SIN PODIUM – Speaking of Writing

15th JUNE 2009 – Museum of English Rural Life, Reading

10.30-11.00        Coffee & Introduction

11.00-11.20         Anne Latto, The text of a performance is the performance. (Albert Lord 1960)

11.20-11.40         Zoë Mendelson, The Detroit Project (Performing a text/compulsive hoarding)
11.40-12.20        Discussion

12.20-12.40        Katrina Palmer, Making it Glisten
12.40-13.00        Susan Barnet, The New Le Hu Building
13.00-13.40        Discussion

13.40-14.30        Lunch

14.30-15.00        Phil Minton & Dominic Lash

15.00-15.20        Emma Hart, Scripts and video, projections for the future
15.20-15.40        Cinzia Cremona, Speaking about Writing about Making
15.40-16.20        Discussion

16.20-16.40        Hephzibah Rendle-Short & Dino Alfier, Speaking/Writing About Drawing
16.40-17.00        Claire Makhlouf Carter, Demo 3
17.00-17.40        Discussion

17.40-18.00        Close


S. E. Barnet (Kingston University) – Point of Departure

Coming from a reference point of Robert Smithson’s slide lecture Hotel Palenque, The New Le Hu Building uses site/ location as a form of experience. Bringing the relationship between imagery and text to the foreground, The New Le Hu Building explores a basic methodology of observation and chance encounters. Eschewing the more traditional route presented in guidebooks and tourist maps, this journey of sorts focuses on Smithson’s ‘non-sites’ or Auge’s ‘non-places’ and extends these ideas over time.

* * *

Claire Makhlouf Carter (Royal College of Art) – Demo 3

‘A solution was created by Claire Carter for use in her artwork DEMO 3. It was subsequently presented for chemical analysis. Because of it’s complexity the best way to proceed was to investigate the known ingredients through existing literature’.

Ruth Ball, A Compositional Analysis of a Solution Created for Use in an Artwork, 2008.

DEMO 3 creates a situation by using carpet to provide a notional stage. The carpet is perceived as a place of encounter where issues of utility, labour, demonstration and presentation are performed and explored. The artist’s presentation is addressed through themes of damage, restoration and embellishment.
Note: The solution is safe to inhale and touch. It is not flammable.

* * *

Cinzia Cremona (University of Westminster) – Speaking about Writing about Making

This presentation aims to echo the correspondences and paradoxes within the practice-based processes of artists researchers, and to redress the balance on the side of practice by addressing the audience directly as you, thus opening a living channel for making through speaking.

“I understand this as a form of reciprocal making, in which as a speaker/performer/practitioner I am constituted by an audience’s attention as the audience is constituted in my address. I feel that my video performances speak to a specific interlocutor. I perceive mediated performances as offering a relationship – as I feel that I do not have to be present to speak. An offer both sustained and full of promise.”

* * *

Emma HartScripts and video, projections for the future

Emma Hart’s research investigates how the exploration of video as action will offer ways to produce and present simultaneously, and how this creates possibilities of ‘liveness’ within lens-based technologies  – a new mode of address on the site of the photographic record.

“Initially for the purpose of my PhD, part of my work this year has dwelt on how to document this research, yet not contradict it using methods of recording. I need to find a way of capturing my research, that isn’t then itself a retrospective record. A script for a performative lecture has provided a way for me to think through the problem of writing up and disseminating ideas. This paper/performance for Sin Podium features work from a residency at Camden Arts Centre, where I tested through video how a script might function and whether it is exists in the past, present or future.”

* * *

Anne Latto (University of Reading) – ‘The text of a performance is the performance’. (Albert Lord 1960).

Anne Latto’s paper covers aspects of the process and performance of oral storytelling. The written words of the initial text evoke images in the storyteller’s mind which are transposed into an oral text enhanced in performance with paralinguistic and nonverbal elements. The performance that emerges is not a fixed entity but becomes a collaboration between text, storyteller and audience filtered through the subjectivities of teller and audience.

* * *

Zoë Mendelson (Chelsea College of Art & Design) – The Detroit Project (Performing a text/compulsive hoarding)

Zoë Mendelson is developing new writing in a form reflective of her visual work, intending these to meet in a space between linear theoretical research and something more fictive and transient.

She will be using this opportunity to test out new writing through spatial, visual (and potentially failed) live incarnation in the guise of a fictive academic, museological framework.

Her novel’s rough-sketched beginnings are set between London and Detroit, only her Detroit is an imagined future-city. The re-design of the city is set as a project by a theorist, whose empirical attachment to collating material eventually blurs tangible and theoretical boundaries.

* * *

Katrina Palmer (Royal College of Art) – Making it Glisten

The protagonist is part of an audience, waiting for a lecture to begin.  A woman sits next to him, and although they are strangers, she tells him she is a writer who invents fictions about the erotic power of storytelling.  ‘I make graphic images with words,’ she says, ‘I’m going to present a series of scenarios to you and I’ll fabricate them with sufficient sensual detail to evoke a graphic and believable narrative space.’  The protagonist’s immediate proximity to that space made him feel peculiarly exposed but, sensing the writer was equally vulnerable, he considered listening for a while longer.

* * *

Hephzibah Rendle-Short (Royal College of Art) & Dino Alfier (University of the Arts London) – Speaking/Writing About Drawing

This presentation is the result of a collaborative residency at the Centre for Drawing Wimbledon. In observational drawing, the habitual impulse is to narrow the gap between looking and making a mark. In this performance, Hephzibah Rendle-Short and Dino Alfier intend to do the opposite. By interposing verbal language between looking and mark-making, they aim to open this gap, thus problematising the status of the so-called art object and questioning what, and where, the drawing is.


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