Public View/Private View

Below is a collection of images from the Camberwell  MA Summer Show 2016.

Two events took place simultaneously.

I was broadcasting via my channel on the Periscope app. from the Public View, on Crouch Hill, Banbury, Oxfordshire.

Visitors to the Private View at Wilson Street, Camberwell  College of Arts, London could access the Public View by the Periscope app and Twitter.

The chocolates displayed in both locations displayed my Twitter username, so the audiences could join the broadcast from Crouch Hill.

The Periscope audience also included random on-line passers-by and followers who had watched  during other broadcasts during the year.

A global audience of ‘friends’ and strangers sharing social, geographical and digital space simultaneously.

Other events took place during the days of the Show which are recorded in previous posts.

This is the final post of my Research Blog.

More recent work and connect via 

Collective Residency at Nordfisk Museum, Melbu, Nordland in August 2016 –

HereBeArt and https://storify.com/sangrownun/art-as-research

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@sangrownun

Thanks for looking!

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At All Times and in All Places

A Further Edit of At All Times and in All Places

Which incorporates a ( small) action  which took place at the time the UK Parliament voted for airstrikes on Syria on 2nd December 2015. The action and making of the object placed is also documented in this post 2nd December 2015- spaces in production

It includes on-line sources documenting events immediately leading up to, following and occurring at the same time as the vote and includes action documented via a simultaneous Periscope broadcast and is intended to illustrate unfolding events and simultaneity for example the San Bernardino attacks .


Original of At All Times and in All Places

The Inoperative Community and Allan Kaprow ‘Hello’

The Inoperative Community at Raven Row 

This is an exhibition of experimental narrative film and video  made since 1968  addressing ideas of community and the changing nature of social relations. It reflects the overlapping and entangled histories of  cinema, video and television. They all describe the destruction of community, the limits of activism and leftish subcultures. All of them use narrative to explore these issues.

Because there is fifty hours of material, any visitor can only  see a fraction of the works, but can make connections can be made between the works.
it was fascinating just wandering from room to room, staying sometimes ( rarely) for a complete work but just ‘browsing’ and not feeling as is this was a ‘bad thing to do’.

A bit like watching Periscope Streams! I couldn’t really do it justice as I had to move on to the Lecture at Whitechapel. I had no idea there would be so much. There were timetables so you could check what you were actually seeing and schedule in other visits.

I loved the confusing, fragmentary nature of the total summary narrative that you are left with, and the remnants of the powerful individual storylines from the individual works . Interesting.

I particularly enjoyed Luke Fowler,  Johan Grimonprez,

 Anne Charlotte Robinson Selections from 5 year Diary 

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and Lav Diaz Melancholia ( 2008)

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 Electronic Superhighway

I visited this exhibition after seeing The Inoperative Community and going to the James Bridle Lecture. Trying to squeeze far too much into my time. By the time I got to this exhibition I hadn’t got time before it closed to look closely at everything, and Boy! was there a lot to look at! I browsed around and ended up making Vines of bits of Naim June Paik’s work Internet Dream and some of the other works….but even managed to get those on the wrong axis, I was so tired….interesting though

Also good to see Lynn Hershman Leeson, whose work I saw at Modern Art Oxford in Summer 2015 and Experiments in Art and Technology (E.A.T)  John Cage and Robert Rauschenberg.

 Here’s a review of the whole show from The Guardian

Allan Kaprow Hello 

Of all the works in this significant and somewhat overwhelming exhibition I kept returning to this., Allan Kaprow Hello. Probably because of the elements of human interaction.
Kaprow created  this interactive video happening in 1969 for The Medium Is the Medium, an  experimental television program with five television cameras and twenty-seven monitors connecting  four remote locations over a closed-circuit television network.
Groups of people in the various locations  were given instructions to say on camera, for example “Hello, I see you”  seeing their own or a friend’s image. Kaprow acted as a director in the studio, the picture suddenly switching randomly so that there was not only the process of communication , randomness and chance,
Kaprow  was interested in the idea of  ‘communications media as non-communications‘, the most important message  being the idea of “oneself in connection with someone else”.  Hello  was a the disruptive way that technology mediates interaction by  metaphorically short-circuiting the television network,  and  demonstrating the connections made between actual people. Kaprow did suggest a global form of Hello, interconnecting continents, languages, and cultures in one huge sociological mix, much as Periscope operates today  demonstrating contemporary simultaneity.

(Adapted from: Kristine Stiles and Edward A. Shanken , MISSING IN ACTION: AGENCY AND MEANING IN INTERACTIVE ART) and Gene Youngblood: EXPANDED CINEMA, 1970, [PDF /4.6 Mb] pp.343-344

 

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Allan Kaprow, Hello, 1969 Filmstill | ©

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Hello Allan Kaprow 1969, 4:23 min, b&w, sound

“It’s a poor sort of memory that only works backwards”

Whilst updating my Proposal and thinking about how the process of writing my Research Paper will impact on my practice, I started to consider working on the following  themes. I’ll do this when I have  completed  work at the Edgehill battlefield site/ MOD Kineton:

  • A project on Crouch Hill based around the Trig Point-as a location it has layers of history and geographical and community significance. Also it is physically close to my home, a shortish walk, making it a practical place for me to work. I would also be able to enlist the help of friends with carrying equipment and other technical help. This would be less possible with other more distant locations.
  • I would base it around a live stream with some interaction on the site and possibly some live news feed or images added later.
  • I’d use performative action and performative writing in some way during the Live stream and interaction
  • I’m also interested in the literary concept of Portmanteau words, as below, and using the concept in a performative way.

I’ve been looking at the work of Belgian artist JOHAN GRIMONPREZ, who’s film montage work  Dial H-I-S-T-O-R-Y  a fake documentary about a hi-jacking was made in 1997 and seems to be  almost a premonition of 9-11.

There’s clip of it here

Grimonprez work acknowledges unseen events which can’t  be documented  and so  the potential impossibility of documenting any historical fact. His  first large-scale retroperspective of Grimonprez in  Belgium was  “It’s a Poor Sort of Memory that Only Works Backwards”.

I found the title fascinating as I recognised it as a quote from Alice through the Looking Glass. and know that Lewis Carroll’s Alice Works examine the themes of Space/ Time and Fact/ Fiction. She tells the White Queen that “I can’t remember things before they have happened” , and that is the Queen’s reply.

Unknown-8Whilst re- reading some of Through the Looking Glass and researching a little about Lewis Carroll , I became aware of his use of Portmanteau words like “slithe”  meaning lithe and slimy.  They are words which linguistically  blend or fuse words, parts of multiple words, or their phones (sounds), and their meanings  to  combine them into a new word-  so smog is a blend of smoke and fog.

 I really like this idea of fusion of ideas and ending up with something which is ‘nonsensical’ but  means something new.

Somehow, I’d like to use this idea in some performative way especially as it links with Carroll’s ideas of time and space and simultaneity and also is referenced by Jung when discussing Synchronicity and meaningful co-incidences (Tarnas, Richard (2006). Cosmos and Psyche. New York: Penguin Group. p. 50. ISBN 0-670-03292-1.) Most appropriate for my proposed work.