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Inhabitate Bridgeotwn. Place: Hester Cascades. Photo: (c) Marnie Orr. Body: Jess Morris, getting to know her materials through weight & gravity (see discussion below).Skype call with Cristina & Marnie
How can we invite audience members to include their own process in visiting the work?
Write / say / record 3 words. in the middle of their experience. Give them something to take at the end. Cris on the mike with camera person - at a process. Come up w 3 words if they were to engage with me around the protest. what brought you here, what do you see, etc. Invitations are a powerful thing. But requires facilitation. Invitation needs to be presented from an established intimate space.
BOAT
Audience members invited to throw lights over the river to the other side of the bank, to light up performers in a boat on the river.
people in a boat .. this is such a powerful image/archetype.. its in the bible, in the news.. its in our cellular memory if we reach into ourselves and raises.. for me.. issues around belonging that belong to colonization, invasion, migration.. transition/transportation
Opens so many doors/portals through space .. time and existence
In my perf practice (Marnie) I feel unable to transport the work from one site to another. Choreography and movement work, for me at this stage, rarely is able to be honestly transported. one loses one's connnection and immediate response-ability to materials / and surrounding subjects because they are different.
ie. I (Marnie) cannot perform a charcoal dance in a green environment. COMPLETE DISJUNCTURE. However, Romans are still Romans in Venezuela
And charcoal may be some part of the existing environment that has contributed to it being green now.. can you tap into that in the site, Cris asks.
Marnie agrees completely.
TIME AS THEME
That's why this work is all about time. Going on from conversation with Rachel last night, it's about relation into time, timing, tempo, speed, macro/micro - which i believe is not about space, but about the same thing - same place - happening simultaneously. Human limitation to be able to access ancient knowledge that is not nec immediately evident. ie we require TIME to be in an environment - working physically there in that place, to pick that stuff up.
Therefore if we are going to present this work - in any way with bodies, we need ~ a week prior to production. We need time to work and get to know our materials.
Materials - projection fabrics, the venues, equipment, the boat, the environment etc
PRIOR: know the footage/image groupings what we want to achieve. THEMES ESTABLISHED.
THEN venue options identified.
"How can we invite audience members to include their own process in visiting the work?"
ReplyDeleteI wonder whether you were speaking about the work as in an exhibition of the photographs etc that were created or whether you were speaking about the work as the inhabitation of environments by a range of people (dancers, photographers, 'audience' etc).
In any case, in my mind, each 'audience member' is always already within their own process in visiting the work. From being an audience member myself, I would say that my experience varies greatly depending on my mood and ability to initially 'sink' into the work. Some work is, perhaps, easier to sink into.
I think what you are getting at in developing an invitation for audience response through creating a sense of intimacy is the recognition that the presence of recording devices (cameras, paper, pens etc) when focused on the 'audience' can disjunct the experience of witnessing. It can create audience reflexivity and produce self-consciousness which may (or may not) run counter to the creation of a holistic experience (depending on what is intended) - which is why the creation of intimacy and trust is required. Is this what you were thinking?
Another question I would ask is why record the audience response? Will it also become part of a collection of documentation of the process which could be part of another version of the work 'audienced' at a later date? Or is it more in the vein of feedback for the creators of the work?
From the point of view of my own interests and practice, if we are referring to the work as an inhabitation of a place (rather than an exhibition), then 'audience' would become as much of a focus for me as camera, dancers, material elements, weather, underlying geological formations, stories etc. In Bridgetown we were asked quite formally to work as dancers with the photographers in co-negotiating framing (and vice versa). In my own practice I am also always working with audience members in co-negotiating how I am viewed. While at times, in this sort of work, I feel very much as if everything but the immediacy of my being disappears, I also understand that to create a sense of intimacy with audience members, it is possible to give every element around me (including people) the same generative power as, for example, a mouth full of ash or the planes of a granite surface. In this the very distinction of subject and object may disappear...
I've already posted this but i'm doing it again.....
ReplyDeleteI'm in love with the idea of using charcoal, it feels like a completion of the phase as we move though the concepts of Inhabitate.
I feel we have already done some amazing exploration of Charcoal as a substance. I felt that the substance was not 'dead' but more alive somehow. Like it has so much more of a story, from 'Living' to what we call 'Dead' but really it is not dead it is merely morphed/ transformed into a new material, which when investigated artistically you can draw to create new images, you can feel the ashen substance already has a story from the oxygen it inhaled and the water it drew from the earth and the various elements that it drew up to the fire that consumed it and transformed it.
There are many many great images collected already which we can see in our collections, I think all of the photographers captured images involving Charcoal.
i would like to see us collect a trailer load of it from somehwere in the district and make it into 20- 30 neat piles about 20 cm high, it could be really beautiful installation. lunar.
I'm very keen to work a sound installation of the voice recordings that Marnie has collected, and have spent some time listening and cataloguing these for use of a piece that can be used to further explore from where we left off. I'd like to use some live mics to capture the sounds of the charcoal mounds being built and collected.
I would relish the opportunity to show this in perth too, CIA/PICA, I'm free most January February for this.
I think that too an interesting piece would be to collect charcaol and use them out in the water - maybe on Kim's pontoons could sit a pile of charcoal.
Regarding the projection onto scrims - let's hang them from the Bridge as a backdrop to the work we do in the water and my propsed Charcaol install.
I'm happy to source this particular scrims - i think i know where i can get some material that is approx 2m wide by 20m, If I could get my hands on two of these, we could hang these from the bridge and project onto them with works that already exist.
i feel that the gigapan images, projected can work but it may have to be a traditional screen for full effect. I like the idea of printing these out as big as we can though, for a more traditional approach where people can get right up close and inspect them. these could hang inside the bridge and be lit from above fro best effect. I'd go as far as saying five would be a good number.
As far as audience particiaption goes, I feel that during the festival perhaps on the Saturday some of us may perhaps like to give an 'inside look' as to how the works were created and ideas formed, sort of a forum Marnie you could offer some explantions of key ideas - sort of a artist talk, we could then have a small demonstartion or game to finish it off- something fun like blindfolds with charcaol or something. I'm thinking limitng this to 45min, as we will all be quite busy on this weekend i'm sure!
Regarding Timing
ReplyDeleteI really agree with you Marnie about the Time being integral to the work.
Logistically it might be too far out to determine everybodies availability -I am prepared to be available the weekend and week prior to the festival for the production.
I'd like to get a camp base situation happening on the river, I'm looking into rates now to see what sort of a deal i can get over the week leading up to the Festival, they have just built four new cabins at the caravan park these could be good for us to take over from a production point of view. This could save n travel time too if we had some sites in mind near there, actually we haven't explored south of bridgetown much at all, and there some great spots too.
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