i am your anti-matter (latest version)
DESCRIPTION
I am your anti-matter is an interactive digital publication exploring a new understanding of 'Nothing'. Created by Li-E Chen, it includes contributions from Ying Mei Duan, Victoria Gray, Bean, Will Fung, Indigo J. L., Aoife Collins, and Nathan Widder. The ebook has been developed from Li-E Chen's "Cloud Clock Love," a two-day durational artistic laboratory that took place at the Siobhan Davies Studios in London in September 2011. This research and development project was supported by the National Lottery through the Arts Council England. 'Nothing' has long been conceived in both Western and Eastern cultures as an absence, lack, deficiency, or emptiness. But these perspectives have long been inadequate, as they have represented 'nothing' in a way that can be comprehended and understood, and have failed to relate to another kind of nothing that is ambiguous, uncertain, and above all creative.TRANSCRIPT
I am your anti-matter
Li-E
Che
n
© 2012 Li-E Chen; individual contributions © 2012 the contributors.
individual participants © 2012 the participants.All Right Reserved.
Series name: 1212360
i
DANIEL PITT - CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS
Copyright
li - e Chen
HTTP://WWW.LIECHEN.COM
HTTP://CLOUDCLOCKLOVE.WORDPRESS.COM
ii
Special thanks to …
The Arts Council England, Rob Prouse and the Siobhan Davies Studios, Movana Chen (Artist/Curator),
Sarah Ng, Sally Dean (Sally E. Dean Performing Arts Company), Improbable’s Devoted & Disgruntled
Satellite and Open Space communities, Phelim McDermott (Co-Artistic Director of Improbable),
Chinese Arts Centre, Manchester (Whisper Artist Residency and Professional Artist Development
scheme), the fellow summer Creative Space artists/dancers and Caroline Salem (Director of the
Creative Space@Clarence Mews), Hamish Macpherson, Manick Govinda (Artsadmin), Young Vic
Theatre (the Young Vic Directors Programme), National Theatre, Royal Opera House, BAC and Cultural
Leadership programme (The ‘Step Change’ leadership programme), Leona Yu, Live Arts Development
Agency, Nicholas Wood (the Central School of Speed and Drama), Professor Johnny Golding (the
Research Institute for the Converging Arts & Sciences, University of Greenwich), Manu Luksch, Indigo J
L, Guy Dartnell, Dr Nathan Widder (Royal Holloway University of London), Bean (director
of ]performance s p a c e [, Victoria Gray, Ying-Mei Duan, Aoife Collins, Will Fung, and all the
participants (co-creators) and contributors to the project Cloud Clock Love.
CLOUD CLOCK LOVE, ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011
Credits
CLOUD CLOCK LOVEI Am Your Anti-matter
Conceived, curated, designed, and produced by Li-E Chen
Foreword written by
Dr Nathan Widder
Ebook contributions by
Ying Mei DuanVictoria gray
Bean Will Fung
Indigo J LAoife Collins
Mentored by Sally Dean
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DAVID TSE-KA-SHING - CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS
I am your anti-matter (limited edition t-shirts) by Li-E Chen(with the assistance of Sarah Ng)
Project assisted by
BeanNathan WidderSarah NgDavid MarchantJohn StewartJohn Hill Movana Chen
Participants (Co-creators)James Hodgson Ivor Houker Sophie Morgan Annette Fry Dean Soden Folveog Eva Daniel Pitt Qing Qi Melody S. Sacco David Tse-Ka-ShingSolveig Eva Magnusdottir Sebastien Han_Walker Apryl PipeTim Cullingford Sim Lai Soren Evinson Sally Dean Paul Whitlock
Hannah Lammin David MarchantJohn Hill Nathan WidderVictoria GrayBeanLi-E Chen
Live Documentation by Victoria Gray & Bean
Durational Live Writing online byVictoria Gray @ACTIONOTHINGBean @aplaceofaction curated by Li-E Chen @1212360
Live Streaming of the second day of the lab was arranged byJames Hodgson Ivor Houker
Others who participated in the project include
Those who participated online during the lab through the Cloud Clock Love blog.
Those who took part in “take-no-action” during the DandD7 event, an open invitation from Improbable, 25-27 February 2012
Those who have helped disseminate the artwork by wearing the “I am your anti-matter” t-shirts limited edition 2011 - 2012
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Softwares Advisers for digital publishing
Kaying ChengAndrew Whitehead
Photo
Cloud Clock Love Laboratory Photo by Nathan Widder
Ying Mei Duan (Chapter 4 page 41-42) Photo by Melati Suryodamo
Multimedia
Video Intro Media (page 0) “I am your anti-matter” shot by Li-E Chen (2012)
Interactive Map (Chapter 2 page 14) “Open Space” by Li- E Chen
Video (Chapter 2 page 18) “Clock Clock Love Durational Lab on ‘Nothing’”shot by Nathan Widder, edited by Bean (2011)
Blank pages (Chapter 5 page 68 - page 77) “Nothing” by Li-E Chen
Video (Chapter 5 page 83) “Untitled” shot by Li-E Chen (2011)
Sound (Chapter 7 page 101) “Downward social mobility” by Aoife Collins
Film (Chapter 9 page 112) “Dragon Coconut and the Monster Rabbit” by Indigo J L
Supported by the National Lottery through the Arts Council England.
5
LI-E CHEN- A STRUCTURE OF 3 ON NOTHING (2011)
I am your anti-matter is part of a research and development project, CLOUD CLOCK LOVE, an exploration of a new
understanding of ‘nothing’ created by Li-E Chen and supported by the National Lottery through the Arts Council England.
This work on ‘Nothing’ emerged over several years out from Chen’s diverse experiences and projects, including: a short residency
programme at the Chinese Arts Centre in Manchester (UK) in 2009; participation in the ‘Step Change’ leadership training
programme, which included secondments at the Improbable, and the Live Art Development Agency; and ongoing engagements
with the works of Robert Wilson, Techching Hsieh, Merce Cunningham, Tadeusz Kantor, John Cage, Harold Pinter, and
Improbable (including Chen’s participation in its Devoted and Disgruntled Satellite and Open Space events).
CLOUD CLOCK LOVE, ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011
Foreword
Nothing is frequently treated as an absence or deficiency. To say, ‘nothing is in
the room’ indicates that it is empty; to say ‘nothing has happened’ means there
has been no change, be it developmental change or decay; to say ‘you mean
nothing to me’ communicates that I take you to be of little or no worth. Yet
these everyday uses and meanings are not as straightforward as they may
seem. To say ‘nothing is here’ grants this nothing some existence or being. If
nothing seems to have happened, it speaks more to the limitations of our
perceptions than it does to our perceived reality. And you must have meant
something to me, or I wouldn’t have wasted the time and energy to tell you that
you didn’t.
From seminal works of philosophy to everyday life, nothing has been
considered in ways that allow it to be an object of representation, something
that can be comprehended and known with relative ease. We make things easy
in this regard by setting nothing against its opposite, taking this opposite to be
a thing of worth. What we represent to ourselves and others is a matter of
things, even if this is the representation of the opposite of a thing, a no-thing.
8
But we need not think along these terms. We might instead press beyond the
limitations of this representative thought by treating ‘nothing’ not as a
representation of a ‘no-thing’, but as a name given to that which can be
presented but never re-presented, precisely because it is not and cannot be
made into a (representable) thing. In the terms on which this thinking proceeds,
‘nothing’ is what can be cognized but never re-cognized, meaning it also
cannot be conceptualized, remembered or organized in relation to other
objects and things. We would be able to experience this ‘nothing’ in any
number of ways. But we would never be able finally to grasp it.
Such a ‘nothing’ may seem to be meaningless, but even if it cannot have an
everyday meaning, it would be wrong to think that it could not have a sense.
Or, perhaps better, while it may have no sense itself, while it may only be
‘nonsense’, it might still play a role in allowing us to ‘make sense’ of the things
that are normally the objects of our thinking, the things in whose absence we
speak of nothing. Considered in this way, ‘nothing’ would at bottom be a
foundation for creativity, insofar as creativity is taken to be more than putting
together or manufacturing an object based on a prior representation (a model,
an idea, etc.). To create in this respect would be to bring into being something
that was not there before. We have long been told that only God could create
ex nihilo. But perhaps all things, as things, are created from ‘nothing’.
Cloud Clock Love was a remarkable two day experiment in the creativity of this
‘nothing’. There is an experience of creativity that is difficult to pin down even if
in some respects it is commonplace, an experience that brings the person who
has created something, when asked how he or she came up with the creation,
to answer, ‘I don’t know where it came from; it came to me’. Cloud Clock Love
sought to bring about conditions under which something creative could come
to participants in this sort of way. In a space constructed with the minimum of
rules, and with no more than suggestions for starting points, participants were
invited simply to take what was there and to do or make something with it,
independently or collaboratively and in accordance with what felt right to them
at the time. It was an extremely simple arrangement, but one that was all the
more powerful insofar as it cut against the pressures we all face in daily life to
follow plans and achieve predetermined goals. These are the very pressures
that encourage us to see an absence of something when that structure of goals
and purposes is removed. In removing those pressures, Cloud Clock Love
hoped to create an environment in which a different kind of ‘nothing’ could
emerge and be felt.
This new environment could in no way be construed in terms of absence.
Indeed, while Cloud Clock Love eschewed the kinds of representative
structures in which we are usually asked to create (and those requests are not
so much requests to create, but rather to manage or manufacture or repeat),
the space it opened up was not in fact unstructured. Again, this ‘nothing’ is not
an absence, nor is it a lack. Instead, it engendered another sort of structure,
one constituted through the relationships of participants with one another and
with the things around them. It was something plural, something rhizomatic.
This is what made the experiment and the results it produced unique, and
indeed, the experiment is one that can never be repeated: a similarly open
structure can certainly be set up, but the contingent connections that develop
in this new structure will not be the same. Cloud Clock Love was not a model
that others could or should repeat. The experimentation was not one to confirm
a scientific hypothesis but one to present an idea. It is not to be verified by
9
repeating the experiment in order to reach the same results. The appropriate
response to it is to present something new - that is to say, to create.
Through ‘nothing’ we create, and what we create, sometimes, amounts to
nothing at all. Creativity is in no way obligated to give itself a goal to achieve.
At the same time, however, the structured organization of things around us, the
goals and plans set out for us and towards which we work, are all creations
too, since they did not come about on their own but had to be invented. In this
respect, even our most ‘uncreative’ structures are products of creativity. And
this is the case too even with our everyday understanding of nothing as an
absence or deficiency, as the opposite of something, as an object that we
represent to ourselves. This nothing too is created, and as such it is the
product of an unrepeatable experiment. Of course, the idea of nothing as an
absence is certainly created and re-created - otherwise it would not be with us
all the time. But every time it is re-created, the process is something new.
Nathan Widder
Nathan Widder
Dr Nathan Widder is a Reader in Political Theory at Royal Holloway, University
of London. His work explores concepts of identity, difference, power, and
representation, carried out through engagements with ideas in the history of
Western thought, contemporary Continental philosophy, and psychoanalysis.
He is author of Genealogies of Difference (University of Illinois Press, 2002),
Reflections on Time and Politics (Penn State University Press, 2008) and Political
Theory after Deleuze (Continuum Press, 2012).
10
Introduction
I am your anti-matter is the final phase of a research and development
project, Cloud Clock Love, supported by the National Lottery through
the Arts Council England. The project has sought to explore a
conception of ‘nothing’ that lies beyond the functional, political,
traditional, historical, and representational, and that makes no
reference to self, memory, identity, or meaning. It also tried to tap into
the creative power of this ‘nothing’ through a process of independent
collaboration set out through a two-day durational laboratory that took
place on 3-4 September 2011 at the Siobhan Davies Studios in
London. I cannot thank enough all those who participated and
contributed to the event. And, of course, I am grateful to all the
support, which went beyond simply financial support, provided by the
Arts Council England and the National Lottery.
At the heart of the Cloud Clock Love project was the two-day
durational lab. An open invitation went out for artists and non-artists of
any and all backgrounds. They were free to enter and leave the space
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"Most speeches are full of ideas. This one doesn't have to have any. But at any moment an
idea may come along. Then we may enjoy it. Structure without life is dead. But Life without
structure is un-seen."
John Cage
as they wished. They were provided with minimal ‘starting points’ that included
action scores, performance scores, sound scores, short texts, and t-shirts.
These starting points served only as invitations, and beyond this the
participants were simply left with nothing - no instructions, no overarching
structure for the event, no time constraints except insofar as the lab was
eventually to end. Participants were free to respond as they wished, to create
individually or collaboratively, to take up the work left by those who came
earlier, or to leave behind work for others to take up. Two artists also added
durational live documentation, including live Twitter and Facebook updates,
which also fed back into the creative process. Over the course of the lab, the
studio space itself, as well as the live documentation, became works of art.
This was not in any way a goal of the lab; it was simply a result of a process of
emergence that the loose conditions of the lab made possible.
As part of the Cloud Clock Love project, this e-book has been produced to
disseminate information about the laboratory and the ideas that inspired it.
However, I very much hope that it can also serve as a piece of artwork itself,
one that has been inspired by the project about which it also reports. The
principles the underpin the project are those of Open Space Technology, which
promotes horizontal and collaborative engagement and exchange towards a
goal that always remains open and incomplete. The book is therefore includes
interactive content and is composed in a way that connects it to the outside,
offering readers the opportunity to add content, if not to the book itself, than to
the tweets, web pages, and blogs that are embedded as hyperlinks in the text.
It also includes contributions from artists and non-artists who did not
participate in the original laboratory but whose work has been inspired by it or
relates to its principles in some way. Finally, the creative process developed in
this project will be carried forward with a 12-month durational laboratory,
organized at ]performance s p a c e [ in Hackney, London, which is scheduled
to begin in May, 2012. Information can be found at the end of the e-book.
This project began with a concept of ‘nothing’ that came to me through
previous artistic experiences and research. One of the important lessons I
learned came from the way that, in the course of planning, holding, and later
reflecting on the lab, the concept I began with also changed a great deal. This
was unexpected, but it should not have been a surprise, I think, because the
concept of nothing is always and must always be changing. It is impossible to
know it fully, and so our experiences must always change what we know it to
be. This is one more reason for I must thank all the participants, contributors,
and others who have helped me take this journey.
Li-E Chen
12
CHAPTER 2
durational laboratory on
nothing
CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011
14
Fan & Numbers
Plain envelopesColor envelopes (invitation)
Floor
I am your anti-matter
Preparation has reached____, _______.
Space
Ceiling
Durational Live Writing
A structure of 3 on ‘nothing’
Nothing Political
Sound score
INTERACTIVE MAP: CLOUD CLOCK LOVE durational laboratory on ‘nothing’ by Li-E Chen, Roof Studio, Siobhan Davies Studios, London
3-4 september 2011
1 of 13
The interactive map contains a series of
performance scores as a starting point of the lab.
Available on iPad only
LI-E CHEN- FAN AND NUMBERS (2011) - ANIMATION
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VIDEO: CLOUD CLOCK LOVE durational laboratory on ‘nothing’ by Li-E Chen. Shot by Nathan Widder. Edited by BeanRoof Studio, Siobhan Davies Studios, London, UK, 3-4 september 2011
W
Click on screen to
watch video or
click here for web link
Li-E Chen's nothing manifesto
BEFORE NOTHING HAPPENS
Nothing to interpret
Nothing to discuss
Nothing to analyse
Nothing to talk
Nothing to explain
Nothing to curate
Only in the condition of preparation for something or for a situation to take
place...
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JAMES HODGSON AND IVOR HOUKERCLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON , UK
AFTER NOTHING HAPPENS
Nothing to lead
Nothing to facilitate
Nothing to direct
Nothing to choreograph
Nothing to act
Nothing to show
Nothing to exhibit
We only become invisible in this space... so that we can be free...
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JAMES HODGSON CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON , UK
“Nothing will come of nothing.”
“Nothing can be made out of nothing.”
(King Lear, Act 1.1 and Act 1.4)
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preparation has reached___, _______.
Li-E Chen (陈丽娥) 1212360@ a 2 Day Durational Lab on ‘Nothing’ with artists Victoria Gray and Bean | Unedited documentation via twitter by Li-E Chen | 28 Aug - 4 Sept 2011 | London (UK)
C l o u d C l o c k L o v e 3 - 4 S e p t e m b e r 2 0 1 1 .Siobhan Davies Studios, London, UK.
Written by Li-E Chen, in preparation the open durational laboratory on ‘Nothing’, following by her statement of “Preparation has reached_______, ______________. Action of ‘not-knowing’”
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AN EVENT WAS HAPPENING UNDER THE STATE OF PREPARATION CONDITION TO REACH THE STATE OF ‘0’ or ‘NOTHING’ AS POSSIBLE
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Are you measuring your intelligence? #CloudClockLove @1212360
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Are you waiting for an idea to come along? Don't wait - it will be too late. #CloudClockLove
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
What is your expectation of at the start of the lab?
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
@Hamish_says @daniel_pitt @aplaceofaction Preparation has reached 50: +Nothing. #CloudClockLove #fb @1212360 @ @ivorhoulker
In reply to @HamishMacP
4 Sep
Victoria Gray @ACTIONOTHING1 Reply Retweet Favorite · Open
#CloudClockLove A DUET FOR DANIEL & IVORRetweeted by Li-E Chen (陈丽娥)
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
@daniel_pitt @aplaceofaction Prep has reached 51: No records match this set of find requests. #CloudClockLove #fb @1212360 @ACTIONOTHING
In reply to Daniel Pitt4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
@Hamish_says had ni light morning conversation @ACTIONOTHING @aplaceofaction about action #CloudClockLove #fb @ACTIONOTHING @aplaceofaction
In reply to @HamishMacP
4 Sep
Hamish MacPherson @HamishMacP1 Reply Retweet Favorite · Open
@1212360 I am not present (0) but I have moments of engagement (1) with what though? #CloudClockLoveRetweeted by Li-E Chen (陈丽娥)
4 Sep
21
JAMES HODGSON
]performancespace[ @aplaceofaction1 Reply Retweet Favorite · Open
they return, pace space selecting numbers, marking no thing striped down chest 36: I m your anti matter #fbRetweeted by Li-E Chen (陈丽娥)
4 Sep
Victoria Gray @ACTIONOTHING1 Reply Retweet Favorite · Open
#CloudClockLove RESEARCH PHASERetweeted by Li-E Chen (陈丽娥)
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
really nice light conversation about action, art, performance, etc. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
preoaration has reached: 36 I am your anti-matter. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
15 principles of Black Market International. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
worrying doing something wrong. #CloudClockLove #fb
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Negotiation, not verbal #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Noticing it is happening, doesn't have to judge yourself or others. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Negotiation - yourself with the others, individual. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
22
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
just noticing it is happening #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
your body has history/memory already, it is already there. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
not choreography or planning, action only #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Action: TASK to yourself, TASH you create for yourself. #CloudClockLove #fb
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
action of not expressing anything #CloudClockLove #fb
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
@iambsebastian thanks for coming yesterday!! Great to have you here! hope to see you again #CloudClockLove
In reply to Benjamin Sebastian
3 Sep
Benjamin Sebastian @iambsebastian1 Reply Retweet Favorite · Open
@aplaceofaction @1212360 got ya. XRetweeted by Li-E Chen (陈丽娥)In reply to ]performancespace[
4 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
@Hamish_says Set up Live Stream for Cloud Clock Love - LAB, watch site www.liechen.com, it will be live stream there, exact time2follow.
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 38 I am an individual. #CloudClockLove #fb
Li-E Chen (陈丽娥) 1212360@ 1 Close
23
Preparation has reached: 45 No records match this set of find requests. The t-shirt is so small. #CloudClockLove #fb12:01 PM - 3 Sep 11 via web · Details
1 Reply Retweet Favorite
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 6 I am your anti-matter. #CloudClockLove #fb
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 43 Hold on a second. #CloudClockLove #fb
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 13 I must actually perform this experiment. #CloudClockLove #fb
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 43 I am an individual. #CloudClockLove #fb
Victoria Gray @ACTIONOTHING1 Reply Retweet Favorite · Open
Preparation for #CloudClockLove has reached @ACTIONOTHING, Keep going @1212360.....Retweeted by Li-E Chen (陈丽娥)
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 6 I am your anti-matter. #CloudClockLove eepurl.com/fnALk
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
#fb looking forward to seeing you tomorrow @aplaceofaction! around 30 people coming for the weekend lab. eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 24 I am your anti-matter. #CloudClockLove eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 12 I am your anti-matter. #CloudClockLove #fb eepurl.com/fnALk
24
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 24 I am your anti-matter. #CloudClockLove #fb eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 24 I am your anti-matter.2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 24 I am your anti-matter. #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 24 I am your anti-matter. #CloudClockLove @aplaceofaction @ACTIONOTHING eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 40 I am your anti-matter. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 40 I am your anti-matter. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 37 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 37 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 21 I am an individual. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
25
Preparation has reached: 21 I am an individual. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 28 + Nothing
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 28 + Nothing #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 29 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitat: eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 29 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitat: eepurl.com/fnALk #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 33 Let me think. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitation here: eepurl.com/fnALk
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 51 No records match this set of find requests. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Durational Live Writing of the lab on 'Nothing' will be documented live by artists Victoria Gray and Bean. Watch... fb.me/YjjjgTQr
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Reminder!! this weekend a durational lab on 'Nothing' at Siobhan Davies Studios / London SE1 6ER (SAT) 3 Sept... fb.me/17gGdilAo
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
26
Preparation has reached: 49 I am your anti-matter. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Preparation has reached: 49 I am your anti-matter. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
35 objects are being processed under the iron, preparing #CloudClockLove lab for 3-4Sept at Siobhan Davies Studios. #fb goo.gl/7mjsY
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
46 I must actually perform this experiment. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
46 I must actually perform this experiment. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
39 No reco d ma h t is se o fi d equests #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction #fb
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
46 I must actually perform this experiment. #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction
2 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
46 I must actually perform this experiment. #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction #fb
1 Sep
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Finished printing 15 of 35 t-shirts in the last 6 hours. Go to bed now.
30 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Time and matrix #CloudClockLove wp.me/pWz4M-wM
27
29 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
@1212360 @ACTIONOTHING @aplaceofaction less than 6 days, a lab on Nothing - Going from or to "0" #CloudClockLove #fb liechen.com
29 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
An email will be sent out to all participants later this evening!! Meanwhile, you can visit www.liechen.com home... fb.me/uaYN15fT
29 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Get ready now #CloudClockLove wp.me/pWz4M-wz
29 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
FOLLOW US on twitter #CloudClockLove 19 hours durational lab on 'Nothing' 3-4 Sept 2011 @ACTIONOTHING -... fb.me/u8CyIFek
29 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
That's great!! @1212360 is very looking forward to 19 hours durational lab on 'Nothing' @ACTIONOTHING & @aplaceofaction #CloudClockLove #fb
In reply to Victoria Gray
28 Aug
Victoria Gray @ACTIONOTHING1 Reply Retweet Favorite · Open
#CloudClockLove ACTIONOTHING TESTING NOTHING, looking forward Li & BeanRetweeted by Li-E Chen (陈丽娥)
28 Aug
Victoria Gray @ACTIONOTHING1 Reply Retweet Favorite · Open
#CloudClockLove 19 hour LabRetweeted by Li-E Chen (陈丽娥)
28 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
It is really exciting the online duration platform on "nothing" is set up now. #CloudClockLove
28 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
This is a test of the emergency broadcast system #CloudClockLove #fb: wp.me/pWz4M-wf
28
4:27 PM - 28 Aug 11 via WordPress.com · Details1 Reply Retweet Favorite
28 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
a week to go wp.me/pWz4M-w1
28 Aug
Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open
Cloud Clock Love 2011: wp.me/pWz4M-vS
29
CHAPTER 3
victoria gray
1
on the condition
Victoria Gray - On The Condition
Performance demands the presence and attention of the body. 'On The Condition' re-focuses on what is 'invisible' and therefore often subject to 'exclusion' in our articulation and experience of live performance and more particularly 'the body'. It challenges dominant modes of producing, experiencing and writing about performance that rest on what is sayable, legible and visible in favour of the un-sayable, illegible and invisible. It suggests that political, social and cultural factors have, with intent, desensitised our ability to be open to bodily sense perceptions cultivating a 'blind spot' in our experience. The conditions of this text are that there is a reading and a writing of 'something' where there first appears to be 'nothing'.
'Appearance is our condition, and memory our truth.'
(Brandt, in Bal, 1999, 44)
Read [the body] close in order to see [the body] or all have lost [the body]
31
What remains to be [un]seen is [still] of the body. Porous bodies, porous materials, porous texts; each reciprocates the other. Bodies, materials, texts implicate each other, are changed [charged] by each other. A [non]sense emerges, even if it seems the eyes were closed when writing. Thin [skin] fibres are made to be unpicked slowly and carefully from seams that seem to unravel a formlessness. A body, a material, a text with no edges; unravelling carelessly [but still carefully]. Disappearing if only to remain, to be [un]seen as [bodily] remains.
Light makes shadows [reveals the dark]
Throwing light on a subject object but [still] left in the dark. The more we see the less we know, the more we know the less we see; less inclined to look. Feeling [in the] dark, things make themselves [un]known and the [un]known appears in the shadows. Here, in this contrast between light and shade an in-between form forms a constructive tension that reveals itself to be formless [and therefore a bit shady].
A slow death [still] moves us
Subtlety asks for a difficult way of [un]seeing. Forfeit the need to fulfil need and the needy eyes feeding on the [performance] happening. Happening to notice the invisible [performance] walk into [and out of] the room. Post-spectacle, in [living] memory; Subtlety shows itself to be chaos in disguise.
Stillness [is moving]
There is friction in Stillness, in its always being 'between'. It is this static that makes Stillness moving. It is often moving to watch and to be watched when so often you [dis]appear to 'Be' not here. Yet, should 'Being' in the [privileged] realm of the 'visible' qualify presence.
Presence said [to Absence], ‘I need you in order to be seen at all’
Absence touches Presence, Presence touches Absence. Absence reciprocates this feeling but neither feel the same. Absence, the unrequited lover of Presence, is always seen as moving [on its way out of the door]. The way we feel we are often touched by Absence but find it difficult to touch ‘it’ for ‘it’ is not an ‘it’. But we do sense absent things. Hairs on the back of the neck stand to attention when Absence enters the room [through the side door] softly in stocking feet. The soft touch of both caresses us as we find ourselves a soft touch in the Presence of Absence.
Contact [is touching]
Skin, the sensor [censor] of sweat, blood, spit; tightens as we try to control those we absorb and swallow. Hard skin; to keep the 'outside', the 'other' at bay. Soft [political] systems [are bound to] fail yet we must [still] trust and perform a [politics of] soft logic.
What a way to go [to cause a 'seen']
Going unnoticed, not even noticed going, makes going noticeable. I watched nothing leave the room and it was really something.
32
2
durational live writing
Victoria Gray @ACTIONOTHING a 2 Day Durational Lab on ‘Nothing’ with artist Bean | Online event curated by Li-E Chen | 3-4 September | London
C l o u d C l o c k L o v e 3 - 4 S e p t e m b e r 2 0 1 1 .Siobhan Davies Studios, London, UK.
Written by Victoria Gray on the occasion of Cloud Clock Love, A Two-day Durational Lab on ‘Nothing’. This text is embedded with links and therefore references outside of itself.
33
1
10:20 10:28 10:28 COMPLICATED 10:32 BREAK UP10:36 REMOVE FROM YESTERDAYRIGHT SIDE RECORD 10:40 DURATION DAYSPEOPLE MIGHTLABALL OF YOU IN THE MIDDLE IS THE ENVELOPESCHOOLING CHOOSINGCHOOSING SCHOOLINGGOOD GIRL(S)GOOD BOYS(S)10:44 CONSTANT10:45 TRANSCRIBING10:52 10:56 LINK POLITICAL SIDESTEPPING11:06 WATER STRUCTURE11:10 LINK11:12 REMEMBERING FROM THE FLOOR STRUCTURE IS BROKEN EXTRANEOUS INVERT11:19 LI T 11:37 THIS EQUATES TO NOTHING11:46 SEED PENS12:03 ZEROES AND ONES PLANT AN IDEA 12:13 12:25
ON THE PAGE TRY THISAND 12:39 HERMETIC 12:51 SEED PENSSEED PENS12:54 SOUND FINALLYLISTENMONK BREAKFASE13:08 A NEW STARTER 13:13 I AM HER ANTI-MATTER PEOPLE ARE RESTING AND THIS IS NICESLOWING DOWN ‘DENSE SLOW MOVING SENSORIUM ‘ (HEATHFIELD, A)13:33 uncanny 28 13:34 13:43 WHERE IS LI? BINARY CHOICES GOING ON THERE AND IT IS NICE, WHAT SHE IS DOINGSKETCHINGWHAT SHE IS DOING IS SKETCHING28: LLR2R112LLRRL22111LLRL2R112L211121LLRRRRR211LR2112LLRRL2111LLRL2R12LR1121LRR2R112LLR2211112LR2R112LLRLL211LLRL2L112R2R1R1121LLRRRL2R12L22111L112R1121L11112RRLR2R11211LLRL2R12LRLLRR2R12LLRRLL22R2112…1121LRLRL211….. … .... .. .. .. .. .. ………. … … …. … … … … … … … … .... . .. … … … ... … .. … . . … …. ……..... . .… …..13:56 HOLD ON A SECOND THINKING ABOUT PHASINGBLACK MARKET14:00 FASINGLIVE FEED NOW14:19
34
SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSsLi
14:37 14:42 BRAILLE TALKING……………………………………………………………………………………………………………………….T-SHIRT LIKE A NUN KNEELING WAVING THE NUMBER 39 T-SHIRT SKIRT DRESS CHATTERING HOLDING CABLE OPENING LEGS SLIGHTLY LYINGANCHORGET INTO YOUR SKIRT LIKE IT WERE A PAIR OF TROUSERSWEAR YOUR SKIRT LIKE IT WERE A PAIR OF TROUSERSSTOP PERFORMING15:03 15:04
Z LI E CHEN (THOSE TESSELATED SHAPES)15:07 15:09 AFTERNOON SLUMBER STRONGER CASE PUSH DURATION AWAY15:14 LET THEM THINK15:15 I WISH WE COULD HAVE SOME SOUND ON GIVE ME VIOLINS, SOMETHING EPIC REALLY LONG CABLES LIABLE BECOMES ROPE FOR SKIPPING / PUTTING ‘THINGS’ OFFUSESHE’S FINDING THE (SO CALLED) NEGATIVE SPACE33 REMOVES HERSELF @15:25 HOW TO GET OUT OF THIS FORMULATHIS FUCKING FORMULAEXCESS IS15:29 COME BACK BOY12 15:37 – WALKER RESPITEBECOMES AN ABSTRACT CONCEPTMUSEBY THE WINDOW HAS PRESENCE GUY15:48 WHAT WOULD IT BE LIKE IF THERE WERE NO TASKS / NO SCORES LI? @1212360@APLACEOFACTION@ACTIONOTHING15:42 16:18 16:39
SEBASTIAN ARRIVES FROM THE WATCHTOWER BERLIN MELTING HONEY ON LIGHTBULBS AS THEY BURN, CARAMEL LIKE
. .
.————-.LEVITATE
16:46
12345678910 OK123456789101234567891012345678910 OK OKI DONT KNOW1234567891012345678910 OK I DONT KNOW123456789101234567891012345678910 OKI DONT KNOW12345678910123456789101234567891012345678910 OK16:53 END
BAD MIC
16:55
18:15 BACKLONGER THAN EXPECTED
LI READING @PLACEOFACTION
READING @APLACEOFACTION ONTHEWALLS
18:19 JUST LESS THAN 3 HOURS
MM 11 11 11
18:26
11
33 44
22
35
18:28 GRAPE BOWL GINGER ALE STOMACH EMPTIER ROOM WATER BOWL HURT
18:30 RIGHT IN ITS PLACE
( IS ALSO 0 )
18:38 AND THEN THERE WERE FIVE ENGINES MARKING PONDS; STRETCHING OUT; BANQUETING; NUTS & CHEESE & BREAD; COFFEE & WATER; CLOSER
AEROGEL
18:46 18:46 18:47 AND COUNTINGSMALLER NOW
18:52 CREDIT
NW
18:54 CIRCULATING B
STAYING IN POWER
I AM NOT SURE I UNDERSTAND THE EQUATIONS BUT I WOULD LIKE TOWRITING TO PRODUCE SOMETHING – ATTEMPT
GUILTY5 NO 0.50
WHISKY19:03
19:19 SECOND 19:22
THAT ONE MAN AGAIN LEFT OUT
19:29
1 + 0 IS STILL 1 19:42 RECORDING ‘AFTER’ TOMORROW19:44
46 – ‘PEOPLE ARE RESPONSIBLE FOR THEMSELVES WHEN THEY ENTER THE SPACE’
19:48 LIKE GLUE
#CloudClockLove | ALGEBRA COMFORT | EQUATION SOFTENER | SEQUENCING SENSE | NUMBER BED | RATIONAL SYMBOLS | CONFIRMATION QUIETER | YES DIGITS
SHOW YOUR WORKING1 HOUR LEFT OF DAY 1
1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1 NOTHING ONEO
O = OIN WEBDINGS FONT
OO
AND O IN WINGDINGS FONT
O
36
EAR + FLAGCALL ATTENTION WITHO
OMOUTH
“
“20:15 20”16 WAITING WILD
@1212360 EXPLAINING CREATING A STRUCTURE ON OF NOTHING AND TRYING TO FIND A WAY TO FIND AN EQUIVALENT FIND IT I THINK AH A STRUCTURE OF NOTHING IT DOESN’T IT BECOME 1 AND 2 DOTWITH NOTHING IN BETWEEN EYES A DRAWN TO THE WINDOW / OUTSIDE SPACE / OUTSIDE FRAME / PUNCTUM
PUNCTUMPUNCTUMPUNCTUMSTUDIUMSTUDIUMSTUDIUM
20:26 363 HOME20:28 46 DISCUSSION 88 MSGS1ST TIME ON
MUSIC MUSIC MUSIC MUSIC RICH RICH
VERONIQUE
THE MOST SONGTHE SMALL DANCE
THE STAND THE TAKING OF PHOTOGRAPHSTHE TAKING OFFTHE STRANGER DANCINGTHE CINEMATIC THE WAITING ENDINGTHE 11 HOURS CLOSINGTHE PARTICIPATINGTHE INHIBITIONS LOST; CURTAILED THE OPERATHE SCREAMINGTHE CIRCLING OF THE WRISTTHE SOFTLY WALKING ACROSS LINOTHE WINDOW WANTING NOTHING MORETHE 46 HANDS OF EARS MUMBLINGTHE SHOPPER RESTED GENTLYTHE EPIC THE BAROQUETHE OIL PAINTINGTHE RODIN THE PARISTHE DARK NIGHTSTHE SHAMETHE RUBBER BALL BOUNCINGTHE PLASTER SHOWERSTHE DOUBLETHE CURETHE RECORDINGTHE ANTI-MATTER THE 11TH HOUR THE LAST 15 THE WOMEN AND CHILDREN THE INDIVIDUAL THE SOLO SHE SENT METHE PERFORMTHE REACHED THE REQUESTSTHE TAPETHE ROMETHE I AMTHE SECOND DOUBLETHE INDIVIDUAL THE PLUSTHE SECOND THE ACTUALLY EXPERIMENTTHE RECORDED MATTER
37
THE LAST TEN MINUTES / 1 – 0
ARE LIKE PERMISSIONSARE LIKE DISCREET BAGSARE LIKE GOODBYESARE LIKE CORNERS
GO ON THEN @APLACEOFACTION EXPLAIN ANTIMATTER TO ME
Day 2.
1st post @10 & I am the only 1 PINTER NO MAN’S LAND 10:14 ACTION WHATWORK OUTSIDE10:55 I AM NOT WORKING HARD ENOUGH 12:09 35 ANTI MATTER MAN ARRIVES12:09 RESEARCH PHASE12:10 12:23 HE BECOMES SEBASTIAN A DUET FOR DANIEL AND IVOR 50 + 51 12:36 SOMETHING IN SPITE OF ONES SELFADMIN 100 @ 12:37 D2 STILL A DUET TAKING SHAPELESS TODAY IN TIME BUT IN ENTRY ALSO LINKING OUTPRODUCING14:25 BACK FEELING BAD PERMISSIONSBEING THOROUGH DUET PLANNING IT OUT MORE ROOTED THAN YESTERDAY SETTLED GROUNDED IN A COUPLE OF HOURS THEY MADE THIS SPACE14:30 TABLET LIGHT LIKE SCHOLASTIC FUTURE CHECKING AGAINST PAPER TECHNOLOGY FOR SIGNS POINTERS ROOTS LEADS NEXTS POSTS14:33 HAS REACHED 36 14:52 50 READING WALL TEXTSAND 36 ALSO15:01
36 IS WALKING WITH A BENCH ON HIS SHOULDERS36 IS RUNNING WITH A BENCH ON HIS SHOULDERSAND IS LOWERING IN A VERY CONSIDERED WAYAND LOWERING IN A VERY CONSIDERED WAY TO ANONYMOUS SOUNDS15:10 DENYONES SELF
WHAT IS TRANSFERRABLE WHAT ISWHAT IS NEW IS INTRODUCING ONES SELF15:21 NOTICING MYSELF LOOKING NOTING THE TIME THAT IS NUMBERSSUITS BACKKNEE PLAYS 5 15:38 PUT YOURSELF ASIDE
VOID ()
TRUE ‘BEING’ OF ANOTHER SHARING16:09 SHARING AS WE GO ALONGbecause IT IS FUNCTIONAL
LESS DUPLICATION TODAY
16:42 LISTENING TO YESTERDAY THROUGH SOMEONE ELSE AND THEIR RECORDING16:45 PETERING OUT
Verb to peter out (third-person singular simple present peters out, present participle petering out, simple past and past participle petered out)1. (idiomatic) To dwindle; to tail off; to diminish to nothing.2. What started as a great effort ended up petering out to nothing.
16:49 11 LEFT
A GREAT EFFORT17:01
38
3
bio
Victoria Gray
Victoria Gray is a performance artist and writer based in York, UK.
Her performance and textual work explores the politics of movement and ways
in which sociocultural factors inscribe and exert control over the body. Through
performance actions and writing, her work considers how the body might be
antagonistic and resistant to dominant techniques of corporeal inscription,
silencing and subordination.
Victoria has developed solo performance work nationally and internationally
and has had critical and art writing published in academic books and online.
Victoria is co-founder of O U I Performance, York with artist Nathan Walker.
O U I Performance, is a not-for-profit, artist-led organization curating live time-
based performance art with a national and international profile.
39
CHAPTER 4
yingmei duan
PHOTO BY MELATI SURYODARMO
Yingmei Duan, 2015 at the Future Imagination Art Center in Singapore
Good evening, everybody! Today I will bring you Yingmei Duan’s solo
exhibition in Singapore.
Yingmei has had previous solo shows were in Chengdu, Chongqing,
Shanghai, Beijing and Bangkok in Asia. For each exhibition she writes
different concepts.
In Chengdu at the Bei chun Modern Art Centre it had the concept
"Dream."
In Chongqing at the Modern Art Centre the concept was "Melancholy."
In Shanghai at the Fei Modern Art Center the concept was "search"
In Beijing at the Rain Modern Art Center the concept was "wish".
In Bangkok at the Modern Art Center the concept was "love".
41PHOTO BY MELATI SURYODARMO
Ladies and gentlemen, please imagine we are in the year 2015. Now we are in
the capital of Singapore and we are at the Future imagination Modern Art
Center in Singapore. For this solo show Yingmei writes about the concept
"fear". The Arts Center is reformed from a small church.
Before we begin our tour, we must be very quiet and please switch off all your
mobile phones.
Please imagine we are at the Future Imagination Modern Art centre in
Singapore in 2015, we are visiting Yingmei Duan’s solo exhibition. Now we are
in the foyer of the Art center. There are many people from different countries
around the world who are visiting Yingmei’s exhibition. The Art centre directors
Lee Wen and Jason Lim are here. The people who are sitting in the cafeteria
are yingmei’s past teachers Marina Abramović and Christoph Schlingensief.
The art centre in Singapore published a book for her solo show. It is about 180
pages, and you can buy her catalogue in the art centre shop. The exhibition of
Yingmei Duan runs for 14 days.
Please follow me now.
42
The first exhibition space
This space is darkly lit.
We see a very simple scene on the left hand side we see a photo - this photo is
square. And the size of the picture is about one meter. There are 4 kids, two of
them are sitting on a small bench, and the other two kids are standing. They
are all laughing.
In the background of the picture is a fireplace which keeps you warm in winter.
There are layers of quilts on the bed. There are two windows at the back of the
fireplace.
The two standing kids are older than the other two sitting kids. The brother’s
hair is very short, and his three sisters have longer hair. They all wear winter
clothes. One of the little girls looks very curious and her face is very sweet. She
is holding a doll. Her doll looks almost the same size as her.
Now as we go around the room we can see in the corner there is a video
projection on the floor. On the screen the little girl hugs the doll and is sitting on
the floor with her back to us, She is drawing, and at the same time she is
talking to herself. What she is saying is not clear, and we can’t really
understand anything.
Please take your time to go around the space and then we meet in the second
space.
43
The second exhibition space
In this space we see a different situation. Now in front of us is a very confusing
and very chaotic scene family scene.
We see 4 totally broken windows. One bookshelf is laid on the floor and
another one has fallen on a chair, many books are thrown all over the floor.
The door of the closet is half open and many clothes were on the floor.
The fallen TV on the floor is still smoking. The broken bowls were swept on the
floor everywhere from the dining table.
Now we hear a very loud voice from a woman, and the sound of breaking
objects. She is singing, and we have a feeling she is dancing, too. At the same
time, she is yelling and hitting the wall with a hammer.
When we go inside this space, there are lots of medicine bottles and pills on
the floor. We can hear a man lying on the ground and groaning. There is also a
family picture. From the picture we can tell the man is husband of the woman,
and they have 4 kids that we have already seen.
44
The girl is hiding under the table, she looks very frightened. If we stand there
for a longer time, we can see the girl continues to grow up in this chaotic
environment.
Ladies and gentlemen, in this work, the artist Yingmei Duan combines new
computer technology to make this interactive sound video installation.
Please take your time to go around the space and then we meet in the next
space.
45
The third exhibition space
Please follow me. Now a surprising scene appears in front of our eyes, a very
spectacular scene, everything is covered in white. Small white hills, a table
lamp, and a slanted chair from the ground ... They are all white. There are little
white boats everywhere.
We can also see a winding road. Along the road, we can see three televisions.
The girl hugs her two dogs, and she is talking to them.
We can see a very beautiful landscape. We see a large green field. And we can
hear the sound of birds and sometimes the wind. There is a naked man, he is
looking ahead. A girl appears in the distance and approaches the man. She is
wearing a pink dress and big glasses. She is looking for something with a
magnifying glass and goes quietly towards the man. She is curious about his
penis and checks it thoroughly through the magnifying glass. After she has
finished her intensive study of the penis, she leaves thoughtfully.
We see a big white double bed. In bed we also see a TV screen. On TV the girl
46
hugging a pair of shoes, She is dreaming happily in the white world.
Please take your time to go around the space, then we meet in the next space.
47
The fourth exhibition space
Ladies and gentlemen, please imagine we are in the year 2015. Now we are in
the capital of Singapore and we are at the Future imagination Modern Art
Center in Singapore. We are visiting Yingmei Duan’s Solo show.
Now we are in the forth exhibition space - please imagine we hear very terrible
sounds and we see a horror scene.
We see raw meat everywhere. They give us the impression that they are
moving slowly. On the four walls there are big sculpture from Buddha, Jesus,
Kuan Yin and Mohammad. Meat is hanging from the roof, some are crawling in
from the windows, some from the mouth of Jesus, some from the shoulder of
Buddha, some moving towards Mohammad.
There are televisions are placed in a circle, from them we can see and hear
different terrible voices.
In this TV monitor, we see a polluted scene. We hear the noisiness from
motorcycles, cars and trains. It gives us a feeling that we\re always on the road
like there is no final destination.
48
On another TV we see many high-rise buildings, they are all shaking from one
side to another. Yingmei worked again with the computer technology.
On this TV we can see a lot of people who are in the stock market, They are
anxiously watching the numbers.
Here, we can see and hear a promiscuous sex scene. Please think about what
you might be seeing - there is a naked woman who shows us her bottom, then
she lays on the floor and opens her legs.
There is a philosopher, a thinker, an astronomer, a scientist, and a physicist in
the video. They all look like they have mental illnesses. They have all thrown
out their own research, and instead they are all studying human love.
We see the girl in the middle, her eyes closed, hands covering her ears. She
feels that it is the end of the world.
Please take your time to go around the space and then we meet in the next
space.
“Since 2003 she has developed experimentally, many different projects. For
example in 2003 she realized a one month performance in the solo exhibition
“26 days in OK”. In 2005 she connected performance and installation in the
solo exhibition “Playing with 14 rooms”; In 2006 she created performances that
communicated with the other exhibited works of the group exhibition
“Excellent” in dialogue with other artists. In 2007 she researched media
performance and painting in the solo exhibition “Performance-Painting”, where
she interprets performance pieces into painted canvasses. “
49
The fifth exhibition space
We see artist Yingmei Duan is doing performance, and this time the
performance is combined with literature and music. In the following 14 days,
every day she writes a short story and all stories are about fear. We can see her
performance now.
“A week ago, I called two doctors in a hospital, one a woman and the other a
man. I told them that I would like to leave this world and disappear forever.
Both of them agreed to help me.
According to the agreed time I arrived at the hospital. There were no official
papers. After I changed into clean clothes, I quietly lay on the bed my mind was
completely empty.
The female doctor came towards me with a long needle, and gave me a shot.
Afterwards I asked her what the injection was. She said a few words, but I did
not understand. I could tell that she and the other male doctor were prepared
to give me another important shot, the final needle.
I looked at them, and suddenly I started thinking.
"If I leave, what about my husband? He will be so very sad and lonely."
50
"And my family? My mother won’t let me just die like that. She will ask the
Doctor to take all my organs out of my body one by one, my heart, liver and
lungs and so on, to find out the cause of my death. "
Then I asked the female doctor again what she injected me with. She repeated
again, but I still did not understand. I began to ask myself.
"What happened? Why do I not want to live? “
I still have so many things to do, why would I want to leave this world?"
"My mother would take my dead body back to my hometown, and then have it
cremated. I would be very sad because my dream is to have a tomb after I die."
While the two doctors were still preparing the last needle, suddenly I told them
that I did not want to have it! Still unconscious,I was very surprised to see
their faces, particularly the woman. She looked very unhappy. I gently
repeated:
"I have changed my mind!"
I asked her again about the first needle. She repeated the same response.
Strangely, I still could not understand her. Gradually, the two doctors in front of
me began to blur.
I slowly stood up, staggering out of the room and moved towards the hospital
gate. The gate became so short and small, that I had to crawl through. After I
got out I ran very quickly back home.
My husband opened the door as usual, with his arms stretched out. He smiled,
and hugged me.
Because of the injection I became very sad and regretted it. If that shot does
not bring me any harm, then I will certainly live well from now on.
"Life is so beautiful! I still have so many things I have not done, why would I
want to die?"
I regret it, but what can I do?
Sadly I open my eyes, and wake up, I realize it was just a dream.”
And at the end of the performance Yingmei is singing a song –
一天, 我变成了一个会飞的鸽子
飞呀,飞呀
我飞到了蓝色的天空,看到了几朵白云
他们象我招手,他们向我微笑
我躺在白云上自由地梦想着
啊啊啊, 啊啊啊…
一天, 我变成了一个很小的隐形人
走哇,走哇
我走到了一个又一个的家庭
我经历和看到了人世间各种各样的事情
啊啊啊, 啊啊啊…
51
我飞呀,飞呀
我走哇,走哇
…
52
Description
Duration: Approx. 40 min.
International Performance Art Event, Singapore, 2008
Live performance of Yingmei Duan
In the performance, which took place in Singapore in 2008, Yingmei Duan adopted the role of a museum guide and took spectators on a guided tour through her fictitious upcoming solo exhibition in the year 2015.
The spectators were interactively involved in the fiction as they were taken into Yingmei’s fantasy world. They were able to imagine the artworks and exhibition spaces as she narrated.
The performances were conceived site-specifically and related to the characteristics of the particular environment and culture of each location.
The six performances were a development from a previous performative lecture she gave at Kunstverein Kassel in 2007.
53
bio
Ying-Mei Duan
Born in China, Yingmei Duan is part of the Chinese avant-garde. She worked as
a painter for many years, living in the legendary art district of Beijing’s East
Village. In 1995 she participated in the performance, ‘To add one meter to an
anonymous mountain’, which is considered one of the classics of Chinese
modern art. She became a pure performance artist under the influence of
Marina Abramović, with whom she studied at the HBK Braunschweig in
Germany from 2000 to 2004. There, she also worked for one year with the
filmmaker and action artist, Christoph Schlingensief.
Yingmei Duan has made her name in numerous national and international
exhibitions, festivals, residencies, lectures and workshops through her
performance art.
Yingmei Duan is a curious observer who questions all facets of life in order to
continuously learn and develop. For the past twelve years she has
concentrated her energy and creativity on making performance art and
researching the medium.
Much of Yingmei’s performance art explores human instincts such as fear and
desires. Various different themes inspire Yingmei and are reflected in her work,
including examining society and questioning its conventions and human
behaviour.
Within her performances she crosses mediums and often incorporates sound,
video and installation. She often spontaneously develops performances as
situational experiments. On the other hand, she can also plan her
performances with intense attention being paid to the last detail.
Besides her solo projects, Yingmei loves to work with people from different
cultures, ages and areas of life, and has realized over 50 collaborative
performances. Her artworks, frequently in progress, can stretch over long
periods of time.
54
CHAPTER 5
li-e chen
1
a structure of 3 on ‘nothing’
123456789101112131415161718192021222324252627282930313233343
ASTRUCTUREOF3ISNORECORDSMATCHTHISSETOFFINDREQUESTS
__________________________________________________________________
“A structure of 3 on ‘nothing’” was created during the process of thinking about
a formula that offered the possibility to create works on and with ‘nothing’. This
formula is the formula of the next section, “Nothing Political.”
56A STRUCTURE OF 3 ON ‘NOTHING’ (2011) LI-E CHEN
“A structure of 3 on ‘nothing’” is trying to conceive a formula for a creativity that
has no reference to self, identify, memory or meaning.
I started to ask myself about what is pure movement. 1 Movement is no longer pure
when choreographers reference movement 2 with identity, story, historical context,
memory or meaning. 1 However, pure movement can exist and can be given
through mechanical units 1 (i.e. numbers/numbering). 2 The human body/mind
functions as a mechanical system, 1 2 as a binary operation and as something
beyond our understanding. 1
What if I replace the number of “3” with “FEAR” in the formula that is “a structure of
3 on ‘nothing’”, the formula that is “Nothing Political”? Then the formula of nothing
will become a condition of uncertainty, where the “FEAR” is not knowing what will
happen. Would this not also be the formula for “pure movement”? 1 2
57A STRUCTURE OF 3 ON ‘NOTHING’ (2011) LI-E CHEN
2
What if someone asks me what void means?
What if someone asks me what void means?
Void isn’t about emptiness; void is about ‘nothing’.
Void is about not knowing, because we do not know what it is. Therefore, it is
nothing: nothing to be explained; nothing to be discussed; nothing to be
analyzed; nothing to talk about.
I am here. I, I, I, actually... there is no existence of ‘I’; sorry, ‘I’ should not
exist.
‘Nothing’ is not nothing, we just ignore the existence, even ‘nothing’ should
be counted as existence. Well, I am going to die now.
58
3
nothing political
59
60
Conversations about a formula on ‘nothing political’
Li-E Chen (LC)
Ivor Houker (IH)
Will Fung (WF)
(IH/LC)
If we replace Nothing with n, we may then get:
NP + n = 3 (EP + n)
NP + n = 3EP +3n
n = 3EP + 3n – NP
NP = 3EP + 3n– n
NP = 3EP + 2n
Nothing Political = 3 x Everything Political + 2 x Nothing
Nothing = 3 x Everything Political + 3 x Nothing – Nothing Political
.: n = 3 x Everything Political + 3 x n – Nothing Political
(WF/LC)
If we substitute “Nothing Political” for “Nothing,” we will get:
NP = 3EP + 2NP
Since “Nothing” is negative to “Everything”, we may then get:
NP = 3EP + 2(-EP)
NP = 3EP – 2EP
NP = EP
Nothing Political = Everything Political.
In conclusion, it seems that political issues cannot be avoid in this modern
world at the very moment. It just depends on one’s point of view…
In further simplification,
NP = EP
NP/P = EP/P
N = E
Which means “Nothing” is “Everything”!
There is nothing – no such thing – as “Everything” existing in the world…
(LC)
if we we replace the number of “3” with “FEAR”, then we can get the result of
“Nothing Political” as:
61
Nothing Political + Nothing = FEAR (Everything Political + Nothing)
Nothing Political + Nothing = FEAR (Everything Political) + FEAR (Nothing)
Nothing = FEAR (Everything Political) + FEAR (Nothing) - Nothing Political
Nothing Political = FEAR (Everything Political) + FEAR (Nothing) - Nothing
What is your take on this formula?
Reply via twitter #nothingpolitical
62
4
n+1, n+1, n+1, n+1, etc.
63WHAT IS YOUR NAME? N=U (2009) LI-E CHEN
ARTIST RESIDENCY AT THE CHINESE ARTS CENTRE | MANCHESTER (UK)
THE CONDITION OF PREPARATION
It Was Recorded While I Was Recording the Records (2012) Li-E Chen
Preparation has reached: 46, I must actually perform this experiment
Preparation has reached: 36, I am here
Preparation has reached: 31, +nothing
Preparation has reached: 42, hold on a second
Preparation has reached: 39, No reco d ma h t is se o fi d equests
Preparation has reached: 46, I must actually perform this experiment
Preparation has reached: 26, I am your anti-matter
Preparation has reached: 13, I must actually perform this experiment
Preparation has reached: 2, I am your anti-matter
Preparation has reached: 50, +nothing
Preparation has reached: 28, +nothing
Preparation has reached: 36, I am your anti-matter
Preparation has reached: 49, I am your anti-matter
Preparation has reached: 35, I am here
Preparation has reached: 34, I am your anti-matter
Preparation has reached: 51, I must actually perform this experiment
Preparation has reached: 33, Hold on a second
Preparation has reached: 40, I am your anti-matter
Preparation has reached: 32, I am your anti-matter
Preparation has reached: 47, No record match this set of find requests
Preparation has reached: 38, I am an individual
Preparation has reached: 30, I must actually perform this experiment
Preparation has reached: 29, Hold on a second
Preparation has reached: 45, No record match this set of find requests
Preparation has reached: 1, I am your anti-matter
Preparation has reached: 24, I am your anti-matter
Preparation has reached: 53, I must actually perform this experiment
Preparation has reached: 43, I am an individual
Preparation has reached: 6, I am your anti-matter
Preparation has reached: 31, let me think
Preparation has reached: 4, I am your anti-matter
Preparation has reached: 41, I am your anti-matter
Preparation has reached: 18, I am an individual
Preparation has reached: 23, I must actually perform this experiment
Preparation has reached: 27, I am your anti-matter
There are two types of repeatable loops. One is a linear close system, which
involves “accepting head-on a particular death sentence” (Golding, 1999: 34);
and the other is a non-linear system as a ‘wave’ pattern, such as fragments of
unspeakable or non-structured words/sentences.
The above repeatable action was a preparation process for a situation in which
we do not know what it is going to happen. Instead of feeling fear of having
nothing to do or happen, the preparation process allow an un-known event and
un-knowable situation to be undertaken control.
1n 2n 3n 4
1n 2n 3n 4
1n 2n 3n 4
1 2 3 4 5n 6 7 8 9 10
10
64
In the diagrams below, the gap between 1 and 2, “O”/“n+1”, contains
something meaningless, not rationally justifiable. In between the signs, from 1
to 2, 2 to 3, 3 to 4, and so on, is a sign of “(n+1)th” type, while a single sign, 1,
2, 3, ... is of the “nth” type. This is the undecidable quality in the formal system
of natural numbers.
Each class of basic signs is never the same as the other class of basic signs,
e.g. (Diagram 2) in between “1 to 2”, and “2 to 3”, and so on are all different
cells of operation. The studies of the complexity of feedback loops and
recursive patterns show that they are created from open systems of process.
The processes of overlapping, interacting, adding, deleting, passing, etc., are
predicted by unpredictable nervous system operations. Thus, “1, 2, 3, 4, 5, 6, 7,
... and so on” involves interacting, adding, deleting, and overlapping.
When it is non-linear, it can also be described as a ‘wave’ pattern. This may or
may not be right, but the condition of preparation is in a recursive operation
where there is never completeness. If the recursive pattern is in a mechanical
loop and repeats itself within a fixed system, it will become a manufacturing/
reproduction type – one that only knows either “on” or “off” like an automaton.
The other pattern is in the ‘wave’, where repetition patterns overlap and the
details cannot be defined as finite edges, where it has some ‘living
tissue’ (energy) / ‘genome’ (life). As an open-system is flexible, open-minded,
and quick; it requires a logic of thinking appropriate to a dangerous situation: if
someone is going to be killed by a car in the next two seconds, in order to save
the person’s life, someone must be able to think fast enough before being
killed, and so must use his/her senses rather than the reason. Often, giving the
reason involves hesitation and delay, which is dangerous when it comes to
making a saving move.
THINKING ABOUT AN OPEN STRUCTURE WITH NUMBERING
1
23456789101234567891012345678910123456789101234567891012
1 2 3 4 5 6 7 8 9 4 1 0 1 2 3 4 5 6 7 8 9 1 0
1
2
1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0
65
1
2
1 2
1234567891012345678910123456789101
2 3 4 5 6
1234567891012345678910123456789101234567891012345678910
1
1
1
1
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8 9 1 0
1 2 3 4 5 6 7 8 9 1 0
1
1 2 3 4 5 6 7 8 9 1 0
1
1 2 3 4 5 6 7 8 9 1 0
1 2 3 4 5 6 7 8 9 1 0
1 2 3 4 5 6 7 8 9 1 0
1
1
1
2
66
67
68
69
70
71
72
73
74
75
76
Nothing to interpret
Nothing to discuss
Nothing to analyze
Nothing to explain
77
5
take-no-action
“The foundation of visual geometry is the surface, not the point.”
Jorge Luis Borges
What if there are no lines, no connection points, what would we do with the
surfaces?
The surface (environment/air/space/volume)
Visual geometry is not about the point or line, but the surface…
Look at the surface.
What are the surface?
non-thingness
“Preparation has reached 41, I am your anti-matter.”
78
VIDEO “Untitled” (2011) Li-E Chen “Action on Nothing and Not Knowing - Preparation has reached 41, I am your anti-matter.” Conceived at the Improbable DandD Satellite: What are we going to do about IMPRO? Council Chamber, Battersea Arts Centre, London. Filmed after the DandD Satellite in September, 2011.
Click on image to watch video or click here for web link
6
bio
Li-E Chen
Li-E Chen was born in Chaozhou, part of the Guangdong province of China,
and lived in Hong Kong before moving to London (UK) in 1997. She has a BA in
Alternative Theatre Practice from the Central School of Speech and Drama, and
an MA in Media Arts Philosophy and Practice from the University of Greenwich
(supervised by Professor Johnny Golding), receiving distinctions for both
degrees.
In 2004, Chen took part in “Teamworks,” a three-year new media theatre
project supported by the National Endowment for Science, Technology and the
Arts as part of the National Theatre’s “Art of Regeneration” programme. In
2008-2009 she participated in a creative leadership programme, “Step
Change,” supported by National Theatre, Royal Opera House, Battersea Arts
Centre, Young Vic and Cultural Leadership Programme. Recently, she has been
selected for the “21st Century Leadership” programme run by Battersea Arts
Centre and in collaboration with Watershed and The Sage Gateshead (UK).
Chen’s artistic practice is interdisciplinary, and over the last ten years her work
has examined forms, disciplines and concepts from across the fine, performing
and media arts. She aims to create arts and performance that lie beyond the
functional, political, traditional, historical, and representational, and that make
no reference to self, memory, identity, or meaning. Her work uses a diverse
array of experimental approaches, including: numerical art; print and digital
archives; installations; gesture and movement; dance; sound art; durational
laboratory; interactive media, video and online artwork; scientific, mathematical
and relational art forms; and performance in written, spoken and performed
text.
Chen has always been fascinated by arts and performance that express
independence, openness and incompleteness, and she has inspired by the
works of Robert Wilson, Techching Hsieh, Merce Cunningham, John Cage, Kurt
Godel, Tadeusz Kantor, Harold Pinter and Improbable. In 2011 she returned to
her early influences of interdisciplinary arts practice, working to create the
durational laboratory on “nothing” at the Siobhan Davies Studios, London,
where she collaborated with artists Victoria Gray and Bean.
80
CHAPTER 6
Bean
durational live writing
]performancespace[ @aplaceofaction
Written by artist Bean @aplaceofaction on the occasion of Cloud Clock Love, a Two-day Durational Lab on ‘Nothing’, online event curated by Li-E Chen. (19 hours Unedited-documentation, including live Twitter and Facebook updates)
C l o u d C l o c k L o v e 3 - 4 S e p t e m b e r 2 0 1 1 .Siobhan Davies Studios, London, UK.
82
Preperation has reached: 50
9 X Preperation ANTI ANTI ANTI ANTI ANTI ANTI ANTI ANTI ANTI
Cutting + Reading
1 Ss sun opens pausing at pens pushing these flat footing.
Flat footing. Flat. Flat. 0. 0.
11.
Retrun to grey.
Air 0
Folding T-shits Unfolding cables.
Returning to 0.
Start 0.
11 22 33 44
11 – 22 = – 22 – 33 = -55 – 44 = – 99 (almost nothing. this is not perfect, not complete, not nothing)
it is not empty enough
man with one sock up, tries to draw 0
Prep 24. Prep 40. Prep 37. (Prep 21) Prep 28. Prep 29. Prep 49. Prep 46. Prep 39.
Li E circles nothing speaking nothing tongues of nothing not nothing reels of not nothing triping not nothing stumbles not nothing sounds not nothing
left LEFT.
ADD AND +
ADD AND +
ADD AND +
Green
Blue
Red
Green
Yellow 33 wants to think.
People are choosing envelopes that match their clothes.
I don’t understand your voice or your trousers.
56 performs the experiment. 56 over Ss.
12345678910. 12345678910.12345678910. 12345678910. Bodies pressed. Ok. 12345678910. 12345678910. Ok. I don’t know either. 12345678910. 12345678910. Ok. Ok. I don’t know either. 12345678910. 12345678910.
12345678910. Ok. Ok. 12345678910. 12345678910. 12345678910. Ok. I don’t know either.
The t-shirt is too small 43.
Prep reaches 13. I must perform.
Nothing Political. Nothing Political. (with police sirens).
33 is stamping nothing political
small steps are nothing political
masking tape is nothing political
tearing tape/ folding body into 0.
0 political.
Mutterings of nothing. The only word I know.
Did you say M14?
5/6/7/8
83
+7 = nothing
(letting the outside in will not lead to nothing)
Prep 42. hold.
Structure of whole numbers. Structures within structures.
The structure of 3 is a collection of random numbers.
I wish I could here you.
The structure of 2 is simple whole numbers.
The structure of one is nothing.
O
sound over bodies
sound divided by bodies
sound devides bodies
0 white
0 grey
0 = nothing
nothing = grey
All the bodies move super slow. The fan is violent.
Masking tape sticks to nothing of the air.
Air is nothing.
breath.
Amplified air. Amplify the nothing. take it away and there is nothing.
Prep 53. PERFORM!
| || David
||||||| ||||||||| ||||||||||| Head
| || David
|||| ||||| Opening
|||||||| ||||||||| Around
||||||||| ||||||||||| Booty
| || David
I am lost.
| || David
|||| ||||| Le
||||||| ||||||| Around
||||||||||| ||||||||| Booty
1003! THIS MAN IS HERE HEAR.
I like this man and his sounds.
Back resting. Pushing to find what is nothing. To highlight the gap or the non gap to make the gap visible. To make nothing visible.
Why is a circle nothing. what is zero. Why is a circle whole. Why is complete nothing. What is empty. Is nothing everything.
Everying is going in circles and echoing of each other. Sounds circling. The body is so full.
14 15 28 9 7
-7 looking
(3 HOURS = CHANGE)
84
“3 is a collection of random numbers.”
Ki
I always hear 33.
You must stop now When is nothing how
you must stop now can you reference
you must stop now anything
to the page
there is nothing you
can reference to
refer to structure
the structure of 3
the structure of 1.
structure within the structure
bodies on structure construct
Braille note:
Looking at each other. Looking for nothing. The act (ion) of 0
Does it always take 2?
How to dissolve
How do you make something from nothing.
How do you get from something to nothing.
(Prep 6. I am your anti-matter.)
Do less.
You are attracted to the unknown but as soon as it is known to you you are not attracted to it.
Some thing like the radio times.
Do less.
(Prep 13. Sounds like found bound grow)
take take take take take take take take take take take take take take take
take take take take take take take take take take take take take take take
take take take take take take take take take take take take take take take
take take take take take take take take take take take take take take take
walking aggressively into nothing. Turn up(s) testosterone. Shouting with marker pens.
Number 6 scares me.
Gray has one arm in the air (again) she sushes us.
turning into nothing. inside and outside.
clothed air enclosed in nothing dancing with the ether.
4 2 floor
1 tocking on the microphone
1 wait 1 point 1 voice
angular and awkward and large – forever. Take/Grow/
11 22 33 44 like big brother. Staring context. Nothing political / Everything Politcial.
Take 13. Take forever. Take time. Take my heart wondering nothing. Take bounds to grow. Take it all. Take all of this. Take soul. Take my. Take hand/foot. Take my. Take her. Take some of this. Take the outside in. Take that 1995 greatest hits.
(give give give) feet on womb throat murmers reaching to tap for something
hairy fans – staring at leafs – cabled fingers – sun lines – one line – uncrumpled
85
the mic stand extends her body and the music swings them on 12341223456 1234567812341223456123456781234123456234567812341234562345678123423456123456781234234561234567823412345612345678234123456123456782341234562345678234123456234567812345678123412345612342341234234 preparation has reached 34 and we are anti matter 2345623455678123423456
and I am confused.
chaos.
paired paper ripping through and on chaos.
1 2 slam 1 2 slam 1 2 slam 1 2 slam 1 2 nothing drum rolls. empty.
empty
at last
(THIS GAP IS SO BIG)
The 2nd of life
The death
The minutes
The time
Rolled up 0 t-shirt revealing gray. Gray = 0
(THIS GAP IS SO BIG)
I am the number 26: I am your anti matter. It does not matter.
0 = focus
Prep reached 28 + nothing: I have just received a silly number.
He gangles.
She unfolds and stacks the on her body, massing over grey. A massed.
They don’t want a new number.
Prep reached 37: hold on 1 second.
(clock stop cock still)
amassed over grey is pushing the excess out the window. She loves Gray. Gray has one arm in the air (again) she sushes us.
Tearing paper microphones (again) and the fan is perpetual. Perpetually fanning nothing. I think the fan is clever. She blows nothing with her legs open and rocking. Staring at 0. 0 = nothing. Her voice so small and sharp I can’t understand it. Knees together step away from the microphone. Mega.
11 22 33 44 blue circle chases pink circle in circles led by the suffocated grey.
11 22 33 44 2 arms like 2
11 22 33 44 2 flirting and talking
11 22 33 44 2 join (1 + 1 = 2)
note: this is making more not nothing
slapping patterns 360 whole turns everywhere turning nothing in something
grey (covered by 28 now) tracing steps muttering numbers in mad repetition feet leading voice/ voice leading feet. take lead into nothing. left and right/ one and two/ in every way she does this. Alone in madness. This is grey. Grey = 0.
26 but cheeks.
Screwing numbers.
Brake.
And it has changed.
she is writing on the floor – I am not writing
the structure of 3. 12345678910 12345678910 12345
(ding ding) 12345678910 OK OK I don’t know
its humid and still. pushing through this nothing.
(ding) nothing political is separation
86
(ding) nothing political is preparation condition
dragging numbers wrapped in clothes like a cats arse – emptiness itches.
searching for 0
thousands and thousand of bumps like molecules inside body numbers like a map inside body like mushroom touch the texture spots rough rough soft sandpaper its nice thumb me my cracks into language of some kind understanding just nice turning again again again like my mumble this repetition we’re not going anywhere going somewhere because going nowhere I like bumps bumps bumps share the bumps a tiny world of bumps single me out the bumps shaking out the numbers wrapped in clothes this bump bump of nothing talks of something maybe nothing maybe maybe papered bumps cut a story t-shirt on head down cover number place this bump place turning bumps the number stack turning and turning and turning it it becomes becoming nothing becoming something something becoming nothing is the microphone tired of been spoken to its not just an announcer it is it is it is body say body speak the microphone its own body own molecules
stretching out 39 with feet 39 bounds legs 39 is up 39 is ready
this is a playground of anonymous numbered bodies
preparing with hands over ears – you
i can t hear you
she is wearing the numbers as trousers - 49 is defiant
everything is always about circles
0 = nothing 0 = everything
0 the projection – the fan – the felt tip 0
(i feel we are getting closer to nothing)
we keep trying to do nothing and it keeps becoming something
this grey body of 0 circling the microphone catching the fan. So slowly moving cant help the moving. Reverbs cut through fans stream of nothing.
Prepartion 29: (she cant help herself) this is not boat
They have to make noise to know they’re alive
49 wears it as a mask. He is a line (1) but the most 0
Prep 33: think. This is not a boat. This is not a boat. Beyond life the life beyond beyond life the life beyond beyond life the life beyond.
33 the grey one is not living up to her name. must try harder. Or less. Grey = 0
mic cable lapping and slapping in circles to contain or release or be nothing
0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0 – 0
0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
hand traces obsession
Crouching in the corner they are hiding and making nothing 53 actually 43 13 experiment 43 individual 48 individual 35 talking now of nothing
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
87
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
88
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
nothing is difficult
this perpetual 11 22 33 44 staring down at us pointing out what we know pointing out what we cant do pointing out failure pointing at us pointing at nothing
I will print to point out our failings.
12345678910 OK I DON’T KNOW NOTHING POLITICAL NOTHING POLITICAL N O T H I N G P O L I T I C A L MMMM MMMM M M M M M M M M M M M M M
15
15 one the boy in the sun half in half out stiring trees stuck in the nothing 32 the nothing speaks more than the microphone 40 15 such intent 4 thought 40 30 thought. he is joined and left and joined again. recording nothing. no 15. 15 on. Waving and smiling at outside with microphone fist. I am poised. 15 40. Give it to me. 15 40. You tease. 8. I want something. 4/thought 15 a 15 o 15 30 15 40. Begging. 30 40. The longest. duce (2) advantage. me (you)
cracking the mic again
the fan again
the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan
the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan
the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan
the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan
i t i s f i l l i n g u s u p t h e s p a c e u p s o f u l l i n e m p t y
Brake.
89
MM tells me about zero 0 in the sand
On return
| 0
. .
at peace
what is madness
automatic takes over levitating in humidity pencil shades the body. REPEAT.
to rest.
I’m mesmerized by the pencil I wish I could type its pattern and sound. how do you say a pencil colouring in. its reaching fingers.
Again a lot of looking.
The structure of 3.
This repetition of numbers. Its counting, recording moments of nothing. penetrating empty. braking or making. It commands our attention and compels action. numeric mantras.
penetrating empty numeric mantras
The sum of zero and zero is zero.
1 he has completed himself.
0 is complete. 0 is nothing. 0 (nothing) is complete. 0 (nothing) is everything. everything is nothing (0). 0 (nothing) is everything.
cartwheeling to cut time. back to circles.
circles of nothing. circles to make something.
cartwheeling to cut time. back to circles. circles
of nothing. circles to make something. cartwheeling
to cut time. back to circles. circles of nothing. circles to
make something. cartwheeling to cut time. back to circles.
circles of nothing. circles to make something. cartwheeling to
cut time. back to circles. circles of nothing. circles to make something.
F A I L
The
numbers
are
ordered
folded
as
a
line
numbers
are
lineal
|
is
straight
THIS IS WHY WE DREW THE CIRCLE IN THE SAND
0
negative and complete whole and empty
just 31 the fan the paper fan the number fan 11 22 33 44
folding and (un)folding each other. Repetition is key.
90
Prep 50. 9 + and 9 and 9 and 9 and time and time and night and nigh and night.
Back written back. 11 off return to off. – 32 -55 -19 almost nothing this is not working not nothing. 4 zero. 27.1 .49 46 breath circles nothing speaking not nothing tripling not nothing sounds nothing left left at at plus at at plus at bring through bring yellow people don’t understand there trousers 56 over 122345678910 123245678910 12345678910 audience pressed . OK 12345678910 12345678910 OK. I don’t know either 12345678910 12345678910 OK OK I don’t know either 12345678910 123455678910 12345678910 OK OK 12345678910 123456789010 12345678910 OK I don’t know either to small cant reach I must nothing political 33 is stamping nothing political nothing political tearing tape folding into zero zero political did you say m14 5 678 + 7 lets outside in create 42 holes structure structure of 3 is a collection of random numbers the structure 2 is 1 is nothing 0 same same bodies 0 bodies 0whiote nothing nothing all bodies nothing must number air nothing breath nothing taking too way take it heads heads opening arrive david im lost 1 0 0 3 here hear I like this moon and sun invisible invisible why is it political invisible political invisible political
voice not touching microphone passing over
if I eat a biscuit it goes round inside my head now I hear you
take take take take take walking turn up sushing
the fan is over
take world 11 22 33 44 staring tip time tip it all tip 10 tip 9 tip 1 tip 4 tip tip tip feet on wall hairy string cable fingers the volume 123456 123456789 12341233567123456781234123456234568781378123456235678135334561234567812345234562123456782341234561234567823412345612345678234512345623456782341234562345678123456781234123456123423412342341 p o p u l a t i o n h a s r e a c h e d 3 4 a n d w e a r e a t a m a x i m u m 234556234556712342345678nothing complete forest paired paper rhythmic 12 sound 12sound 12 sound 12 18 at last this gap is now so big the 2nd of lif the death the t-shirt opposite the 0 the number traces it does not want to the 0 nothing a have just received a silly number on the phone a bobbin i don’t want a new number we reached 37 hold on a second clock stop grey is pushing acid up she loves the way shhh ass do you have more paper factory staring at 0 at 0 at 0 the world is so small I cant understand it
the problem is what is useful.
just being.
is zero just being. is that possible? How will we know and if we realize will it not be 0 anymore? Is it a collective effort? Does everyone have to be just being for us to be nothing. Why do we want to be nothing. Is this possible? What is zero? Why does it matter?
31 moves away from the fan and folds-up. BackBlackBack.
There is no one here – is this nothing?
http://en.wikipedia.org/wiki/Nothing
46 = nothing
nothing but what is left. Readings of actions. The act of reading. Reading is active. Reading is productive. Reading a product or produce. Reading is words. Words were symbols. The first symbol was 0. 1st 0. 1 0. 0 before |.
Focus lost. But 1 remains. 1 man. 1.
24 anti matter 37 all honesty 21 I am 29 hold on 49 I am anti matter 46 I am a fawn 47 automatic binary
long flat feet bone pokes on floor.
bone contact.
| 0
un-nerves-memory
the difference between speaking to each other and amplified without you
MAN = 1
individual
binary
requests
anti matter
perform
on
91
13
perform
individual
hold on
anti matter
I am your anti matter
hold on
individual
+ 0
hold on to seconds
I m yours
perform
experiment
request binary
EXPECTATIONS
SOLO FELT-TIP SOUNDS OUT THE SPACE
11 44
33 22
44 66
88 12
12
16 14
17 it doesn’t work 14
18 16
18 16
20 18
20 18
11
44 22
33 11
44 22
33
11
44 22
33
11
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33
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44 22
33
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33
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44 22
92
33
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33
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11
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44 22
33
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44 22
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44 22
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44 22
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44 22
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44 22
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44 22
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44 22
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44 22
33
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44 22
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11
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93
11
44 22
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11
44 22
33
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44 22
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11
44 22
33
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44 22
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11
44 22
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11
44 22
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94
44 22
33
copy & paste.
rhythm. Number sequence – pattern/ nature/ biologic/ logic.
commanding clock/ commanding feet/ commanding keys.
dakness drawing outside/ drawing together/ drawing circles all day/ drawing nothing
moon 0
sun 0
nothing 0
mouth 0
sticking nothing to nothing.
we are all compelled.
46 marks time. (Gray “ 4+6 = 10, 1+0 = 1)
now there is 1 + 0 solitary 1 + 0 together 10
collections of nothing
still the fan reminds us there is not nothing here.
is nothing the end – it started with 0
is 0 the end – it started with nothing
sound
we go into it | || ||| ||||
d i s o l v e
I should do less
Do nothing
For everything
For nothing
You cant describe nothing/ inscribe is something
One, 1, dances circles of 11 22 33 44
1 dancing with 0
it is a story of love
1 0
cloud – clock – love
inescapable
INESCAPABLE
NUMBERS ARE EVERYTHING
SHE DANCES THE BEGINNING OF THIS
LOVE ANNIHILATES
http://en.wikipedia.org/wiki/Antimatter
0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0 | 0 – 0
http://en.wikipedia.org/wiki/File:PositronDiscovery.jpg
DAY TWO: START
from the breakfast table. By bringing and consuming have I reduced our chances of returning to zero; must we be empty.
zero functioned as a mere placeholder wombs of nothing
Bitting lips towards 0
body is zero
placeholder
they return, pace space selecting numbers, marking no thing
95
striped down chest 36: I m your anti matter
Preperation:
1. The action of making ready or being made ready for use.
2. Something done to get ready for an event or undertaking.
Use:
1. Employ for some purpose; put into service; make use of nothing
2. To avail oneself of; apply to one’s own purposes nothing
3. To expend or consume nothing
4. To treat or behave towards nothing
5. To take unfair advantage of nothing
36 + man
36 +1 = 37
3 + 7 = 10
10 = two bodies, 1 0
Action 51: no records match this request
Action 50 + nothing
51 + 50 = 101
1 0 1 = two men and Li E chen
Man Li Man
Their fingers can’t help but mark. Inscribe, addressing with dedication.
Fingering hair. Trying to un-do/ not-do, nothing.
Informally two persons, note in and on.
Beyond surfaces, words, characters.
Draw, del ineate one figure (1) within another 0 the inner l ies within the boundaries of the other, touching it at as many points as possible.
They are nothing with no records, yet attempt to score something of nothing.
51 under his shadow.
His shadow of yesterday: I’m mesmerized by the pencil I wish I could type its pattern and sound. how do you say a pencil colouring in. its reaching fingers.
Text message from Michael Mayhew: The Nothing that is – a natural history of zero – Robert Kaplan.
The synchronicity continues.
HELLO
HELLO
IT IS VERY GREY NOW. GREY = 0
ACTION 26: I’m your anti matter/ soft/ honest/ 1 0 baryogenesis / diagonally collided/ is this it.
Asymmetric in everyway.
36 shadow 50
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
96
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
NUMBER
BLACK
NUMBER
NUMBER
1 1 1
1
rain rods/ rain drops/ rain puddle
1 into 0
looking for/ at 0 is impossible surely?
looking is (un)doing what has been done in nothing
change moments.
(in) direct (un) direct.
RED arrives does not take on number. Remains RED. Small RED dot. Small RED 0. Small RED .
small . sm . s .
black 0 window out-in
in-on on-out on to
there their they’re three free 3
interference – the energy the mass of my body would interefer. Braking. Distance. Paraminters. Boundaries. Critical mass. The tipping point. The typing. Weight.
BLACK DOT WEIGHT
BLACK DOT WEIGHT
BLACK DOT WEIGHT
speak of volume in silence
11 mutterings
1,1 RED 0 SOMETHING
respect less.
They’re forming numbers 11 (1, 1) (36+50) with shadow rules: ORDERING NOTHING, COMMAND NOTHING, GENTLY NOTHING.
So grey melt into grey into floor grey grey nothing dissolve feet into brain numbers lost logic logically numbering thoughts into still actions bodies like 1 1 1 1 1 1 1 1 which is nothing which is what they are 1 how can 2 1 ones get to be nothing what about zero 0. 0. its all about the 1 1. Red dot does not engage
97
engage is bad frictions reaction relation kinesthetic energy masses ammmes to more make more make more make more must be making less destruction destruction Metzger.
(14:42)
METZGER
http://en.wikipedia.org/wiki/Gustav_Metzger
22 64 83 49 02 42 4 002
Brake: Recording Recordings:
the authority to make noicse tonmside sileience is not tnothing 0 is tnot a sosunfd wabev the authority to make noise sounc silience is not nothing notihgint 0 iis anot authoruaty toiiis myw does it alwatys come back to authorutyuy thje the suthority to to do nothing to sdo less who owns nothing the sero the sero can have now nouewnertshitp beciause it has no avalue thewother than the vbalue than tislicence and avolucment and auautiority and zero is nothing zero 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 is everything thie has the most value no one a can own that it is the most valuable so thwne say zero is nothing 0 is nothing it is ac tual everything it is fso FULL FULL FULL FULL FULL FULL FULL how to dget tfrom FUL FILLL FULL to mnothing to empty what is empty haow mempty thoughts it sit posiubbble allways thoughts all blodd lomivoement all ways asmenergy a cccant no enerygyg.
the authority to make noise to make silence silence is not nothing 0 is not a sound wave the authority to make noise sound silence is not nothing nothing 0 is not authority to my does it always come back to authority the the authority to to do nothing to do less who owns nothing the zero the zero can have now ownership because it has no value the other than the value than it is silence and movement and authority and zero is nothing zero 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 is everything the has the most value no one a can own that it is the most valuable so they say zero is nothing 0 is nothing it is actually everything it is so FULL FULL FULL FULL FULL FULL FULL how to get from FULL FULL FULL to nothing to empty what is empty how empty thoughts it is possible all ways thoughts all blood movement all ways asymmetry a cant no energy.
RETURN:
deny oneself everything.
d e n y
o n e
s e l f
e v e r y
t h i n g
o n e
independently doing nothing/ you do nothing together.
He has become 32. Recording nothing with beaky camera suit.
36 bangs I am here into shadow. Pushing heads. I keep returning to heads pushing on surfaces.
98
Singing under his shadow, this 1 is good at 0
Obsessed with recording incase nothing happened and we missed it.
Walking circles into 0 0 is circle return
0 is circle return
your closeness now draws a line 1 of what is between us and you. Numbers. Champions of nothing. humming and walking circles. Can’t escape movement. Is nothing an act or thought.
Coding
Codepending
a flock of numbers
hair repeat hair repeat this doesn’t mean anything
flock
half of total
1 / 2
my voice is banging round the room SHOUTING NOTHING AND FAILING. us all.
END
99
2
bio
Bean
Bean is an artist of nomadic nature. Currently based in London, Bean is
founder of ]performance s p a c e [, a newly established studio and project
space in Hackney Wick. As director of ]performance s p a c e [ she has curated
work by emergent and established artists with a wide spectrum of live
practices.
]performance s p a c e [ aims to cultivate live work that critically and physically
pushes the boundaries of body and space. It is a place where work can unfold
without restraints of curation, duration or space, and it is committed to
supporting challenging and difficult work that embraces performance art as an
ever-evolving medium.
Bean’s artistic practice stems from obsessive, paranoid, scientific and
anthropological research. Her work has been described as deliberately
“accidental, scattered, scuffed, blurry and incomplete.” Oscillating between the
poles of violence/meditation, power/control and movement/home, it revels in
the feral actions, inscriptions and fringe existence of the nomadic body.
Currently focused on the inscription of her flesh, as an act of both reclaiming
and disowning her body as material. The marking of the tattoo acts as the work
and its documentation; questioning notions of performance as a bracketed
event, the lines between art and life, the durational and the temporary.
Bean has presented work in Europe, Australia and Asia including Performer
Stammtish (Berlin), Red Ape (Plymouth), New Zero Art Space (Myanmar), OUI
performance (York), Epipiderme (Lisbon), ArtOn (Madrid), Performance Matters:
Trashing Performance Symposium (London), 11 11 11 (Manchester), Bone
Festival (Bern)
100
CHAPTER 7
aoife collins
Mangetout (01)
102
giclee print, 63 cm x 76 cm/24.8 in x 29.9 in
Mangetout (02)
103
giclee print, 63 cm x 76 cm/24.8 in x 29.9 in
Mangetout (03)
104
giclee print, 63 cm x 76 cm/24.8 in x 29.9 in
Mangetout (04)
105
giclee print, 63 cm x 76 cm/24.8 in x 29.9 in
Mangetout (05)
106
giclee print, 63 cm x 76 cm/24.8 in x 29.9 in
Downward Social Mobility
107
Downward social mobility (excerpt), audio cut onto vinyl played on auto repeat record player, dimensions variable
bio
Aoife Collins
Aoife Collins’s work uses appropriated commonplace mass-produced
objects and images that have been altered, manipulated or copied. The
works focus on fragmentation and destruction, the to-ing and fro-ing
between the definite and infinite. Close attention is given to the ability of
objects to role-play. This use of role-play or mutability, away from
intended functionality, is an attempt to open up the realm of possibility or
potentiality of the objects and materials explored. A great deal of the
work consists of re-assemblage; form and function are not considered
final but rather can be altered and are open to the suggestion of
permutations. Much of the work looks towards a form of breakdown or
collapse, with the images or associated meanings melting away. Notions
of background and foreground or an exploration of the dominant and
submissive image on a simultaneous picture plane are themes which are
approached in the works.
Collins received a BA from the National College of Art and Design, Dublin,
followed by an MA from Chelsea College of Art and Design, London. Selected
residencies include Location One, New York; Skowhegan, USA, and Scottish
Sculpture Workshop, Scotland. Selected exhibitions include There is No
Release My Darling, The Process Room at the Irish Museum of Modern Art,
Dublin; With Words Like Smoke, Chelsea Space, London; Altered
Sequence, E:vent, London; Lost in your eyes,Form Content, London; Wet
eye, Location One, New York;Culture clash, Working Rooms, London; Comfort
burn, Artspace, Buffalo; Phoenix park, Kerlin Gallery, Dublin; ev
+a, Limerick; Prelapsarian/here-and-now/postlapsarian, Goethe Institute,
Dublin; Perspective, Ormeau Baths Gallery, Belfast, and Permaculture, Project
Gallery, Dublin.
108
CHAPTER 8
will fung
ANNETTE FRY - CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011
nothing , something must have happened
Nothing, not a thing… From the beginning, there was nothing. Not only in the
Bible’s point of view, but also from the Buddhist religion, Chinese Martial Art Tai
Chi, Western Philosophy, academical Physics, even advanced Astronomy! As
there was “nothing”, “something” must be happened in order to let the
“everything” appears as what we have today.
Everything has an opposite: Advantages versus Disadvantages, South versus
North, West versus East, Matter versus Antimatter, Female versus Male,
Delighted versus Upset, Yin versus Yang, and so on… The two sides are always
fighting for their territories in order to maintain an equilibrium.
The most amazing mystery above all of the “everything” is “Love.” It begins
from “nothing” since our first collision. After a long chain of reactions, under
the chemicals of love it started to grow. Love is so great! It has no boundary. It
has no limit to eternity. If you ask me what is love, I’ll tell you: “LOVE” is “Lots
Of Volunteering on Everything!” Willing to do anything and sacrifice everything
is the way to love. It is the most valuable thing that grows from “nothing!” And
it is also the destination of the whole life! It is the only solution to prevent the
entire universe from going back to “nothing” from the “everything” we share
nowadays…
110
bio
Will Fung
Will Fung was born in Hong Kong, and graduated with a degree in
Pharmaceutical Technology. He is an art and music lover, but not an
artist, dreamed to be special but nothing special at all... Life is like this,
anyway. But a happy ordinary life is precious too.
111
CHAPTER 9
indigo j l
Dragon Coconut and the Monster Rabbit by Indigo J L
113
Click screen to watch the animation or click here for web link
Indigo’s first animation film takes you on an adventure with Dragon Coconut and his friends ...
(6 mins)
bio
Indigo J L
Indigo J L is a five and half year old film maker from Vienna/London.
114
What is next...
1 year lab - september 2012 to september 2013
An open durational laboratory for anyone who is interested in taking part...
for more information, please visit http://aspaceonnothing.tumblr.com
1
What is it
WE DO NOT KNOW WHAT IT IS, WE DO NOT KNOW WHAT IS GOING TO HAPPEN
I WANT TO DO THE KIND OF WORKS THAT NO-ONE UNDERSTANDS WHAT I AM DOING
116
1 year lab - september 2012 to september 2013
An open laboratory . .
2
Who
BY Li-E Chen & WHOEVER PARTICIPATES IN IT
117
1 year lab - september 2012 to september 2013
An open laboratory . .
3
Where
]performance s p a c e [
Unit 6 Hamlet Industrial Estate
White Post Lane
London
E9 5EN
Google Map
118
1 year lab - september 2012 to september 2013
An open laboratory . .
4
When
. .
1 year laboratory on ‘nothing’
TAKING PLACE ON THE LAST SATURDAY of EVERY MONTH - SEPTEMBER 2012 to SEPTEMBER 2013
With details and dates to follow: Sign up a reminder email
119
1 year lab - september 2012 to september 2013
An open laboratory . .
5
Register
REGISTER
The one-year laboratory is free for everyone
If you are interested in taking part, please register here.
120
1 year lab - september 2012 to september 2013
An open laboratory . .
Contact
Li-E Chen | London-based Independent Chinese Artist | UK
Transdisciplinary - Art - Performance - New Media
For more any enquires, please email [email protected], or call +44 (0) 7946 420 467 or twitter @1212360
SUBMIT YOUR COMMENT
121
CLOUD CLOCK LOVE, ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011