Katherine what why how

1

A talk with music and images before a screening to introduce the theme of voice and contextualise what is to follow in relation to an exhibition. A screening of three artists films looking at voice with three related presentations by a choreographer, an art historian and an artist.

The screening comes from research for a project looking at voices in public. The films helped me articulate my concerns in the early research stages and have remained important throughout. The co-presenters have been asked to respond with the aim that participating will bring something to their own research.

I choose to include presentations of other artist’s work within project budgets where they exist. This is an attempt to acknowledge the collective nature of knowledge production. It opens space for discussion. It allows for a more expansive expression of research than can fit within an art work alone.

2

A lecture-performance via skype to introduce a video followed by a disastrous Q and A. This is part of an art/music/whatever festival in a pub looking at cultural regurgitation. My performance/video looks at representation, patriarchy, and pop music. It is hardcore. The audience are speechless.

I wrote a quick proposal and was surprised it was accepted. The guy running the festival is punky and enthusiastic. He tells me the skype element is a must do when I wobble and want to just show the video. He finds the failure epic and sends me positive feedback.

I knew I would be away for the festival and was keen to use this to explore liveness through a remote performance where the technology in the space is controlled by someone present. I wrongly anticipated that not being able to see the audience would make me less nervous.

3

A transcript of a conversation between three artists. The conversation explores reading aloud in public. It widens to include themes of presentation and rehearsal and the interplay between from and content. The transcript is loosely reread in the context of collaboratively-run recording experiment. A new conversation is recorded.

I initiated the conversation in response to a collaborative exhibition by two artists. We recorded the conversation. I transcribed it and we collectively agreed its content. I was invited to work within another collective’s sound residency. I invited the artists from the conversation to talk about the transcript there.

All of the artists involved have some crossovers of research interests. Although we had not all produced together before, we had all talked about work and were familiar with each others’ practices. We share an interest in experimentation with process and in working collaboratively. These recordings are still in use.