at toynbee studios on saturday 29th-sunday 30th march (two full days) was bloody brilliant for many reasons- tutor, participants, activities all worked well together with purpose and series of learning outcomes. It also massively developed my understanding of non-verbal performance, use of doing nothing, pause, gaze, exploring relationship between photographic tableau and theatre tableau, creating visual landscapes concerned with the body in space and less about character, and most importantly gave me confidence and feedback on the use of my own body in relation to site.

i have pages of notes on this workshop and so am thinking about the most relevant parts to me to put on here.

geraldine pilgrim workshop leader and artistic director of corridor performance company,(where photo above is taken from) started off talking about her career path, influences, her relationship between art and theatre heavily influenced by Edgar Gordon Craigs 1890s book, on the art of theatre discussing how should be able to do everything in a piece of theatre or at least have attempted and understand it as no one part is more important- everything equal. i guess this is the route i am on now- a far cry form where i thought i would be on this course at the start- the total theatre/live art experience maker rather than the multi-media designer that collaborates that i had thought i would be. geraldine has undertaken courses across both theatre and art- from foundation art course (taken twice- the first she was expected to be experimental and freaked- second time she became organically experimental- a phrase i like as i do think i forget about the easing on through the traditional especially in my teaching and expect students to just be up for it) geraldine talked in detail about her projects- from more ange taggart commentary on public norms of behaviour (20 people buying the guardian form the same newsagent one after another and entering a station very precisely repeating each others stannding reading actions in a station) to use of different entry points for two audiences (that don't know about the other one) with different characters as tour guides in her site-specific work and how they meet across a glass hallway. geraldine also talked a lot about working as a lecturer, plus also theatre designer and how she calls artefacts used in performance very much objects rather than props, saying how actors need to rehearse and devise actions with everything from the start of a show which invariably doesn't happen as the design and the rest of the show work independently until the tech rehearsals start where the two often collide.(rough gist of what was said only)

work then set about for a series of exercises in pairs;

1 express anger through objects without speaking
2 express loss through objects without speaking
3 express joy through objects without speaking

the activities involved 2 or 3 people and one person being in a room and another out of a side door. first person sets the table, 4 chairs, cups, saucers, cutlery, tray as wishes, person two then enters with a suitcase and you improvise with each other.

1. my first time on ANGER was hard- using pointing at the tea cup to try to get the other person to sit, and feeling uncomfortable with being stared at for long periods of time, avoiding gaze and busying myself doing too much. i sited the telephone i was given not in clear view of the audience who had no idea i was repeatedly staring at it.

2.the LOSS exercise i felt much better with. i sited myself on the phone in the room head buried in hands at the table which i'd half laid. when the 2 others burst through the door with their suitcases i had set the scene of something that had already happened, we persued a series of long gazes at each other, head holding, looking down, until i handed the phone to one of them, leaving the other person still not knowing and still baffled. when the phone went back on the receiver i then busied myself finishing the table, as though in denial of the phone conversation, cracking in dropping the tray and then again holding gaze with the person who had just replaced the receiver, before mistakingly busying myself reading the paper and then getting up and finally leaving with the two people just left holding each others gaze.

you had to be there to fully understand, but i learnt quickly the importance of doing nothing and the gaze, body language are crucial, way objects are handled, where placed, etc.

3. i only watched this but it was cringeworthy as there's only so much joker style smiling and hugging you can do without words! point proved- negative emotions easier for non-verbal communication.

consideration of the stimulus (what about silent disco) and narrative that's expressed.

enough now- onto the photos from the next workshops....

intial ideas for the-space-in-between

ok, so this is to be a short sharp project given that the site is being redeveloped at end of april. laura came with me to the private view of forensic and originally thought it wasn't for her but now think there's potential material in it for her- maybe in past and present presented simultaneously. we have decided to start from the same stimulus, be in the closet, and see if we end up fusing an idea or just sharing the space with independent ideas.....we'll see. we need to find something then talk to linda the curator of the 26th april show. originally i wanted to literally take the nunnery closet piece here (i went to the private view a week after the nunnery show) but thought i needed to move it on somehow. the non-verbal suggestion by jordan mckenzie is intriguing to me- when he said it i had no idea how to do this or why bother, but the weekend workshop has given me ideas about tableau vivant, visual landscapes, using body and gesture, gaze, the importance of doing nothing, allow people the space to reflect on what's unfolding, the importance of the pause.

having decided to see at the moment what's possible with other people photos and projections, and still being interested in developing a meaningful narrative between traditional photography being killed by digital (or maybe its the other way round like the vinyl versus cd battle)...have decided to start at the local studies library in borough on thursday to i hope find photos and stories as a starting point.

there's something lovely about the title of this space, the space-in-between, its traces, state of disrepair, imminent destruction and new identity. photogramming the relics could be interesting and replacing where the relics were with a photogram trace, left for the builders to discard.

the office itself was suggested to me by dave miller at a crystal palace artists get together; he is doing an interactive installation for the 26th april show alongside caroline smiths spank. i feel i just need to get down here my original intentions which may change post visit to the local studies centre on thursday- what i liked about it was its fantastic sign generating all kinds of notions of unscrupulous deals, the room where people had been hired, fired, confidential confessions, secrets divulged, etc...the mind boggles and what goes on in offices...the secrecy element being the common bond between this space and the closet the the nunnery. in terms of creating a staged darkroom if i was to photogram again- office strip light with a red bulb, office desk for the participant and me the performer to sit across each other from.... with the keepsake box of the developing box being perfect here as it a cash box.

now need to consider the story/photos i find as the starting point and use of projection within this...the many identities the warehouse has had could provide an injection of humour into this piece- novelty items factory, wigs, plaster figures...of course looked at martin parr-esque...

possible show at the-space-in-between, bermondsey part 2

more photos of the space from Forensic show March 08

possible show at the-space-in-between, bermondsey

photos of the closet like office possibly site of show re-examining aspects of closet nunnery piece through responding to the stories/photos of the site- more photos to follow

Forensic show March 08 and the space-in-between

I went to this show which had some fellow Crystal Palace Artists exhibiting in it and also to check out the space for potential for taking my nunnery piece somewhere else during april......this site is a rich resource of material as a starting point in itself, of particular fascination i found the meticulous cataloging of the artefacts and history of the site by linda duffy and the peep holes by stuart mayes-eyes boring into other worlds....

From the press release from Linda Duffy, show curator;

"The Space In-Between is an umbrella for a series of experimental research and development projects. It aims to facilitate interdisciplinary collaborations that extend artistic practice and provide opportunities for artists to share new work with interested audiences.
Forensic is the first ‘The Space In-Between’ project. It takes the space itself as the starting point for an exhibition of installations and interventions. The building at 55 Leroy Street awaits transformation from vacant light-industrial warehouse to contemporary apartments. Structural and cosmetic changes to the interior have created an environment that bares traces of previous occupants. Though specific references are difficult to locate there is documentation of trades including wheelwrights, underwear makers and ‘novelty’ producers registered at the address.

Seven artists were invited to investigate the historical and current condition of the building – the exhibition presents their responses.

Linda Duffy has meticulously collected and catalogued materials found on site. These materials are shown along with drawings that literally trace incidental marks and stains left over time. Duffy examines the relationship between the real and what the imagination imposes, her project challenges the idea of reliable evidence.

Mo Lewis creates work that explores the natural light in the space. The light entering the building changes - from minute to minute and day to day, yet considered over a period of years it remains a kind of constant.

Stuart Mayes’ installation of spy holes opens up the structure of the building. Visitors are invited to peek into usually hidden spaces either side of the room they are in.

Joao Ornelas removes and relocates a segment of the interior fabric. This segment evidences the outcome of human interaction with the building. It is framed to present a snapshot of an event that has occurred.

Dolores Sanchez Calvo relocates a door to a corner of the room where there is no opening. The relocated door addresses the old history of the building as well as the imminent conversion into flats with new spaces and doors.

m p villaseñor creates a visualisation of activities hosted by the space. She directly references the succession of diverse small industries with her choice of materials.

Mandy Williams’ black and white photographic print resembles a strip of wallpaper. Hanging beside the peeling walls the photograph applies archaeological layering to the trades that have occupied the building.

As the building imminently transforms into modern apartments it’s past becomes merely a design element, a backdrop. "
L Duffy, 08

EVA Conference

Looks very interesting-

EVA London 2008

Electronic Visualisation and the Arts

When? 22-24 July 2008
Where? British Computer Society, London WD2E 7HA

REGISTRATION OPEN

EVA London 2008 will debate the issues, discuss trends and demonstrate the digitial possibilities in:
• Performing arts
• Visual arts
• New technologies
• Interactive media
• Museums, archives and galleries

If you are interested in the new technologies in the cultural sector – if you are an artist, policy maker, manager, researcher, practitioner, audience evaluator or educator – this conference is for you.

Registration and outline programme
http://www.eva-conferences.com/eva_london/