Kids, Doing Copies:

‘Re-Reside’ Reenactments of a series of performative...

Sat, 29 Sep 2012 14:23:00 -0400

‘Re-Reside’

Reenactments of a series of performative moments witnessed at ]performancespace[

Previous Work

Thu, 27 Sep 2012 09:36:00 -0400

Reenactment of Valie Export's 'Action Pants: Genital Panic'

Re-performance of Vito Acconci's 'Seedbed'

Cyffes Fydd Y Corff (Darn Dau)/ The Body Will Confess (Piece Two)

Previous Work

Instructions

Thu, 27 Sep 2012 07:54:09 -0400

Instructions

1
Connect the USB data cable into the USB port on the digital camera. If no USB port is on the LCD projector, insert the 3.5mm end of the video cable into the "Display Out" port on the digital camera.

2
Plug the opposite end of the USB cable into the "USB" port on the LCD projector, or insert the RCA end of the cable into one of the "Video In" ports on the LCD projector.

3
Power on the digital camera and the LCD projector. Press the "Menu" option, then choose "Input." Select either the "Video" input or "USB" input, depending on what connection you are using. The digital camera's contents will appear on the screen.

CYFFES FYDD Y CORFF (DARN TRI): LUST OF EVERYTHING PASSED

Wed, 26 Sep 2012 15:02:04 -0400

There are two performance spaces, one in Aberystwyth, Wales, the other in Warsaw, Poland.
In each space there is one woman, one chair one razor blade and one used lipstick.
The lipsticks have been swapped between the two women.
They instruct one another:

Cover the surface of a chair entirely in bloody lipstick kisses.

Simultaneously, they take the razor blades to their tongues.
Simultaneously, they apply lipstick to their lips.
They kiss the chairs.
The lipstick is re-applied.
They kiss the chairs.

The performance is over when
a) The chair is covered
b) The lipstick has run out
c) They stop bleeding

http://everypersoninnewyork.blogspot.com/2010/03/man-at-dinosaur-...

Wed, 26 Sep 2012 15:01:27 -0400

http://everypersoninnewyork.blogspot.com/2010/03/man-at-dinosaur-barbeque-on-131st.html

"History marches on, but glitter sticks in its floorboards."

Sun, 23 Sep 2012 15:42:49 -0400

“History marches on, but glitter sticks in its floorboards.”

- http://lucian.uchicago.edu/blogs/politicalfeeling/files/2007/09/nyongo3.pdf

"An embrace of the potentialities of the period rush characterizes two recent projects in queer art..."

Sun, 23 Sep 2012 14:32:00 -0400

“An embrace of the potentialities of the period rush characterizes two recent projects in queer art and performance: Allison Smith’s participatory performance The Muster (2005) and Chris Vargas and Eric Stanley’s film Homotopia (2006). Both projects approach the past through affective transfers that release the virtual element of an ostensibly settled historical record. Both do so by way of deviations that purist re-enactors and traditional historians might scoff at. Participating in the spatialization of historical time, they resist its debilitating political effects, in part by highlighting the artifice of reenactment itself. Both draw from sources that are themselves reenactments, constructing a moebius strip in which the pursuit of the real forever turns back out on the side of the virtual.”

- http://lucian.uchicago.edu/blogs/politicalfeeling/files/2007/09/nyongo3.pdf

timelines/ linearity/ “spatialization” of historical time

Sun, 23 Sep 2012 14:29:00 -0400

timelines/

linearity/

“spatialization” of historical time

"These two examples suggest that, acting as both archivists and activists, artists can use their..."

Sun, 23 Sep 2012 14:10:32 -0400

“These two examples suggest that, acting as both archivists and activists, artists can use their creative powers to perform interventions that keep the archive open to critique and transformation. Particularly important is their willingness to use their affective and personal investments to queer the archive and to produce new and unpredictable forms of knowledge, including new understandings of what counts as an archive and hence what counts as knowledge. With their interest in installation, artists also reconfigure the space of the archive, opening it up to new publics so that it is not policed and protected and creating innovative kinds of “safe space” in the form of intimate sanctuaries where new socialities can be forged.”

- http://hemisphericinstitute.org/hemi/en/e-misferica-91/cvetkovich

To Whom It May Concern A site-specific installation by Catherine...

Sun, 23 Sep 2012 14:05:26 -0400

To Whom It May Concern

A site-specific installation by Catherine Lord

October 8, 2011 – March 3, 2012 Extended through Summer 2012

ONE National Gay & Lesbian Archives

909 West Adams Boulevard

Los Angeles, CA 90007

"How do you archive an activist movement? The archives of the AIDS epidemic embody a set of..."

Sun, 23 Sep 2012 14:03:59 -0400

“How do you archive an activist movement? The archives of the AIDS epidemic embody a set of contradictions: the work they contain was meant to be immediate, in the moment, on the street, and carried a particular kind of temporal meaning. The idea of an AIDS activist poster having historical value was not a part of its initial intention, which was to find a way to get a message out, to intervene with urgency, to “stop the killing.” With this context in mind, how does an in-the-moment message become an historical document?”

- AIDS Activist Legacies and the Gran Fury of the Past/Present

MARITA STURKEN

"The digital raises new issues about memory and knowledge production and transmission in the..."

Sun, 23 Sep 2012 14:02:14 -0400

“The digital raises new issues about memory and knowledge production and transmission in the so-called “era of the archive.“ Technologies offer new futures for our pasts; the past and present are increasingly thought through in terms of future access and preservation. This temporal dislocation perfectly captures the moment in which we currently find ourselves in relation to digital technologies: the feeling of not being coterminous with our time; the belatedness and not-there-yet quality of the now.”

- Save As

DIANA TAYLOR

"Theoretical critiques put the brakes on liberal enthusiasm for the archive, as do queer approaches..."

Sun, 23 Sep 2012 13:58:24 -0400

“Theoretical critiques put the brakes on liberal enthusiasm for the archive, as do queer approaches to identity and representation, which insist that visibility is not always possible or desirable. Derrida has been the go-to person for such critiques, particularly because, using the combined example of Freud’s house and psychoanalysis in Archive Fever, he focuses on the impossibility of archival practice—on how the desire for records escapes representation, leaving a trail of traces in place of the always-elusive real. But this same lesson is also available from the archives of colonialism, slavery, and other histories of violence in which absences are not just a theoretical conundrum but also a very practical reality.”

- http://hemisphericinstitute.org/hemi/en/e-misferica-91/cvetkovich

New toy. Thanks Daniel Shelley-Smith! x

Wed, 19 Sep 2012 17:30:34 -0400

New toy.

Thanks Daniel Shelley-Smith!

Exercise 2: U(rgently) V(acating )

Mon, 17 Sep 2012 16:18:21 -0400

UV Blacklight

Ice Cubes

White Bikini

Body Heat

Beginning with ‘A Boy Dressed in Girl’s...

Sun, 16 Sep 2012 13:53:17 -0400

Beginning with ‘A Boy Dressed in Girl’s Clothes’ by Huw Arwystli (Wales, 16th Century).
Following a series of simple rules, the poet re-composes the original poem, subverting/altering/fluctuating its meaning. Words are cut and pasted from one page (stage?) to a second. This process is documented, photographs are taken as each word is re-placed on the second page/stage. These photos are later organised as a stop-motion animation, and projected into a new performance space. There stands a woman dressed as a man. Following the same simple rules as adopted by the poet, the performer re-dresses as a woman.
Duration: 7 Minutes

]performancespace[ Summer Residency 01.08.2012-31.08.2012

Thu, 13 Sep 2012 05:49:00 -0400

]performancespace[ Summer Residency

01.08.2012-31.08.2012

I am aware that Tumblr has effectively destroyed the poems in the previous post(s). This is, I realise, once of the negative aspects of using this particular social media site as an archive for your work.

Wed, 12 Sep 2012 19:04:00 -0400

Orinda upon Little Hector Philips by Katherine Philips, re-arranged by Jess Rose (who's hoping to find a real poet to have a go at this game soon).

Wed, 12 Sep 2012 19:03:20 -0400

Humane, twice
he dropt away.
Lovely Wedlock, I then had
Forty months
Of joy

I fell
and he did but
pluck the Rose-bud.

Babe, my sweet,
My trembling Art groans,
And now my Muse.

The dear boy
Who will grieve thy refreshment

Mothers,
Receive thy unhappy Off'ring
For I have too

Orinda upon Little Hector Philips by Katherine Philips

Wed, 12 Sep 2012 19:02:15 -0400

Twice forty months of Wedlock did I stay,
Then had my vows crown'd with a Lovely boy,
And yet in forty days he dropt away,
O swift Visissitude of humane joy.

I did but see him and he dis-appear'd,
I did but pluck the Rose-bud and it fell,
A sorrow unforeseen and scarcely fear'd,
For ill can mortals their afflictions spell.

And now (sweet Babe) what can my trembling heart
Suggest to right my doleful fate or thee,
Tears are my Muse and sorrow all my Art,
So piercing groans must be thy Elogy.

Thus whilst no eye is witness of my mone,
I grieve thy loss ( Ah boy too dear to live)
And let the unconcerned World alone,
Who neither will, nor can refreshment give.

An Off'ring too for thy sad Tomb I have,
Too just a tribute to thy early Herse,
Receive these gasping numbers to thy grave,
The last of thy unhappy Mothers Verse.