For my travels to Greece I made a travel album, which then during the week at the Made of Walking encounters/conference became a research site.
The album is here: τους πελεκάνους μου.
The closing post to the album is this one:
EDIT: my phone browser also misbehaves and forgets to place it into the album 😮
my browser Fb misbehaves and doesn’t let me post, so let me type this on the phone:
– i think this post concludes my pelican adventures.
– i think that most of the memory pieces i wanted to place next to each other i have now
– what i realised that i wanted to try was to seek a container to place next to each other a variety of things, meetings, sights and smells that came together in that week in Prespes
– there were two points when i realised that so much was mingling that i wanted to treat it as a field site and become a keen observer with interest:
(a) institutional processes and critique came together with both my inside/outside and my family album work in a site combining several key aspects of what i am concerned with in my work over the past four years
(b) Jen and then others started to talk about my FB posts and placed them offline again; and while not for the first time but for the first time with people who didn’t or hardly knew me, did i have a form in which the different forms of conversation mingled and informed each other;
>> that i was going to talk a few days later on a project which employed these two strands also, was perfect and too good to miss
>> i kind of used this then to make my own project (and sought some links to what is to be my final year work)
all else from this will sit in my sketchbook album (i add a link below, most of you will have access to it, should you not, drop me a message and i will add you)
there is something about the (fraught, failing) attempt to build a closed situation, room, site and i am keen to test this for this material. we did discuss in the past a corridor, a Fischli & Weiss machinery, i had dreamt of a world of Ursula Le Guin, a stage with Joan Jonas, Carole referenced Katrina Palmer’s Loss adjuster on Portland, i also think about the space the Sonic Seance show has set up at the CCA currently and bak invites for a training for an otherwise futurity. — many of these will be too ambitious. i think what interests me is as before the leaking and the blurring, the open fuzzy edges and i am pleased to have all the bus journey sketches around Kozani which go some way towards this.
i also am grateful to have tested the notion of gossip a little further. i have a lot of respect for it. found myself at various turns of the week being made to decide one or another. felt the hot spots of conversations travelling, adjusted some posts, didn’t write others and then on other occasions found myself surprised at what tender things it also was generative of. now with this having passed, i sense acutely the absence of those close and frequent iterations and interactions that made it possible to write like that. now it has firmly become a thing past and of reflection. i have lost the careful hold and sensation in my finger tips to gauge one thing or another (or to be wrong), so as a practice, this is also no longer a possibility.
oh: and i almost entirely forgot Susan Hiller’s Dream Machine and that beautifully fraught Soviet apartment room recreation at the Tate.
For my work for the two modules, some of this can be drawn out further:
>> totality/ situation:
it relates to other sites, events:
- Corridor as institutional site (with Green and other Green)
- the line as body of work
My interest is in:
- details events processes that are held in temporal and spatial proximity (maybe even just through my attention, there is no assumption that it is causal or functional)
- part of that attention then concerns memory/ focus but also subjectivity
- what gets deposited, contained and what doesn’t or can’t
- so the totality/ situation/ event is one with open, blurry or fuzzy edges: things are bleeding in and out (does it make sense to focus on the blood?)
As much as this concerns the source material for a work, it also gives an indication over how to present it, how to realise it: Since House in 2015 I had thought of a room, an installation to re-access the site, to make it public. Similarly: there as an idea during D2 to do something similar with the corridor, to remodel it, to situate it elsewhere. Effectively, too, the work around Office at Night did something similar in its final realisation.
There are a series of ideas, possibilities from this:
- a construction of a physical site to contain and hold together objects deemed relevant
- a visual realisation (such as concept maps, presentation) or a publishing form that achieves something similar.
The kinds of materials gathered are small, ordinary, fleeting (and this makes a little clearer to me what I had initially written as the ordinary, every day in the first statement/ outline). So, the collection/archive/situation (I will need to have a closer look at what this is) is constituted in ordinary form, encounters, events, gestures.
There are a series of influences and references (many not new):
Katrina Palmer’s End Matter / Loss Adjuster
Joan Jonas larger performance cycles (I have one in mind in particular, I will need to look this up)
Juliana Spahr’s writings (This connection of everyone with with lungs, Army of Lovers and The transformation) that all try to assemble and hold in relation a whole range of things.
Fischli & Weiss’s installations were a reference point for the parallel project of D2 (and possibly to fold forward).
I had also revisited the Andy Warhol materials that informed the formation of the line (the diamond dusted screenprints but also Gilda Williams’s writing on Silver Sliver and the close attention to when present becomes past in his work).
One current show at the CCA in Glasgow, Sonic Seance presents a series of collaborative works around music, performance and spoken work in a setting that takes in two rooms, one an ante-chamber with sofas and reading materials; the other, larger one, has four screens with a video looping in each, some printed textile banners, many cushions and floor seating around a few tables, a wall-spanning projection of some grasses and above all and scent infusing the whole setting in fairly low lighting (the scent is for me just past comfortable and just about not making me feel nauseous).
I also, one reflection of my sketches and drawings for this, and how the sketchbook is developing, have been returning to Rosemarie Trockel’s work, notably the drawings and zines that I saw several years ago at Talbot Rice. There is a review of the show here, and it is good in capturing my memory of the show and what intrigued me in her drawings but also in the exhibition of her book drafts under glass.