Oct 2

Climate Change: what relationship do disembodiment and re-embodiment have with sacrifice?

Meeting with MVS and talking around my project for the past three days. Created a video that seems to be important to the content of what I am doing, need to edit it before I can post a piece of it. Have pictures, need to download from my camera. I’m looking for organization of ideas and images, a place to contain things in one space that is only about my research and not everything else – but my research is about everything. No separation, need separation. I am not the work…Remember seeing the same dilemma in how people outside of Carolee Schneemann conflated her with her work. She seemed to hold the line much better than I can right now.

Disembodiment, re-embodiment, sacrifice in climate change . 5 small acts. Performance. Video documentation of experiences. Inside/outside. Unravel a tangle of ideas around what this smaller performance set is becoming. This is like an intro to the BIG research project. A way of immersing myself in the material first hand. Hmm. Immersion, sacrifice, re-embodiment. Dis-embodiment?

Larger research project:

Smash-up models: Carolee Schneemann, kinetic theatre process, Augusto Boal, Theatre of the Oppressed and Lygia Clark, relation objects.

Organization of creative process: build video test cases with self/ community. Mount a formal participatory performance. Analyze the experience, make changes, do it again. Repeat.

Featurette:

Lygia Clark (1920-1988)

http://radical.temp.si/2009/06/the-body%E2%80%99s-contagious-memory-lygia-clark%E2%80%99s-return-to-the-museum-by-suely-rolnik/

It’s really difficult to find information on Lygia Clark, a Brazilian artist exhibiting from the late 1950s to the late 1980s. The works that really intrigue me are from a period when she was looking at audience participation, relational objects and experiments in perception. Possibly her writing contains more than the photo-documentation because the static images of exhibition interaction don’t reveal the complexity of the experience.  This video is the most prosaic example of the kind of thing she was doing, but in some ways it is the most effective example of the kind of attention she was trying to bring to her “audience.” In this case, the video is about using her “tools” for experiencing touch. Apparently the last decade of her life was dedicated to art therapy.