Way back in 2012 I saw ]performance space[ and connection time at The Performance Exchange part of SVArts at Stroud Festival.
I was drawn to their work on several different levels.
Their use of a plan but not script.Their sense of chaotic collaboration.The way they involved live audience, directly and intimately.The lack of separation between performer, performance, audience, participant.Their use of Social Media ( Twitter) to extend their work outside the performance space of The Shed.
Later, in 2013, I joined in their work Ritually Reading and Researching via Twitter.
Ritually Reading & Researching is a new live & web-based research laboratory. A durational -12 hour – experiment at the intersections of visual-performance processes and critical research. The lab takes place from midday to midnight, commencing at 12 midday (SHARP!) at ]performance s p a c e [, with lunch and an introductory discussion. Participants are then ruled by time (literally, there is an alarm on the hour, every hour) and move between ]ps[ and the Live Art Development Agency’s Study Room.
I’ve thought a lot about their work since then, especially with my continuing readings on Crouch Hill, which in many cases involve me reading and researching, in the space I am researching…., with the occasional coincidental appearance of others, often dogs and their owners, who make a contribution.
The ‘space ‘ of the hill is available 24 hours a day….to a ‘local’ which highlights this quote I noticed in the RRR webpage documentation from Lucy Lippard’s Lure of the Local
Inherent in the local is the concept of place – a portion of
land/town/cityscape seen from the inside, the resonance of a specific
location that is known and familiar. Most often place applies to our own
‘local’ entwined with personal memory known or unknown histories, marks
made in land that provoke and evoke. ( Lippard, 1997 p7)
I read this book some years ago and will re- read over the next few months...Strong residual memories of this work have lead to some of the methodologies in my practice, but adapted for me, in this space with my particular research concerns.
I also looked at this work Li-E Chen’s 24 hours in Dreams at the Battersea Arts Centre which uses Twitter for interaction.
The Twitter feed then also remains as an archive of the conversations and discussion which came out of the performance.