shed-and-a-half gallery ideas and proposal

ok- so this was a mega quick turn around to get a proposal together for the Photomonth 2008 deadline of 30th june, so links lots to previous work rather than a fresh idea from scratch. i was taken by the fact that the site used to be a haberdashery factory and that there are traces of the past- of industry around- hooks, railings, etc. the site also has a lot of traces of current occupation- washing line, roof garden plants, climbing frame, hammock, bbq, tables and chairs- so a social, relaxing, functional space as well as a site of a gallery. the gallery is also in the art/fashion hub of east london, shoreditch.

this all taken on board- here's the proposal;

Proposal

"A two-phase photo-performance which will involve a live photographic exchange exploring the sheds as darkrooms, and traditional and digital photography. Through a context-specific response to the site of a redundant haberdashery factory in Shoreditch, processes will be explored exploiting factory processes and the clothes we no longer wear. People attending the Private view are required to bring any photographs of them wearing clothing they wish they hadn’t worn, and now want to surrender (photos to remain secret until required.) Participants to the one-to one performances are required to bring a soft item of clothing they no longer require, to surrender."

More about the proposed event:

The proposed event, what not to wear? explores the relationship between the redundant and the nostalgic through the dual narrative of past-industrial site of a haberdashery factory and redundant items of clothing we no longer wear. The two sheds of the Shed-and-a-half gallery are also important as both a site of secrecy, and where forgotten or discarded items end up.

This proposal is for a three phase event from 22nd to 26th October 2008:
Firstly, on evening of 22nd October, a collective experience sharing photos of audience members in our forgotten/embarrassing/lost items of clothing, mediated through photographic manipulation of the live projected destruction of the clothing’s image contained in photographs within the sheds. This would be followed by intimate performances for one at a time from 23rd- 26th October in a staged darkroom exploring photograms; it is envisaged that performances will tell the story of an unwanted item of clothing, then deconstruct it, laid out on photopaper and exposed as a photogram trace, all imagery and remnants of clothing to pile up in the half shed as an installation.
The Final event, on 26th October will be a short viewing of the installation relics in the half shed, as a single group that would have met off site collectively (6.30- 7pm max) and then go to a pub nearby for an informal talk about the work, feedback, til around 9pm, or whenever we've had enough.

NB All events strictly by appointment only and participants must agree to bring items required which will be clarified upon booking a place- details of booking procedures to be confirmed.

Background to the idea:
Central to the work is theories in the work of Roland Barthes and Tino Sehgal, the first for his theories of the ‘mortality’ of the paper based photograph as an ‘impossible’ record of ‘now,’ and the latter for the fleeting materiality of his art works. I am currently researching principles of non-matrixed theatre and audience participation through the subversion of time based media practices. I am experimenting with pushing the temporal nature of performance through marrying with the temporal nature of photography, placing the process of image making intrinsically at the heart of an intimate and participatory, performative experience.

NB DATES SUBJECT TO CHANGE/CONFIRMATION

Workshop first draft for 5th Feb-Darkroom performance

Developing ideas for Nunnery show


Project title: In my pocket/In your pocket: intimate exchange/change

The aim of the workshop:

The workshop aims to frame my visual arts practice purposefully within performance. I aim to explore ideas common to my Critical studies research into non-matrixed theatre of Happenings, Fluxus and Tino Sehgal.
I will be testing the fusion of performative actions and concepts through utilising time based media practices in unexpected ways. I will be examining how reinventing/disrupting ‘correct’ or ‘usual’ techniques can reinforce/direct narrative and meaning within an intimate performance, and also test differing methods of giving instructions, levels of audience participation, ways of generating narrative. I will work with the idea of what’s kept in our pockets, unearthing the contents of this secret place, the treasured or the mundane.
The objectives of the workshop:
• To explore the disruption of conventional photographic processes through performative actions and projected media
• To explore how instructions for action can be followed as fixed or improvised and fluid- eg. followed in a flow diagram with set and also open ended interpretations
• To explore relationship between rehearsed and improvised(chance), use of self and/or a briefed actor-performer
• To explore the chemistry in the photogram technique-eg speeding up/slowing down the destruction of the photogram and thus impact on the performance duration
• To make purposeful through testing the methodology the link between concept and photo process- why does the image of the pocket object only exist as a fleeting materiality - match object’s identity/story to photographic action
• To explore what happens when multiple endings are possible- not everyone will have the same encounter- does this matter? How does this different journey feel to each participant?
• Are these ‘real’ objects based on ‘real’ life? To explore how narrative is created derived from objects’ history in pockets- and the idea of its story- if it is ‘fictional’, yet presented as real? How do the marks, the scratches, tears etc shape the meaning?
• What’s the relationship between my object and participants object- how ‘selected’ are the objects- plausible item you might walk round with or fantastical. Questioning why?
• To explore different contents of projected imagery to inform narrative- person-place-object itself?, using constructed image-pre-recorded animation, film, photography, or even live action in front of video camera , for example how story of how it ended up in the pocket
• To explore use of the relics of the performance- pinned up on outside of door?
• To explore the idea of co-producers of the work- performer and participant?
• To explore how the narrative is generated. Is the performance in silence or Live narration (me- rehearsed or improvised, with projection) Live (me and participant in conversation) Pre-recorded (audio only or film, stop frame with or without voiceover) How is it presented (projection via multimedia, onto what? Screen, cupped hands, stage, directly from above into processing ’tray’?
• To explore how to empowering the spectator to act- why and how? What do they get out of it? Frame it as a flea market exchange of objects?
• To explore how to centre attention on action and narrative and less on environment, in the construction of the fabricated darkroom space


Some other questions for future work:
• What is the processing tray? A family album with a front cover lid? A drawer from a chest of drawers- ie where photos come to rest. Am I working with ordinary objects in a new context or making props? How theatrical is this experience or framed as fine art????
• To explore ‘set’ for the performance- red light table lamps ‘domestic’ table, etc- or how relevant is a ‘set?’ use a plinth/ darkroom safety lights- more clinical, less referential, and gallery orientated?

• To explore when to use high tech(multimedia projector) and when to use lower tech (slide projector) how does this device shape what’s communicated

• To look at when to use found imagery eg slides over constructed or live.

• Timings of event for Interim show website- How long is this, queue up, set times, deli counter tickets? Throughout the private view and the 3 days?

The schedule: All day Tuesday 5th February 5th, Attic, WCA. Set up 9-11, workshops run 11-5pm.

Participants will enter the Attic in red light and experience a number of workstations exploring different variations (technology, instruction methods, etc) on this basic sequence;
Sequence one: Participant enters darkroom where HP is already inside. HP has an object in her pocket. The object is produced by HP and becomes the initial subject of the performance. Performer along with the participant explores some narrative/ideas about the object through image in some form which includes projection and photogram technique, conducted in silence. A photogram image is created and erased through projection light. The participant is invited to share an object from their own pocket. If they don’t, performance ends. If yes, Sequence two: The new object becomes the material for the performance- variation on the photogram-projection technique in some form. A second photogram image is created and erased through projection light. Sequence three: Participant is either offered the opportunity to exchange their object for the original one or change theirs or the original object in some way, the passover/process of change is marked as a moment through a photogram. Participant either exchanges/changes object and (Sequence four) does a third photogram or the performance ends. At which ever point the performance ends, the object(s) go back in their pocket, either new pocket or original one depending on the pathway chosen.


The technology and skills involved:

Darkroom equipment, multimedia projector, slide projector, pocket objects.
The target audience
Time based media working group in the first instance.
The intended outcome and how it can relate to future practice
This is the first time I will have carried out a performance in a constructed environment myself. I intend to review the feedback to develop the Nunnery final piece.