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).