Ruth notes

notes here

Sighle unedited notes

RUTH BUCHANAN

Movement – to change the way you think/write/make Environmental factor on cognitive thought Installations to reflect the artists brain

‘No solitary beat’ – taken from a script viewing someone viewing – doubling/splitting the body viewer-performer-viewer (circuit) spatial to produce implication double the presence of the language – reading/oral/spatial Positions in hierarchy are not fixed Multiple points of entry Comes from exterior point – how art is represented pn television Mediating contact with art works (not old enough to be embarrassed) (not that much I’m a prude) (anecdotes lift the talk)(art speak – that sounds like art)(art look – that looks like art) contrasting -interaction, intimacy of listening and then other people entering in. this is a scenario not just an audio behind a curtain. The style looks slick and constrained.

Performances leading to producing space – stepping in and out of the work

The moment of ‘reveal’

‘Floorplans’ – ‘Conditions Drawing 2012’

versions of the installations, repeated motifs

‘Sculptor’

striped panel makes people walking past ‘jutter’ while other people watch

(art about art)

Matin Boyce aesthetic

(the audience there were kind of weird)(in another instance/place this might have been less clumsy)(heightened the awkwardness)(its started)(this is off the script)

presence being felt by absence. Intensification through implication Durational and spatial

TEXT

Reflect and entangle Context of the site Step out/in Unfolding A photo of a space encountered in the space Circuit We have seen before Mutual and contingegent Mirror creates a loop Logic of a circuit – relationship is particular/a trope Layering of description/personalties Curtain/archive are the same We choose to create a bussle This mirror is an object

The description – how can you get in the anecdotal research directly into the work.

What do you do with gaps

Insist on a movement

Not representational descriptions Within the text is political, gender, cultural discourse

What are the constraints of the institution and how can you mediate that Like having something to work against or push at

Not sabotage but tilts or shifts

When ruth initiates projects they work better (sometimes you can trick people into letting you do stuff – playing with their generousity ) though the work itself doesn’t look or seem outwardly critical. is it too dry to obviously provoke?

Co-opted. ( Isn’t the point to draw attention to this stuff though?)

(What is the motivation for drawing attention to the curtain?)

The institution absorbing the criticism and co-opting it. Repressing individual resistance by agreeing with it, making it fashion/marketing it.

Swollowed by their marketing department

In order for it to maintain its integrity it needs to be in a different place of astraction.

Abstract agency

Dispersing the agency

‘Last year at marianburg’

when reading yourself you can go back to it, filmic is being guided through the text. When you can’t control how the information goes in. the repetition works to reinforce the information

Film – Very dramatic and sinister. Like a Hitchcock film

Drawn back into the shadows

‘without a catalogue this would become a pathless land’

toute la memoire du monde

http://www.youtube.com/watch?v=i0RVSZ_yDjs

music changing the

attain a different signifigance when accepted by the archive

the appearance of communication

established

cornelia parker throwing stuff into the water

a way of writing which is a way of ‘spacing’

solicit an affect and exercise a change

different tones of writing/ qualities to produce different effects (radio 4 book this morning)

controlling element

http://www.bbc.co.uk/iplayer/episode/b03j593b/Book_of_the_Week_The_Screwtape_Letters_Episode_4/

tone of the communication

how far can you push one word/idea into different things word-script-object-drawing

thinking the thing through something else

thinking is a form of moving