Four Full Stops - Tansy Spinks

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.

7 Walks in 28 Mins - Idit Nathan

Seven Walks in a Holy City, 2011 - 2013

Walking , playing and collecting photographs in the city of Jerusalem during October 2011.

Cards picked out at the outset of each day define where the walk starts from and the theme for the day. A die tossed at the starting point of each walk and then at regular intervals throughout it, dictates directions to walk in and another die dictates how often a photo is taken.


www.iditnathan.org.uk 

Ten Things to Take - John Hillman

perfect FLAT circle - Katrina Brown

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.

Surface might
suggest  superficial, flat, having no depth, no height, no body, no volume

Surface might
have porous, semi-permeable properties -  allow things through, block other things, absorb, deflect, reflect, shield, cover, enfold, connect things

Surface might
quietly lie, be engaged in material relations and processes of time

Surface might
appear only when marked, framed, scarred, dented, defaced, folded, lit, dented, cut, stained, dirty, broken

Surface might
be visible from distance and touched by proximity (Massumi 2011)

Surface might
be skin, my skin, your skin – or the earth’s crust

Surface might
activate abstract, material, political, architectural, mathematical conceptualisings

Surface might
extend, be limitless, expansive in all directions along a two-dimensional plane

Surface might
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.

Surface might
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.

Surface might
invite digging, burning, drawing, gesturing, marking, composing, layering, piling, working-low, lower-than low, working-with and on the ground

Surface might
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).
 

www.katrinabrown.net