ACT 6:

The Intimate, The Unspoken,
The Remembered.


Dafne Louzioti

Katharine Fry 

Vanio Papadelli
Bruno Humberto
Nicole Dimitrakopoulou 

 

This place is not real. It is a half-dreamed network of exhumed memories and desires perforating the thin film of assumed reality. The walls are falling, the paint is falling, the chairs are falling. If you step inside can you read the map(s) left behind? If you listen carefully can you hear the walls whisper their secrets?

This is the story of a handkerchief, the moon and two cups of coffee forgotten on the window ledge or what happens when loneliness sinks into the flesh.

This is the story of a man is wandering through his archive of remembrance and forgetfulness.

This is a story of a woman who has lost her name and too much dirty laundry.

This is the story of a moment we once shared.

ACT 7:

Elizia Volkmann

Karen Heald 

If there is one thing that the BBC taught us it was to remember that you are a Womble and the Mice on the Mouse Organ living with the fear that they may be reds under your bed, that your small life could yet be lit by a light brighter than a thousand suns and cleared away forever, but maybe not, if you hid under a table or clothes horse covered in blankets. Becalm yourself with stories and find uses for an old washing up bottle, combined with your mother's laddered tights, go and hunt another world in the wardrobe, but only find forgotten stuff, oh well one should take heart that these things can be put to good use.  The things that everyday folk leave behind can become priceless art, but time is running out, and even though we moved here to belong, those who came to the East End never belong and soon it will be time to go taking memories, songs and stories with us as we've always carried with us wherever we go.

Once the everyday folk just left stuff behind, abandoned it now they freecycle it or, they either flog it or freecycle it and of course artists are making good use of going to pick things up, further their careers and then flog it, but for the good ladies of K&E that won't do either, if the everyday folk give us the raw materials the good ladies of K&E will multiply it, telling stories, recording, remembering it inviting you to take away souvenirs and memories to break bread and share something in these few short moments.

Art is for everyone, and so the the priceless is PRICE-LESS!

Watch this space and a free-cycle group near you for your invitation to view the less than ordinary art made by the good ladies of K&E and book your appointment to pick up your Price-less work of art!

7 Quiet ACTS OF DOMESTIC VIOLENCE

7 Quiet ACTS OF DOMESTIC VIOLENCE

Call for Live Art Submissions

Violate - verb: to act in disregard of laws, rules, contracts, or promises, to fail to agree with, to be in violation of rules or patterns, to go against; break, fly in the face of, fly in the teeth of.

Where is art/s sting?

The Panopticon nods its approval as its artists enhance the urban experience, perpetuating a sociability that restricts real human interaction. Limiting, diluting. The only free territory left is the artist's home, a site potent for anything.

7 Quiet ACTS OF DOMESTIC VIOLENCE is a series of artists' works subtle (in form) yet powerful (in effect). These seven acts explore Live Art and intervention as tools to pierce private territory, seeking to deconstruct the functions of the home. Away from the watchful eye and rule set of socially accepted behaviours, notions of encounter, conformity, control and consent are investigated. Home becomes a re-thinking place, an art-thinking space, a new envelope for social realities.


7 Quiet Acts takes place in 58 Shelmerdine Close in London's East End, an artist's home waiting for demolition. A new government(s) has resulted in a temporary stay of execution, leaving this home/non-home as a dysfunctional waiting space, a non-time and non-place.

For the series 7 Quiet ACTS OF DOMESTIC VIOLENCE, the Bow Arts tenant invites the use of this private site as a territory able to stand outside of the restrictions of institutionalised space, and outside of constraints imposed by social reality. As societies' rules step aside at the door, 58 Shelmerdine Close becomes a site of resistance. A new Art Testing Centre emerges, and a place for dreaming. Here art that enhances (perpetuates) can be replaced by art that violates (deconstructs).

Bachelard reminds us that the house preceded the universe, while Lefebvre urges artists to produce new spaces that house new ideologies. More recently Bourriaud states that reality can only be defined as a product of negotiation. 58 Shelmerdine Close thus becomes a potent instrument, a home becomes the site for its own deconstruction. This private space opens up as a new time/space, producing unforeseen paths and codes, a site where collaborators devise new experiences and audiences police them. New agendas are set in this trial institution, this re-reality.

For seven consecutive Saturdays beginning October 16th 2010, a series of time-based acts are invited into the artists home. Each weekend one new artist or group intervenes in the building's fabric, its functions and the tenants life. The project seeks experimental Live Art and interventionist pieces, encouraging thinking outside of the square.

7 Quiet ACTS OF DOMESTIC VIOLENCE asks collaborators to consider can an interventionist act invited into the home be valid. It asks can the edges of experience be found inside the mundane and the domestic that is hidden behind closed doors. During this series of acts, the project asks how can an audience shape production of the invited works? Each show re-animates the relationship between authorship and ownership, participant and beholder, realities normally kept apart. New forms of relations are explored within this private Panopticon.

SUBMISSION DETAILS

Tanya Cottingham the artist/instigator and Bow Arts tenant invites artist's proposals, including a short biog, a summary of the form the work will take, details of how this act punctures private harmony and an explanation of how the audience directly affects the resultant piece. Please also provide links to previous works.

Each artist/group will have one weeks access to the building in advance of the show. Door security will be provided for each Saturday show which runs from 2.30-6.30pm. Proposals should specify availability for individual Saturday slots between October 16th and November 27th.




7 Quiet ACTS OF DOMESTIC VIOLENCE will allocate a limited number of private invitations to its participatory audience members. Entry for this private series of shows is very limited and is strictly by invitation only, there will be no access without a valid invitation. Please contact Tanya specifying which weekend is applicable and the quantity of invitations required.

For submissions, invitation requests and any further questions regarding the project please contact Tanya at:

thexecutivebaglady@yahoo.co.uk

DEADLINE FOR SUBMISSIONS is midnight 30th SEPTEMBER. Audience application is rolling.



(Addendum)

PRIVACY

International privacy laws are undecided as to the extent an individual has in terms of freedom in their own home. Definitions pertaining to privacy rights include "physical space, where (the individual) can be free from interruption, intrusion, embarrassment or accountability" (Robert Ellis Smith, Editor of Privacy Journal). Other definitions cite dignity, secrecy, anonymity and solitude of both body and its territory.

HOUSEWARMING

In medieval times a HOUSEWARMING was when the hot embers from the previous home were brought to the new premises. A fire was started from the embers in the grate of the new home.

HOUSEWARMING


"Openness in being occurs in the form of a world, that is a field, a topography, where nothing visible shows itself without hiding most of itself." Merleau Ponty

HOUSEWARMING takes place in an East End council flat waiting for demolition.

HOUSEWARMING is an experiential piece that takes audience members on a journey through the hidden life of a building, questioning the criteria upon which the end of its existence has been decided.

When can a building be destroyed and what kind of impact do these policies have on its residents' lives? As a consequence of these decisions, what can the traces left by forced migrating bodies tell us?

Within the spacial realm of performance and installation, four artists respond to how the tenants' lives have been affected by policy making. Stifled past voices are given a moment to speak, rippling underneath, unarticulated, invisible yet most potent...

The artists, the temporary new tenants, bring with them their own customs that for the final time, overwrite the last layer of cultural reference before the building is destroyed.


Date: September 11th 2009
Time: 7pm-10pm,
Venue: 58 Shelmerdine Close, Ackroyd Drive, E3.

Nearest Station: Mile End

ADMISSION FREE

With thanks to: BOW ARTS TRUST

helen elizabeth cocker's postings

Tuesday 1st September.

Somehow it seemed appropriate to begin on the first.

Although unplanned..... as things often are, in resonance.

Strangely I start my entrance into this space from another empty space. 

A family home, occupied all year round except for these few days when its inhabiters are away on holiday.

These inhabiters have left the home which once was mine, and so it is to some extent a "return" I am part of. Here, in this lived-life house, I find the remnants of my past. Oddly disembodied from my present. 

Here I return to a time, preserved by my trace.

For now this is all, a substantial entry will appear here soon. 

This post will act as my way in - a door if you like.

Everyone needs a door into a space, especially when blinded by the walls. 

These sentences are my door, to remind me that as the day of 58 Shelmerdine Close draws nearer to me, so must I draw nearer to it.

Let me not forget then, that the personal is a space saturated within the empty. 

tanya and christian's posting

in the midst of slow motion
essence, sense and signification
are the experiences of the limit itself

the experience of being within an outside.


An act

the stillness of the past tense of a room. emptied. the sounds are echoes. enlarged echoes even. the silence is an echo enlarged.

two figures dance in their joint solitude. swaying movement that could even be stillness. the intention.

they wear patina on their feet. the smell of wax. the smell of old. oldness. they dance slowly. circling. waxing. polishing.

the floors tiles are scuffed and broken. the floors have no value. or rather are deemed valueless. so to preserve them is a pointless act.

the sound is from somewhere within. cupboard. interior. mind. interior. the wrecking ball. the first dull deep thud cannot be undone. inevitable next. pendulum. the couple dance on...
with no power to present what in the present has no name

images and bodies of images are dissolved
control as we know, on the other hand
always finds itself

in the last instance
on the separation
between naked existences

the exception, is what the control itself
each and every time decides

naked life is put into question
...revoked

the subject that needs to be turned into the exception is always naked
there are no distinctions between strategies and situation

artificial light and nocturnal inclination
unqualified witnesses