Buchanan notes group two

Notes here please

Performance [sol]

space/installation [Sig]

Installation

Environmental factor on cognitive thought Installations to reflect the artists brain.

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 The style looks slick and constrained. 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)

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. 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. 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

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 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. 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.

Writing [alex]

Speech [sol]

role of the artist/institution [sig]

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? When the curtain was ‘co-opted’ and potentially going to be shown by the museum, Ruth seemed to feel this was somehow stealing her idea/work. What was the motivation of her work then? The institution absorbing the criticism and co-opting it. Repressing individual resistance by agreeing with it, making it fashion/marketing it. Swallowed by their marketing department In order for it to maintain its integrity it needs to be in a different place of abstraction. She feels piece that criticizes the museum should be shown elsewhere.

As artists she is 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.

ALICE use of institutional space - is this because these are the spaces that invite you? 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. the level of investment is greater when she initiates the project. it comes from an awareness of a weirdness. more investment in the constraints. 
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.

protagonists

A double vision of the Protagonist

A split position of hierarchy

The split person standing on a rug

that turned into a drawing of a floor plan

Arts and Crafts

The viewer is the curtain or the carpet

Protagonism of children viewers

who are to young to be embarrassed

They move and touch curtains

and when they stand still

they are Archives

Absence and Presence

object forms/materialisties [alex]

references/quotes [SOL]