Thu 01 Jan 1970

As part of Oreet Ashery’s SPILL Salons, Rachel Porter and Edd Hobbs have been documenting infection through writing. See the previous post for a description of their approach to writing.
5 O’Clock with Uma, 19th April 2011

Summary from Oreet: After seeing Ikeda and Harminder’s work the night before, we discussed Ikeda’s work in relation to 3D effects on flat screen, his live presence in the event, and the sense of architecture that merged from the work. We talked about Uma’s sense of architecture of her village in Spain and illegal building works there, and the architecture of the Barbican. In relation to Harminder’s work, we spoke about body art, the light effect creating elements from the crucifixion of Jesus, and we spoke about the deployment of mass consciousness in both works. In relation to Glorious that we were going to see that night Uma said that she doesn’t worry about things, there is no point. She gave the example of how one should not plant a tree because they are worried about the environment but because they want to plant a tree.

the ability to say what we think without being jaded multilayered performances the infection is beginning to build up I got quite bored I fell asleep a few times the artists investigation a gig a concert an information concert what did we actually see abstract patterns beats and sounds how can you see sounds does it make you feel differently to know he was mixing it live expectations of physical sensations taking note of me taking notes the sound went through me I had to hold on to the seat to feel it feel it in my genes jeans nothing new lots of information familiar sounds waking me up alarm bells I also felt tired the act of watching makes me physically tired quite overwhelming but it was nice is too much data a pleasurable experience dated data planetary it as live special beautiful heavy metal violin dj techno jazz sound is just sound no musical category what would john cage have thought a big contradiction a mixture of everything building without permits corruption at a local level the architecture is ugly it’s just another building nothing new getting lost in the barbican you can see where you want to go but you can’t see how to get there growing up in the middle of nowhere this room half open half contained concrete is a terrible material it suffers diseases organic infection hard to look at is it hard to look at infection an infectious building I helped mix the barbican cement a fear that I would get lost people like living here art space vs home space public vs private what do the human signposts think looks smaller from the outside walking into the belly of the monster the noise of the water how do you describe a performance satanic music I didn’t see it I can’t imagine it the black goo spelling it out too much would it have been better going in cold too obvious problems of expectations touching his skin with nails slower death the body chopped with green light and smoke a physical involvement does physical sensation make it an interactive performance she knows that all we want is to see the person fall off the rope there is an impact getting dirty for nothing isn’t that a good thing I like getting dirty for nothing posing in the mud I want to see him in the mud with antennae biting the suit off so many lights going on and off satan will rule the earth do we subject to manipulation do we all have the potential to join a cult did you feel like you were in a really bad music video a heavy metal video a collage satanic pop music what would make this piece work for you who does a piece work for who does the work the performer the artist the audience looking at fears in relation to natural crises climate change vs financial crisis losing the planet vs losing the planets money what makes you scared the dark but there’s nothing to worry about you can’t waste your time planting trees unless you want to buddhism is about living now be aware that the building is infected but worrying about a boat sinking won’t stop it sinking peace and love a gap between the idea and reality free love don’t look at me hope you return to a theme of knowing the artist contextualising performance art how it changes the reading of the work we’re talking about confusion again a context which is about all of our engagement the artist the audience the building the works are triggers for public discourse removing programmed expectation we’re talking about intention again it all comes down to curiosity building a vocabulary of understanding speaking of surprise brave or bold why do we assign value to that which is live reflective surfaces like this one reflecting the pink lights the pink and amber lights mutating work risk taking this is very important the opportunity to hear people talking a dialectic dialogue the language can only come through understanding something happens a communion you might not like it but it is important did it stand alone      start writing in the silence when hands are raised I got quite bored and I fell asleep sometimes I didn’t feel anything very special I didn’t think the artist was trying to transmit anything a concert with lots of information passing a concept perhaps words going fast with beats and sounds like the beats and sounds of me writing on the wall my pen thudding against the plasterboard squeaking more today can we perceive it all at once beauty in three dimensions share sensations how do you share a sensation how can you pass a sensation on feeling music in your jeans genes genetic mixing in the dark beneath the stars put into a state that was not necessarily comfortable at times an oppressive state boredom boarders I’ve already seen uma has travelled a lot crossed boarders loud beats woke me up jetlag perhaps physical sensations attached to watching what does that do to our brains the more complicated and the more intense it got the more I liked it like a relationship dated futuristic universal planetary wanted it to be more intense no escape at all I liked it when the sound stopped you could make more sense out of the silence I listen to a bit of everything except heavy metal and satanic music sound is just sound it doesn’t fall into any musical category three dimensional lines like architecture barbican as architectural experiment building without permits building in conservation areas what was your experience of the barbican I just thought it was quite ugly the interior is nice but the outside is ugly inner hope outer hope you can see where you want to go but you don’t know how to get there architecture affects how people act does it affect how people think does this room affect how people think is the room having an affect on my writing concrete disease nuclear power station an infectious building in the sixties I mixed the cement for the barbican I am cemented into it’s history I fear that I will get lost get stuck in the concrete a contradiction between accommodation and art private and public human signpost part of the building walking into the belly of the monster the presence of water makes it bearable smoke and green light slow man black goo splashed around and went back up satanic music I didn’t need all of the extras a man coming slowly down on a rope was very beautiful I didn’t need it spelt out should pieces of work stand on their own when he was going up it was a very jesus like image light chopped leg off like the thieves next to jesus my fear is that our involvement was physical does this mean that the work was participatory is a physical response a conversation all the audience want is for the performer to fall into the black like the twin towers is immersive sensory based work participatory or interactive visceral experience of the real do you go through something or are you performing can you go through a performance what is on the other side of the performance if it’s not real it doesn’t have an emotional impact I was aware that we were all feeling something being manipulated into feeling something like religion or a cult occult squirting chalk pop culture music video heavy metal is the opposite of pop music if you go out with big banners you just get shot oppressive state move from last night to tonight past to present fears and hopes fears about climate change shift to financial change we always need something to worry about big is still big but small gets lost I was worried about people dying and I was scared of the dark why worry just let it happen plant trees to stop the earth from dying plant trees because you want to plant trees this is it present past and future are right here folded into one there are so many other things that you can do with your energy girls with peace signs hippy movement sixteen year old idealism free love don’t look at me questions comments hopes fears resurfacing the importance of knowing the artist is this more important for performance how does knowing the artist change the way you participate the function of a festival is different engaging with content directly with the artist sideways against the artist works as a trigger contextualising activity public discourse removes the commodity and creates a context co moddity co moderation it all comes down to curiosity in the end seeing enough work to build a vocabulary or understand what language does the works speak as a festival of live performance it was interesting that there was no human presence in the first piece unfolding the curation the first works are reflective surfaces like the reflective surface that I am writing on now in the reflective space of a conversation adapt to a space risk and accomplishment the work sits in an interesting space where does the work sit how do we hold it in this dialogue with the public language is reflective we learn by hearing other people using it and repeat it back showing the work is exposing enough you don’t want to expose yourself as well did the conversation stand alone why does a conversation stand but a work sit does this mean that the work is tired sitting with the artists and having supper