We are calling for submissions for sensingsite 2014 which will be a series of three practice based research presentation events:
Performing Site - University of Falmouth, 9 April 2014
Materialising Site - Lethaby Gallery, Central Saint Martins, 23 April 2014
Transcribing Site - Parasol unit, London, 12 May 2014
Please send proposals of 500 words maximum to Steven Ball firstname.lastname@example.org no later than January 31 2014 indicating preferred site.
sensingsite explores materialities of landscape and place, the transformative potential of raw materials, multi-media performance, and interactive technologies that investigate the sensory nature of site. Our emphasis is upon research methodologies embedded in practice, and in particular within interdisciplinary art practices.
sensingsite is a research project initiated and run by
Steven Ball (Research Fellow Central Saint Martins),
Susan Trangmar (Reader in Fine Art Central Saint Martins),
and Dr. Duncan White (Research Fellow Central Saint Martins)
for further information contact
email@example.com or firstname.lastname@example.org
sensingsite is supported by a UAL Communities of Practice Grant and presented in association with University of Falmouth and Parasol Unit
18:30, Monday 18 November 2013
Anomalies and Non-representative Instances in the Ethnographic Field Recording
is a lecture performance by Noah Angell that focuses upon the presence
of anomalous moments within the ethnographic field recording : flukes,
deviations, and events that play little or no part in their local
economy of meaning.
Central Saint Martins Museum and Study Collection
1 Granary Square
London N1C 4AA
Angell will play examples of such recordings considered through varying frames: the way that a community’s outsiders are represented in relation to that community; staged interventions by the recordist which ‘bend’ traditional forms, and editing of ethnographic material that favours the inclusion of the fleeting and incidental.
This presentation will feature recordings from Bahia, Cuzco, Helsinki, Jerusalem, Malacca, Red Lake, and Paris -taken from Angell’s own collection of ethnographic records which will be absorbed in an act of collective listening. The publishing of these anomalous moments in ethnographic documents raises the questions of what such deviations from traditional forms can tell us about the world from which they have departed, and how much artifice is acceptable in the re-staging of bygone forms.
Noah Angell was born in the United States in 1980, studied for his MAFA at Central Saint Martins and lives and works in London. Recent exhibitions and events include Crying in the Ethnographic Field Recording at The Freud Museum, London; University of California Riverside, Forgetting and Negative Space in the Ethnographic Field Recording at HDLU in Zagreb, Anomalies and Non-representative Instances at Studio Pompstraat, Rotterdam, Labor & Rhythm at Banner Repeater, London, ‘Figure 3: I Don’t Know What To Say’, David Roberts Art Foundation, London, and the solo exhibition Noah Angell: Film Works at Oksasenkatu 11, Helsinki.
To attend book here
A live, site specific performance at the Parasol Unit, Wharf Road, London N1, April 15th 2013, responding to the work of artist Navid Nuur in his exhibition Phantom Fuel and in particular to the work Where You End and I Begin in which he takes the full stop at the end of his press release and enlarges it 'until the full stop itself posits its own objectivity,' as the press release suggests. This work is framed and exhibited nearby whilst the performer walks the gallery, playing with the many meanings of the word 'dots', as described by Nuur and as understood by musicians presenting a layering of pizzicato resolutions and cadences which act as both endings and perhaps, new beginnings.
With thanks to Navid Nuur and to Idit Nathan for videoing.
Seven Walks in a Holy City, 2011 - 2013
Walking , playing and collecting photographs in the city of Jerusalem during October 2011.
Labels: Idit Nathan
A CHOREOGRAPHIC – SCORE – WORK - PROCESS - OCCURENCE - PERFORMANCE – OBJECT
working-with the unpredictability, imperfection and messiness of charcoal, paper and moving body : performing an iterative process of (un)doings, (in)attentions and (un)intentions.
suggest superficial, flat, having no depth, no height, no body, no volume
have porous, semi-permeable properties - allow things through, block other things, absorb, deflect, reflect, shield, cover, enfold, connect things
quietly lie, be engaged in material relations and processes of time
appear only when marked, framed, scarred, dented, defaced, folded, lit, dented, cut, stained, dirty, broken
be visible from distance and touched by proximity (Massumi 2011)
be skin, my skin, your skin – or the earth’s crust
activate abstract, material, political, architectural, mathematical conceptualisings
extend, be limitless, expansive in all directions along a two-dimensional plane
trigger images of Trisha Brown’s moving-drawing on paper with pastel in It’s a Draw/Live Feed, Ana Mendieta’s Silueta series in mud, earth, tree, Helen Frankenthaler’s soaked canvasses of pigment paint, Carolee Schneeman swingings-hangings-writings, Agnes Martin’s Morning.
remind of Pollock’s Five Fathom Full, Toni Orrico’s Penwald Drawings, Artaud’s writings-drawings, Cy Twombly’s Untitled, Mike Kelley’s Lumpenprole, Acconci’s Seedbed.
invite digging, burning, drawing, gesturing, marking, composing, layering, piling, working-low, lower-than low, working-with and on the ground
propose beneath, on, over, in, above – floating, sinking, rising, leaning – touching
The title of my research project is
drawing in, as and after performance: a choreographic investigation of surface(s)
I am implementing drawing as a tool in the intersection of moving body and flat surfaces in order to initiate an investigation of ‘surface’ as a choreographic site of enquiry: what is surface, what does surface do, what can surface facilitate in relation to the choreographic processes and conditions of and between body-space-material-time?
What becomes visible on the surface, what lies beneath the surface, what rises from surface?
I am considering surface(s) as material, image and concept – gathering architectural, material, temporal, mathematical, political, philosophical perspectives of flat-ness and two-dimensionality to deepen and expand a working choreographic relation of and with flat surface(s).