Britt’s final edit

22 Nov

Best to enjoy with earphones.

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What if?

17 Nov

I remember Moya asking me on Sunday if I felt that I had accomplished what I wanted to achieve with RRR (sorry Moya, this might be badly quoted and not at all the intention of your question). Today I remembered about a text I wrote about a year ago in a workshop with David Lakein. I found it and this is it in it’s updated form:

It is interesting to be using words in a moment where using them has just been confirmed as somehow very inept at capturing what we know, but then there is what David quoted: What if what we got is what we need? It is the judgement that hurts not the notion of something being incomplete.
I soften my brain as I soften my body. Tiredness is a gift, laziness is a gift. The paradox is in caring at the same time. It is about the quality of touch, about the contact. The solution/the truth is ever-existing, always there, never around, a shape-shifter. We pass through it or it through us, in and out, often when we don’t reach for it but for something else or nothing at all. So,  yes! (damn it) reach out. But don’t be attached to catching what you were reaching for.
What defines me the most and how can I let go of it? Let go of the attachment to that most precious attribute. Not as a nifty little scam but to really honestly let go of it/the goal and still reach.
Direction/linearity/physical body as a gift, just another manifestation not a division.
Everything is in constant flux yet we still like to capture, to give lasting to what doesn’t, to define, hold on to, find safety.
Embrace the paradox! (Enjoy it, saviour it, have fun with it)
What if what there is is what I need?

Britt (at this moment in time trying to find her personal flux of chaos and form – whilst trying not to try too hard)

Car Boot Gallery

14 Nov

Noel Perkins - Sunday Morning Polemic

Noel Perkins - Sunday Morning Polemic

Noel Perkins - Sunday Morning Polemic

sunday morning. waking to the last day. wrapping up. starting on my own, wrapping up thoughts, starting to compile from the wide collection of impressions, thoughts, inspirational moments. on the bus having thinking that on the bottom of it all I find great comfort in skill. both my own and that of the great artists i’ve spent these days with.

14 Nov

Coffee date

14 Nov

Card 1

Which two individuals in the conference do you think would work best together?
What do you think they would do?

Card 2

Which two individuals in the conference would have the most interesting wrestling match?
Who would win?

Card 3

Silently count to twenty before turning to the next card.
You might want to take a sip of your drink(s) whilst you do this.

Card 4

Pick a moment that comes to mind since Raw Roar Rare began.
Talk about it.

Card 5

In life, there are two types of people – artists and audience.
Discuss.

Card 6

Artist: (In a reconcilatory tone) Listen, if this relationship is going to work, I need you to tell me what it is that you want from me.
Audience: (Tired and out of patience) I do tell you. But you don’t listen.
Artist: Oh that’s right, it’s always my fault isn’t it? Like you’re not eyeing up every floozy that wanders past. (pause) I can see you doing it now!
Audience: At least I always stop at just eyeing them up.
Artist: (Starting to lose it now) Oh that’s right, bring that up again – Why can’t you leave the past alone…
(and so it continues)

If you’re in a pair, enact this scene. If you’re alone, what advice would you give to
an artist and audience in this miserable situation?

Card 7

We may choose to share some of these responses with other people.
Would you be happy for us to do that?
If you are, and if we were to call it an artwork, would that then make you the artist
or the audience of the work?

Thirty titles for thirty minutes (meeting to take stock)

13 Nov

1 Feedback nerves. Ignore the audience.

2 A grouped audience. Collective understanding.

3 The audience is more interesting.

4 Music was the prime mover.

5 Sometimes, profound responses are non-verbal.

6 We’re the gregarious audience bunch.

7 Questioning feedback is always verbal.

8 Verbal conversations don’t involve bodies. (?)

9 The enjoyment of avoiding immersion.

10 Musicians don’t dialogue like dancers.

11 The incessant European artist conversation.

12 On being simply touched. Stripped.

13 Let’s abandon the European past.

14 She don’t read Louise Bourgeois.

15 Audience contact. People contact. Contact.

16 The independence of collaborating artists.

17 How to proceed from here?

18 It was, because we did.

19 Permission give (is it needed?)

20 Three women in a circle.

21 You’re the one who knows.

22 What I wanted to say.

23 Anthropologically, where’d it come from?

24 It’s huge, but not present.

25 Basic human impulses left aside.

26 My one jibe was unimportant.

27 Today, I’ll try putting it thus.

28 Listen. Voices that you don’t hear.

29 You must work on that.

30 What happens when you’re not.

Keith Hennessey – Crotch (post-pub discussion)

13 Nov

– I was saying to Wendy that I found it incredibly…  invigorating… inspiring… erm… I found his… the mixture of his humility, his clarity, his confidence, his political awareness, his sense of his body, his sense of the ridiculous. He created this sort of collage…

– Jamie, you’re using all the adjectives.

– I think Jamie has done my bit as well.

– I think the thing is (and I’m going  to use all the same adjectives) is he was so easily moving between the mundane, the sacred, the ridiculous, the profound, the intelligent, the nonsensical without me actually realising it because I was actually spellbound.
Yeh. And then after the performance, he never stops talking.

– Yeh, and he had a nice cock too.

(interlude)

– I want to see it hard. That’s where my imagination went.

– Did you write down? … actually, after nice cock came; ‘I had to check the mould’. I had to check the mould.

– The atmosphere he created at the end, when I kneeled down in front of him, and people touched my shoulders and my arms – the atmosphere he created – I felt very supported… Maybe supported’s not the right word… Maybe it is.

– It’s a theatre production in the way that it’s repeatable. It’s repeatable. No, not repeatable – that sounds bad, but I mean it as a compliment. His performance was made live by the dodgy stage management // including the obviously incapable student.

// I liked the horse. //

– You’re just jealous. He obviously spent the afternoon with him having sex.

– Also… did you… when you were walking by… like the crackers  by the stage weights?

– That confused me. Why?

– James Hillman!

– It made me think that if I was an elephant sitting on the stage weights it would be very different than if I was an elephant sitting on the crackers.

– He was much more confident when he took his pants off…

– He needed to chill //out when he was hammering the nails in.

– I’m not sure I believed him when he was nailing.

– He was performing nailing.

– How did everyone feel when he was crying?

– It was so fucking sad, the image; I don’t know why he actually had to cry. It was such a strong image, that if he’d kept that in…

(Interlude on The Baader-Meinhof Complex)

– Ooo… Are we still talking about his show?

– I’ve said everything to you already. Oh… I think that’s really… why?

– No, Jamie’s is the last sentence.

(I think it’s wrong to do something like this at 2.)

I like the horse.
I like the horse.