From the 2017 publication - Bergen International Performance Festival 2012-2014-2016 ISBN: 978-82-999991-5-1 Page nr. 11.
Presented at the festival seminar - Do we want to differentiate? - Bergen Kunsthall 2017.
Do I want to differentiate?
Text by Gillian Carson
The live object is an unpredictable presence. In a performance there is often little to no distance between the art and the observer. Physical delivery often holds an element of authenticity that suggests what is happening might be real; not art. The performance unfolds in time and the observer does not know what will happen next. The observer watches the artist and the artist does not know what the observer might do next. Unpredictability creates a level of excitement that makes for a different sort of art experience for both artist and observer. The art is actually happening and therefore may not be art at all. There have been occasions when I’m not sure that what I’m doing while performing is art or life, and what I’m doing while not performing is life or art. Being concentrated and present in a situation, aware of others in physical and emotional relation to one’s self in the same situation, is more or less performance art. It can be difficult to differentiate.
In life and in a more heightened sense while performing, I am aware of moving through a physical, mental and emotional process whose character depends on the reactions of others and how I meet them and react in turn. This is something we all practice in any given social situation and it involves a degree of give and take; a social elasticity. Success depends on each individual being open to whatever the others say and do, and on each individual being ready to adapt or change accordingly. This is an organic process that creates experience and stories, and it is something I work to encourage and hope will happen in my performance work. Any story as a result of my performance work depends on at least some of those around me being in the space with me, not just watching from a position of detachment. The performance then has to be of as natural a character as possible and performing in a formal gallery situation can make it difficult to achieve.
In a gallery situation I work on counteracting formality. I avoid any kind of formal entrance, choosing to start before the doors open and making contact with individuals as they enter. I might sit and wait for them to come in, acknowledging their presence. I might stand inside the crowd making social contact before beginning from my position within the crowd. When these options are closed to me, I do my best to counteract ‘the great divide’ by establishing a form of direct social communication: eye contact, smiling, sit in the audience or even tend to any need they may or may not have; ask individuals a question, find them a chair or fetch them a glass of wine. I like to keep things real. In my last performance; an improvisation with several PAB members and BIT20, I noticed a tired and somewhat bored little girl in what was proving to be a diehard formal audience. I drew a smiley face on the palm of my hand, caught her eye and showed her the drawing. I was presented with a terrific smile, which for me is a classic example of social elasticity. Was that art or was it life?
My performances in the public domain of streets, queues, parks, trains and airports happen unannounced and I almost always use objects. Certain inanimate/animate objects or sculptures appeal to me for their ability to describe or communicate something I want to explore or feel strongly about. Objects allow me to take ideas on physical trips; literally carrying them around develops an idea into a social activity. Finding or making objects is finding words to start a conversation. When I am in transit with an object or sculpture, I might sit on a bench or stand in a queue. Public curiosity develops interaction and stories are made from the unpredictability of elastic social interaction. On one of my trips with a large sculpture in a pram, a young man approached and kicked the sculpture so hard that it flew up into the air and landed some metres away. The young man quickly tried to leave the scene but was surrounded by a small crowd of people and told off for his behaviour. Someone picked up and returned the sculpture to the pram and conversation developed.
I play around with the stuff of art and the stuff of life. I want experience and to create stories, so I need to be a part of things rather than apart from things and my performances need to be suggestions rather than statements. The elasticity of the performance medium allows me the freedom to close the gap between artist and observer, maintain a desirable level of unpredictability and to play with authenticity. How much of what I do is art or life? Do I want to differentiate?
.
Presented at the festival seminar - Do we want to differentiate? - Bergen Kunsthall 2017.
Do I want to differentiate?
Text by Gillian Carson
The live object is an unpredictable presence. In a performance there is often little to no distance between the art and the observer. Physical delivery often holds an element of authenticity that suggests what is happening might be real; not art. The performance unfolds in time and the observer does not know what will happen next. The observer watches the artist and the artist does not know what the observer might do next. Unpredictability creates a level of excitement that makes for a different sort of art experience for both artist and observer. The art is actually happening and therefore may not be art at all. There have been occasions when I’m not sure that what I’m doing while performing is art or life, and what I’m doing while not performing is life or art. Being concentrated and present in a situation, aware of others in physical and emotional relation to one’s self in the same situation, is more or less performance art. It can be difficult to differentiate.
In life and in a more heightened sense while performing, I am aware of moving through a physical, mental and emotional process whose character depends on the reactions of others and how I meet them and react in turn. This is something we all practice in any given social situation and it involves a degree of give and take; a social elasticity. Success depends on each individual being open to whatever the others say and do, and on each individual being ready to adapt or change accordingly. This is an organic process that creates experience and stories, and it is something I work to encourage and hope will happen in my performance work. Any story as a result of my performance work depends on at least some of those around me being in the space with me, not just watching from a position of detachment. The performance then has to be of as natural a character as possible and performing in a formal gallery situation can make it difficult to achieve.
In a gallery situation I work on counteracting formality. I avoid any kind of formal entrance, choosing to start before the doors open and making contact with individuals as they enter. I might sit and wait for them to come in, acknowledging their presence. I might stand inside the crowd making social contact before beginning from my position within the crowd. When these options are closed to me, I do my best to counteract ‘the great divide’ by establishing a form of direct social communication: eye contact, smiling, sit in the audience or even tend to any need they may or may not have; ask individuals a question, find them a chair or fetch them a glass of wine. I like to keep things real. In my last performance; an improvisation with several PAB members and BIT20, I noticed a tired and somewhat bored little girl in what was proving to be a diehard formal audience. I drew a smiley face on the palm of my hand, caught her eye and showed her the drawing. I was presented with a terrific smile, which for me is a classic example of social elasticity. Was that art or was it life?
My performances in the public domain of streets, queues, parks, trains and airports happen unannounced and I almost always use objects. Certain inanimate/animate objects or sculptures appeal to me for their ability to describe or communicate something I want to explore or feel strongly about. Objects allow me to take ideas on physical trips; literally carrying them around develops an idea into a social activity. Finding or making objects is finding words to start a conversation. When I am in transit with an object or sculpture, I might sit on a bench or stand in a queue. Public curiosity develops interaction and stories are made from the unpredictability of elastic social interaction. On one of my trips with a large sculpture in a pram, a young man approached and kicked the sculpture so hard that it flew up into the air and landed some metres away. The young man quickly tried to leave the scene but was surrounded by a small crowd of people and told off for his behaviour. Someone picked up and returned the sculpture to the pram and conversation developed.
I play around with the stuff of art and the stuff of life. I want experience and to create stories, so I need to be a part of things rather than apart from things and my performances need to be suggestions rather than statements. The elasticity of the performance medium allows me the freedom to close the gap between artist and observer, maintain a desirable level of unpredictability and to play with authenticity. How much of what I do is art or life? Do I want to differentiate?
.