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| SOL UNEDITED NOTES
| | =='''Alice Mendelowitz'''== |
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| PT I steve reads introduction from Ruths gallery and Jan Verwoert then we will see work and there will be a discussion between steve an Ruth, space, time and archival elements will reveal how they interact with text or persona
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| ruths text; a room a table a pile of fruit, a body.......
| | ''Sister Carrie,'' 1900 by Theodore Dreiser |
| jans text in the metaphoric imagination the abstract and the concrete exchange places. -
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| "artists?" brain as metaphorical map - or rather the installation as something which cognates this breadth of information. sources. voices. etc.
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| no solitary beat - departs from a text/script about someone viewing someone viewing. installed 3 times. spatial constellations which split/double the body. and vassilates the viewer between being the performer and the viewer as you encounter it and yourself as a listening viewing body. as the text details this. implicates you as the viewer as a productive or performative element. - english voice with german translation projected. doubling the language as a reading or aural moment and the contingent diffusions of meaning form translation, presumable. the script is not meant as an illustration but that the acting of viewing it and the audio script perform a circuit and fold back into each other.
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| audio on headphones. various points of interruption to increase the sensation of your own bodily presence, that the audience views the other audience membrane you are multiplied as roles in performer viewer position hierarchy constantly shifts.
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| multiple points of entry is a mechanism for "short circuiting" standard viewing strategies and playing out the constraints of theatre and viewing spaces and how they can be manipulated as less of an artist performed things. SR what is gained by removing yourself as the artist from the scenario
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| RB i came to performance from an interest in language and space. not from the body, etc. but using herself as a particular performing body for language and space and their interaction. she isn't comfortable using an actor here, it doesn't make sense she enjoys the constraints. the limit. the timeliness.
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| no interest in doing something about the liveness of performance, at an opening or in a large group space. became uncomfortable with the access infrastructure not being brief invites to perform at openings etc.
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| a couple of performances she felt pushed her interest in particular ways which left behind the mime-y spelunk of openings and non audience of people passing through
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| the line where over generosity (particularly with time and content) becomes an aggression - you have to stay for 3 hours.
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| wondered if it would shake things up in her production of space if she stepped out and let these questions of theatre , space and performance come to the fore when her body itself as agent evacuate. rather than mediating this all through the live figure of HER as the performative body.
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| SR position of figures which become present and absent in the text. fluctuate between varying positions of occupancy/concretion/reality
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| @strome. no solitary beat. [ 3 points with particular spatial marker. curtain, colour field or spotlight. 2 chairs in each with regards to the vantage over the rest of the space. doubling or splitting the roles of the audience listening becoming a performer for another viewer as they listen at another point. the circuit of viewing destabilises itself.
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| and punctuate the space and the meaning and the structural stability. utilises the point at which you become aware of being watched as you watch and the more global implications of these situations
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| FLOORPLAN "conditions drawing" originally made as the cover of the second edition of To the lighthouse, for showroom using Virginia wolf as a key protagonist in the text somehow. began to think about the form of the rug/drawing as a means of thinking about spatial organisation in another form. how to get these spaces and forms to work in the gallery space. and to think about them through time, in that the rug is a very time heavy production method. to rationalise these problems. these things, these graphical participants, when passed through the demands of another form (in that they become book covers, or drawings or in fact the spaces they describe) how they alter and become reconstituted in meaning, etc.
| | [[File:Sister_carrrie.jpg]] |
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| HJ the solitary beat - did this come from a personal experience?
| | [[File:Chicago.jpg|600px]] |
| RB no, this was external, i was looking at examples of TV where artists and artwork was represented in TV. this break which maybe happens in TV where the private and seemingly public short circuit.NZ tv archive. - one clip was a group of school children visiting an exhibition of ceramics at a regional gallery - first gallery in NZ with an education officer, mediating contact with artwork as a message for school, early 80's. ED officer. "you can touch everything!" orgiastic thing of these kids rubbing themselves all over the ceramics and the teachers/ed officers reaction observing this [very specific scene somehow] wanting to unfold some of these thns, in the scipt a person is watching a group of people interacting/touching an object or something. 7 or 8, peculiar age, where not wild enough to be embarrassed but young enough to react that as though noone is watching, to get quite libidinal and sweaty.
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| SR how much did this libidinal thing translate?
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| RB not so much. it became more about a physical viewing. embodies an awkwardness or intensified sensation of BEING. would be surprised to hear of any orgiastic behaviour, but aimed for an intensity of sensation in the viewing - but not so graphic.
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| PE perhaps the contrast between building this intensity in the space of this very cold contained restrained environment and the intimacy/privacy of being on headphone/listening can by contrast build the sensualism. build the sense that this is a SCENario not just a curtain.
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| another piece at kunsthaus bregenz
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| "sculptor"
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| 2 screens, 1 two way mirror. the other one used old cinematic technique with striped bands so bodies moving past would jitter, like a stop frame animation.
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| 3 viewing points. all had access to a clip playing on a monitor. somehow filtered/disturbed/watched
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| woman artist being interviewed about her work in an installation of her work. - sound so low you just hear mumbling, no words. TV early 80's New Zealand. all panning shots of the journo and artist or static shot of a sculpture on a rotating plinth. pan/rotation/pan/rotation/pan/rotation with spatial setting wanted to repeat the establishment of this camera performativity
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| she sat live in the audience and spoke to them over a closed circuit wireless headphone. mediating her voice from within the body of the public
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| the script was in a way a narration of the monitor content and the experience/rotation within the space. first time using the logic of this multiple viewing points, multiple entries, her position as within the audience changes, the relationship is less charged more complex as a performer.
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| seated everyone individually to disperse them. she took them personally to a seat. clumsy somehow, in a way which would have suited another audience somehow. it may not have been as clumsy with an audience more willing to be taken and controlled, and less confused. also introduced the technology - put it on channel 1, here is how to turn the volume up. wealthy aged audience from geneva.
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| attempting to take the roll of the butler. disappearing into the object or the performance. there was still something important for her to be repeating the image of the artist walking through the space with another person. rather than an invigilator leading them.
| | ''Sister Carrie'' deals with a young american country girl's realisation of the american dream in the big city, primarily through her use of sex or sexuality and being a bit of a sauce. |
| power or control in oversupplying or undersupplying , in the presence or absence of the artist, where is the governmentally in the relationship. and surveillance model - a form of narcissistic panopticonism. and the possibility of substitute bodies where, i can watch this person watching me, and that could be reversed, that could be my body, that could be me. the roles of the durational and the spatial being flipped.
| | Alice suggested that in it there is a general tendency towards things or ideas or stories being vague and open to our knowledge of their occupying a wider world and that this book exists as a template for novels of the american dream, bukowski, etc. As a novel which doesn't take a particular moral stance Alice is interested perhaps in its potential for telling and romanticising a story which not long prior would perhaps have been subject to stylisation as scandalous or a fall or a moral tale for social education. |
| the internalisation of the police-man, in the knowledge that you are, or the sense that at any time you could be being observed. you dont just allow another viewer to perform to you, you become highly aware of performing in your own body and of the associated observation that requires
| | It also seems to speak to its readership about themselves in a particularly live way, as turn of the (20th) century americans it inhabits the spaces that the nascent nation did. |
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| | ''Alice comment: What I meant to explain was that I was interested in how this book is considered to be such a template for writers like Bukowski and John Fante. And yet whilst theses writers effuse their work with fiction and metaphor, Dreiser's style is very direct. What happens - happens. In the present, artists and writers have moved towards a more ambiguos language.'' |
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| ruth introduces the floor plan.
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| SO.....
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| text (quite informational) written for print, the space doesn't exist any more. the floor plan/rug is for the space the text describes/perimeters.
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| as its written for print its informational in way which is difficult to present as a vocal intro. etc. and permits rereading or trackbacks, etc.
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| "make a case for movement, always of moving. start with a spec with a pattern set of uses of times with a rhythm... certain type of physicality here.
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| quite filmic - 'an angle, a curve, a wavy line.
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| draw a line through and across. sightlines, acting out concurrently
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| a photograph of the space encountered in the actual space. [repeat]
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| greeting an entry, a frame. viewed from a distance up close the photograph produces a circuit.
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| "a small room with tables organised in a group"
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| a mirroring emerges between the two, producing a loop. the drifts of the gallery
| | '''''The American Friend'' - Wim Wenders - 1977''' |
| seen through the logic of the circuit of an encounter. the relationship is particular the relationship is trope
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| 1 the relationship is particular - the curtain and the reading room appeared in the 50's / the boxing in of decoration, pilasters. - details of the institutional history of the space and its structure. modernising the physical and social gallery. (resulting in reading room and curtain, etc) - multipurpose curtain. - no info presented with them originally (in 50's) - categorised not as art or craft but in a weird category with the glass wall, the fire alarm, all sort of renovations. - current presence, position of curtain
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| 2 the relationship is a trope. - archive and curtain appear as characters in this drama - become a trope. they are the same they are encountered as the same, a reflection and presentation of the other. - an organisational system through the curtain. a pile of boxes. § - they are they same because they rely on movement in order to function. a curtain that doesn't move is wall, an archive that doesn't move is a storage facility. draw a diagram of this - both - - repeats, repeats. production of its own taxonomy through ruptures through movements. - actions of use - pulling, pushing, etc.
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| - this mirror is an object. one which casts shadow and fills rooms. - an object that will not keep still -
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| to try to gather material she gathered in one frame and see a way to move forward. its informational in way unusual for her. the information original is quite scant > initially very clear intro to the space as it exists now, but as an occupied space (but without a clarity of function) its values not its particularities.
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| the place and personal relationship to it end up constructing the means for understanding relating it back. talk about the experience of seeing the photograph of the space, as it no longer exists. feeling a strange sense of vantage point, and sightlines through time. what to do with gaps, or what is a gap, and the material of the space and the possible, lost archived space. this did exist and now its the directors office, but im still somehow in both. writing as an exercise in naming something and relating or positioning against it.. taking a position before acting.
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| FLOOR PLAN and its relation to the text.
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| acts clearly as a floor plan. as it was circa 1958 (as in the photo) is this a way of embodying yourself in the space. producing an Addition to the archive. something on a movement. something extra to requirement but that would make the archive motive again. what to do with a gap/space/hole.
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| archiving of art gallery notes run by the same body as parks and rec. so shared budget meetings with zoo!
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| with the curtain. no notes for deinstall, transport or anything. perhaps as it occupies a weird mid space, its not categorised well. its no included in the collection. its status is vague. its just in a roll in a basement in the war museum (?)
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| something in the provisional description in th text is reflective of her awareness of the chase for the meaningful and the present - aukland gallery being particularly schitzo in chasing this meaning. ending up stuck between times. and becomes too complex.
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| thinking about how the archive works, through the curtain. using the curtain a s a gatekeeping character who mediates the potentialities for behaviour in the space. "think one think through something else"
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| an investigation of commissioning. as a curious relationship a curious dialectic. the organisational logic that appears in the narratives.
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| S+ can you disengage the format of the bringing to being of the thing. is it possible to disengage the work (the curtain) from the structure of its possibility? brings them in as ghosts. removed from the structure that calls it into being........? RB a process of evacuation that takes place, in that the curtain IS gone. and this makes a space ruth can move into and occupy. until its gone it hard to understand watt she can do.. fill up the qualities that are absent.
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| to me this feels like last year at marienbad somehow.
| | [[File:The_American_Friend.jpg|600px]] |
| ALICE use of institutional space - is this because these are the spaces that invite you?
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| RB no this has come from my approaching a space. my own initiative. so she has a particular freedom when investigating the historicity of the space. constraints or particularities of how these spaces operate and organise - how they mediate their operation. (or how to mediate this in fact ) she likes having something to move against, to push at. something agonistic. an almost physical engagement with the institutional structure. they are such specifically scripted spaces. something exciting to shift or disturb or interfere. not sabotage or secrecy, but a tilt or a shift. thinking of these institutional structures as a formal material.
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| the level of investment is greater when she initiates the project. it comes from an awareness of a weirdness. more investment in the constraints.
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| filling a hole they were planning on keeping - they had no plan to discuss the curtain or the archive. the plan was that this would remain a hole.
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| how to establish relationships yourself and the fall out if you accidentally set something in motion. and the ease with which things can be co-opted.
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| it maybe needs physical distance to retain agency. so needs to be shown elsewhere. needs the charge that comes from distance. "abstract agency"
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| last year at marienbad.
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| ALAIN RESNAIS TOUTES LES MEMOIRES DU MONDE
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| TEXT 2
| | http://www.youtube.com/watch?v=06hIZ76Zlds |
| follow on _from earlier text
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| numeric strucutre
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| again repetitive structure. this maybe particularly suits the spoken form.
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| 1. conditions, this is a commonality. it may be helpful to introduce a method for situation oneself.
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| a room. a table. a stack of papers, instruments, a body, other objects and dim wisps of air.
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| suggested positions or parameters. communication rarely moves in straight lines, rather it collects interferences along the way
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| rather it is rather it is
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| 2 conditions a turning away.
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| ian white.
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| still very provisional. the unknown coming though in a purely spoken description. the sibilance hush hush hushing
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| using onomatapaoec description as diversionary tactics. like a diagonal strike across a canvas which describes and is the mark a gush of wind.
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| a graceful turn. then the shape of that S. the freedom given to you as a hearer.
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| brush brush brushing. hush hush hushing.
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| that this is both precise and provisional need not be underscored. this is both precise and provisional
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| (repetition again)
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| 3. or this. a condition
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| ursula bell.
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| "established is a good word, much used in gardening books, the plant when established, oh become established quickly quickly garden, for i am fugitive
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| cornelia parker, worlds which defy gravity. throwning "aloft" of a cliff
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| an interior and how it speaks of itself.
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| dim wisps of air. repeat. an interior and how its speaks about itself.
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| not about a particular place. but trying to produce a method for articulating a collection. how things come together. and how these decisions manifest and describe. as a language. trying to address a condition: the condition of collecting in this case.
| | ''The American Friend'' is one of many adaptations of many Ripleys novels (Patricia Highsmith). The American friend, played by Dennis Hopper, is an auction house price gamer, he is involved in an artwork forgery ring and appears at auction houses in order to bid on forged paintings to push up the price. |
| | The key protagonist though is a hitman with an unspecified (probably) terminal illness who performs hits in order to accumulate money for his soon to be widow. |
| | He is commissioned by Hopper to murder first a rival art gangster and then a second man after Hopper character fakes his medical report to suggest his illness is more immediately terminal than it is. |
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| it isn't necessarily key that its encountered under the control architecture of the exhibition or whatever but it carries with it the framing when its seen after. it carries the suggestion of the gallery or the performance.
| | Alice was particularly interested in Wenders particular stylisation of the novel and of Hamburg, the location. He shoots light in a particular (painterly?) way which fictionalises Hamburg as a beautiful location, which She (Alice) doesn't understand to be the case with actual Hamburg, as it exists. |
| Time' by Ursula Bethell
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| ‘Established’ is a good word, much used in garden books,
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| ‘The plant, when established’ . . .
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| Oh, become established quickly, quickly, garden
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| For I am fugitive, I am very fugitive – – –
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| Those that come after me will gather these roses,
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| And watch, as I do now, the white wistaria
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| Burst, in the sunshine, from its pale green sheath.
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| Planned. Planted. Established. Then neglected,
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| Till at last the loiterer by the gate will wonder
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| At the old, old cottage, the old wooden cottage,
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| And say ‘One might build here, the view is glorious;
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| This must have been a pretty garden once.’
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| From a Garden in the Antipodes (Sidgwick & Jackson, 1929)
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| Ursula Bethell, (1874-1945), "New Zealand’s foremost garden poet." (ACCORDING TO THE INTERNET)
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| starting from scratch with writing is a terrifying point. but finding some point, some line, or a paragraph is great point of departure. and then EDITING. so therein originates the repetition.
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| emily dickenson
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| words set in a space - apparently whenever she had visitors she wouldn't see them, she would stand behind a screen,( a paragon?) but not see them, and would play piano from behind a screen.
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| in turning away from the person arriving it maybe increases the sense of being there I
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| writing as a way of literally being there. so does the writing become very performative. in that it solicits an affect, and exercises a change.
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| the point of encounter. and meeting. and that a meeting can only produce. in the other experiences of the work. and its repetition and mutability of setting its no longer performative but it carries a charge and it produces a new meaning in a new meeting each time.
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| WISP
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| the work is the noise. its not the signal. its not the channel of communication its the vibration in the meeting. in communications theory this is degenerative, but in the work here its productive, somehow. some interruption and some production shaking.
| | '''''Drive In'' by Stuart Croft. 2007''' |
| sets of conversations
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| that things are noisy as things, and they don't keep still, and that they can enter another form. that the sculpture can become a text, can beam a video, can become a voice piece, can become a performance.
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| thinking as a material practise. - as well as making - in order to think through this [x] its necessary to weave it. or to write it. or to .........
| | http://vimeo.com/35912892 |
| using the curtain as an editing tool to order the negotiation of the space.
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| it blocks and opens, its durational somehow, the transparent one particularly And by extension then the sibilant swish of the brush brushing, operates as the semi transparent mirror character within the texture of the verbal (texture of the text) and its position at the middle point, and bookending the temporal heart.
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| it operates the durational space that a semi transparent mirror could.
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| that things can perform or act in a variety of register. that these can shift or swist. or be renegotiated. the agency of the work beyond the capacity of the author/artist. that the work WORKS, that it has a job.
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| inclination in that to a multiplicity and how the spaces between these works and forms and materials creates a noise that has its own work. and that they don't exist as translations, but that they have their own material space. that they are positions of transformation. not translation.
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| the aloe - katherine mansfield. published in the page by page published/edited form and the manuscript (each page beside one another) splitting of the public and the private setting.
| | [[File:Drivein1.png|800px]] |
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| my emily dickinson susan howe. writes into it. as respond, commentary, expansion. its not reflective, it projective/productive somehow.
| | [[File:Drivein2.png|800px]] |
| emily dickenson and the acusmatic voice - the voice without a body.
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| | Again, ''Drive In'' deals with spaces and modes for telling a story, in this case a story is essentially told in the form of a long looping joke, by an american woman to a silent man. The man drives a car at night and the woman is the passenger, there isn't any real indication of the nature of their relationship, but the weight of particular parts of the story and the glances he throws back perhaps suggest that it could stand as an allegory for them. |
| | Within the story a man is caught in a storm at sea, he washes up on a beautiful desert island, alone and without provision. after a while of starving and getting hairy he discovers that a beautiful woman was also washed up, but she is AWESOME. she has a house which she possibly built, livestock, a shower, all sorts and she paints and carves amazing, weird sexy art. |
| | they hook up, he writes a trashy novel, she doesn't like it, he has an affair, nothings the same, he leaves on his raft and hey presto, caught in a storm, washes up on an island, and repeats the story. We weren't 100%confident about it being a single unit loop or if the story is told twice as the loop repeats the double telling. |
| | The camera work is very stylised, very slick, tight shots of the man and woman with rainy windows and out of focus lights from the street and city at night. |
| | Alice feels that something about the piece is perfectly contemporary, or is the best example she has seen lately of how to tell a story as a short film in a contemporary way. |
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| | Throughout these there is a kernel which interests Alice about the stylisation of a saga, and about the slickness of an American approach and presentation, and possibly how that can co-opt or reorientate a story or location which is outside the mainstream american lineage. |
| | Though she doesn't feel like the saga (as distinct from the story somehow?) exists explicitly in her own practise, its something which bothers her in other work, and perhaps something which she is interested in bringing into her output, working out how to manipulate the particulars and stylisations of her aggregatory/collage based painting to incorporate the toning of a narrative. |
Alice Mendelowitz
Sister Carrie, 1900 by Theodore Dreiser
Error creating thumbnail: File missing
Sister Carrie deals with a young american country girl's realisation of the american dream in the big city, primarily through her use of sex or sexuality and being a bit of a sauce.
Alice suggested that in it there is a general tendency towards things or ideas or stories being vague and open to our knowledge of their occupying a wider world and that this book exists as a template for novels of the american dream, bukowski, etc. As a novel which doesn't take a particular moral stance Alice is interested perhaps in its potential for telling and romanticising a story which not long prior would perhaps have been subject to stylisation as scandalous or a fall or a moral tale for social education.
It also seems to speak to its readership about themselves in a particularly live way, as turn of the (20th) century americans it inhabits the spaces that the nascent nation did.
Alice comment: What I meant to explain was that I was interested in how this book is considered to be such a template for writers like Bukowski and John Fante. And yet whilst theses writers effuse their work with fiction and metaphor, Dreiser's style is very direct. What happens - happens. In the present, artists and writers have moved towards a more ambiguos language.
The American Friend - Wim Wenders - 1977
http://www.youtube.com/watch?v=06hIZ76Zlds
The American Friend is one of many adaptations of many Ripleys novels (Patricia Highsmith). The American friend, played by Dennis Hopper, is an auction house price gamer, he is involved in an artwork forgery ring and appears at auction houses in order to bid on forged paintings to push up the price.
The key protagonist though is a hitman with an unspecified (probably) terminal illness who performs hits in order to accumulate money for his soon to be widow.
He is commissioned by Hopper to murder first a rival art gangster and then a second man after Hopper character fakes his medical report to suggest his illness is more immediately terminal than it is.
Alice was particularly interested in Wenders particular stylisation of the novel and of Hamburg, the location. He shoots light in a particular (painterly?) way which fictionalises Hamburg as a beautiful location, which She (Alice) doesn't understand to be the case with actual Hamburg, as it exists.
Drive In by Stuart Croft. 2007
http://vimeo.com/35912892
Error creating thumbnail: File missing
Error creating thumbnail: File missing
Again, Drive In deals with spaces and modes for telling a story, in this case a story is essentially told in the form of a long looping joke, by an american woman to a silent man. The man drives a car at night and the woman is the passenger, there isn't any real indication of the nature of their relationship, but the weight of particular parts of the story and the glances he throws back perhaps suggest that it could stand as an allegory for them.
Within the story a man is caught in a storm at sea, he washes up on a beautiful desert island, alone and without provision. after a while of starving and getting hairy he discovers that a beautiful woman was also washed up, but she is AWESOME. she has a house which she possibly built, livestock, a shower, all sorts and she paints and carves amazing, weird sexy art.
they hook up, he writes a trashy novel, she doesn't like it, he has an affair, nothings the same, he leaves on his raft and hey presto, caught in a storm, washes up on an island, and repeats the story. We weren't 100%confident about it being a single unit loop or if the story is told twice as the loop repeats the double telling.
The camera work is very stylised, very slick, tight shots of the man and woman with rainy windows and out of focus lights from the street and city at night.
Alice feels that something about the piece is perfectly contemporary, or is the best example she has seen lately of how to tell a story as a short film in a contemporary way.
Throughout these there is a kernel which interests Alice about the stylisation of a saga, and about the slickness of an American approach and presentation, and possibly how that can co-opt or reorientate a story or location which is outside the mainstream american lineage.
Though she doesn't feel like the saga (as distinct from the story somehow?) exists explicitly in her own practise, its something which bothers her in other work, and perhaps something which she is interested in bringing into her output, working out how to manipulate the particulars and stylisations of her aggregatory/collage based painting to incorporate the toning of a narrative.
