Archive for the '(wo)man with mirror' Category

Trying out the (Wo)Man With Mirror user’s manual with Laura Hindmarsh in March & April 2016

In the last post, I explained how the time delay of almost 12 months has bought some useful thinking time. Here’s a short narrative of what we did with Laura over the weekends of 19-20 March and 6-7 April, 2016:

In suburban Canberra, Lucas and Louise are working with young artist Laura Hindmarsh who is here to try out using the user’s manual produced in 2009 for the Teaching and Learning Cinema re-enactment (Wo)Man With Mirror. The work takes place in three stages.

The first stage is to amass the resources needed for Laura to make the work which involves buying and painting a mirror, buying film stock, organising Pete Humble, our cinematographer friend to assist with filming Laura’s (Wo)Man With Mirror. There is an earlier blog post about the first meeting with Laura and measuring her up for her mirror.

We then work slowly through how the piece works – the choreography with the mirror is filmed while it takes place outdoors. This film is then projected while the performer repeats the choreography. The mirror is used to map the film to the live performance. The projection is set up to match the live mirror size and position. At  intervals through the performance, the live mirror and the projected mirror map exactly. To understand how this works, we watch video documentation of Guy Sherwin performing Man With Mirror (the piece TLC re-enacted as (Wo)Man With Mirror). We also watch footage of Lucas, Louise, Louise’s mother Valerie and Lucas’ father Owen. By comparing these, we start to see what properties work best in the performance.

We are all very focused in this watching session. Content that we have enough information about the choreography, we then move outdoors to look for the location where the filming should take place. We need some shadow falling on the mirror and we want to capture the hills and bushland we can see in the distance, a Canberra response to Guy’s footage shot on Hampstead Heath. Lucas then talks Laura through the movements.  As Laura goes through the choreography, we video tape it.

We come back the next morning to shoot Laura’s ‘hero’ footage on super 8 mm film. There is some cloud cover and it seems we will not get the desired shadow. The sun emerges just enough and we shoot the film with Lucas calling out the moves to Laura.

We return some weeks later with the film. Our task now is to put the film together with the choreography as a performance. It quickly emerges that the user’s manual instructions for this task tell us little or nothing about the task of super 8 film projection and we must fall back on our experience to achieve this. We refer to the user’s manual barely at all during this process. As it gets on to dusk, we videotape a performance in the location where the film was shot. It is very windy and wild and we are too late—the camera sees only black rather than twilight.

The next day we come together for a debrief. And it emerges that Laura would like to try a 16mm version. Because of other film work Laura and I have been doing, we have the resources on hand. It takes some time to work out the logistics as we will use wind-up 16mm cameras that shoot only 25 seconds at a time. This means Lucas and I must work in tandem – as one person winds, the other shoots and we must synchronise exactly. Lucas will  now be busy winding and shooting his camera so we must record his instructions for Laura. Lucas makes a voice recording on his phone (a podcast) and we test that she can hear this. There is a lot of repressed laughing during this shoot as the experience for  Lucas and Louise frantically winding between shots feels slapstick.
This shoot ends in a flurry to meet other commitments. Laura takes this film back to London with her where she processes it by hand in her Hackney darkroom. She opts to set it aside in favour of the super 8. In late 2016, she performs with this in London with a new ‘voice track’ she produced from video documentation of her footage. Immediately before the screening, she discovered an interesting slippage in timing between her voice track and her footage. This was created by the film projected at 18 frames per second while the video footage of this film was transferred to video at 24 frames per second.

Work starts on ‘using’ the (Wo)Man With Mirror user’s manual

Subtitle: Louise’s PhD uses (Wo)Man With Mirror as a case study for performance-dependent heritage and things that need passing on from person-to-person; why we involved an anthropologist; why this blog post is/is not a record.

At the Urambi Village Community Centre, Saturday 19 March 2016. Left to right: Louise Curham (Teaching and Learning Cinema), Laura Hindmarsh (artist), Peter Humble (cinematographer), Diana Glazebrook (foreground, anthropologist), Lucas Ihlein (Teaching and Learning Cinema).

Louise’s PhD uses (Wo)Man With Mirror as a case study for performance-dependent heritage and things that need passing on from person-to-person

In this picture, Teaching and Learning Cinema and colleagues are gathered in Canberra to work with visiting artist Laura Hindmarsh to ‘use’ Teaching and Learning Cinema’s (Wo)Man With Mirror user’s manual. We will spend the next two days getting to the point where we’ve shot Laura’s film.  A few weekends later, we’ll work with Laura as she puts together a performance using the film.

Today (the day I’m writing) is 5 January 2017 and much time has passed since we did this work. Ever since, my head has been consumed with this work as TLC’s work with (Wo)Man With Mirror is the case study for my PhD (Aug 2014 -). In my research, I’m using (Wo)Man With Mirror to make the case that we expect too much of the archive. The archive alone can’t be expected to keep everything for us in ways we are likely to want in the future­–we also need people to pass things on from one person to the next. Unscaleable, impractical? Perhaps. But possibly also true and that’s what I’m thinking about. Take for example, Man With Mirror (Guy Sherwin, 1976- ) which (Wo)Man With Mirror emerges from: in the archive could be video documentation of Guy’s performances, Guy’s super 8 film (or a 16mm copy as EYE Film Museum in Amsterdam did make), even a super 8 projector for posterity. There could be flyers, reviews, letters and emails between Guy and curators about it (Lucas recently trawled the British Artists Film & Video Study Collection for Man With Mirror, showing us there is some stuff about it but not a huge amount ). How to make sense of all this? For TLC, we found direct ‘tuition’ from Guy incredibly important.

Why am I happy to spend three years (duration of the PhD) thinking about this? I earn my living as an archivist and we archivists find ourselves so often ignored, sidelined–let’s face it, contemporary culture loves ‘the archive’ but the average punter prefers to go around archivists because the quiet, patient, thorough, bottom-line work archivists do to ensure records can be used as evidence doesn’t seem to meet the average punter’s expectations. Evidential properties? What does the average punter care for that? Well if your granddad was a member of the Stolen Generation and there are records about his life in institutional care, you probably care an enormous amount. But let’s take for example the government webpage I consulted last week. It’s different today, but lucky for me Archive.org will do the trick thanks and I don’t need an archivist for that (of course, the archivist in mean retaliates, yes it might be there today but in 20 years? To which the user in me replies I got what I need and I don’t really care how I got it). And what about when the work comes together only in the moment in which I experience it? Man With Mirror is an example of that. Sure, we can watch a performance on YouTube and that gives us some kind of contact with the work but you check it, as alluded to above, it’s quite hard to decode what is actually going on. And those present around the table in the picture above would say the experience of it in the flesh is entirely different.

So here we are in this picture on the morning of Saturday 19 March 2016, exploring body-to-body transmission. And from a PhD research point-of-view, I’m framing this case as a kind of heritage object–one that is performance-dependent. I’m hoping I can shed light on how we think about the archive and I’m hoping I get a better understanding of how I can use my two fields of expertise, which I’m describing as creative use of obsolete media and the archives.

Around the table in the photo, you see Louise, Laura, Lucas, cinematographer/filmmaker/musician Peter Humble and anthropologist Diana Glazebrook. Peter is there to shoot the super 8 for Laura’s film and I commissioned Diana to be here to observe Teaching and Learning Cinema at work. She is taking field notes for a ‘micro’ ethnography.
There is more to the story of Pete’s presence and also to Di’s – Pete’s story comes out in the next blog post, we’ll get back to Di’s soon.

So here’s what we did – we spent Saturday morning talking, orienting ourselves, getting a common understanding. Here’s some transcript around the time of the photo you see, about 40 minutes into our conversation:

Louise: the purposefulness then, you’ve got to be purposeful about carrying it out but it’s then about the mapping of what is purposeful for you. And to me that is the bit that’s different, and maybe it’s not front of mind for everybody …  we’re [Teaching and Learning Cinema] trying to be as procedural as possible [when we work on a re-enactment].
Laura: Because that’s what TLC is and it’s like drawing on your history as an archivist [referring to Louise] and your engagement with like disseminating work in a sort of pedagogical way, opening up practice in an educative way [referring to Lucas]. And then my role, coming in not as a TLC person–we briefly touched on this in Wollongong–just how I often work with other people’s work but as reference point to create a procedure, task, which I then stray away from, or the process takes me away from. The work has some connection back to someone like Yvonne Rainer or Boltanski [Laura has made past works that involve repetitions or iterations of works by these artists] but it’s a very … it’s like the seed’s sown and then I use that as my excuse to make a work, or the subject of my work and it strays quite far from it. So this has the potential to do that, to stray really far from Man With Mirror because my interests in recreating work are different to yours.
Louise: We’re exactly aligned there.
Laura: The starting point, regardless of where it ends up, the starting point is to be taught it as TLC would teach it and then it’s sort of up to me in-
Louise: Yeah, exactly.
Laura: –and I feel like whilst we’re here in March/April, that’s sort of what our aim is. In April I’ll perform the work as TLC intends it but when I come back in November, there’s this potential for it to be my version of it.
Peter: It’s also the nature of the way the work has to come together because there is sort of these two aspects as well. We have to make the work, which is performative in its own right but then there is this whole other aspect where you then take the performance into another performance which is sort of quite unusual.
Lucas: I think it can be multiple things at once. Like you say, the outcomes of this could suit multiple agendas.
Louise: Yeah, well it’s got a whole agenda because we’re actually doing data collection for my PhD right now [laughs] …
Laura: Hence the multiple recording devices, surveillance!
Louise: … but it’s interesting, that thing. I love the purposeful–I find that such a useful word. Because I got really a bit confused by those talks up in Brisbane about [at a 2015 art history conference], kind of how long is a piece of string in terms of what is authentic. You know, authenticity and does it matter and in the end to me, that word, purposefulness is so useful because it kind of then just brings it back to the individual person and their individual context and purposeful means different things in different settings.
Lucas: And I think that’s right. And to connect to what Laura was saying about having to make it your own, we did that as well. Although this sticks fairly closely to the original at least in terms of digging up, codifying and then following the original choreography, the motivation for doing this comes from our own desire rather than a sort of sense of duty or responsibility to someone else’s desire … First things first, what we can discover from being as close as possible?
[STE-000 Sat 19 Mar 2016 Urambi Village community centre, morning 11:20 – 17:00]

And Di’s notes about this same conversation:
Louise talks about purposefulness and procedural basis of this kind of cinema. Trying to be procedural as possible. Laura responds about her role as non-TLC person, how she often works with other’s work [she is responding to Lou, eye contact with Lou mainly]… her interests in recreating other people’s work is different…starting point is as TLC intends but then later potential for it to be Laura’s…Lou says exactly…Lucas nods strongly…
Lou opens her user’s manual in half, reading while Lucas talks about what can be discovered through being ‘as close as possible’.

Why we involved an anthropologist

Why was Di there? As part of my PhD, supervisor Ross Gibson suggested I ‘triangulate’ my data by commissioning an ethnography. Di’s expertise is in West Papuan refugee communities and she is the managing editor of the Asia Pacific Journal of Anthropology at the ANU (lucky Canberrans – all these clever people just around the corner … ) One of the many conferences I attended this year was a symposium organised by the University of Sydney performance studies folks called Scenes of the Real, a most rewarding couple of days for me. This audience included those with backgrounds in anthropology and practices around performance ethnography. They were alarmed that I chose to work with Di who had no expertise in arts anthropology and they found the whole notion of ‘ethnography’ problematic due to the short time frame. However, some of them also loved the ‘wrongness’ of this approach, the ‘just-do-it’-ness. At the time I gave this talk, my point was that we’d commissioned this ethnography, weirdly returning ourselves back from what the body knows to what is empirically observable, I called it reinscribing the archive. Yet at the time Di gave me the notes, I could make little sense of what they contributed.

My initial motivation to involve Di was to help with the problem that I am deeply embedded in the case of (Wo)Man With Mirror. By embedded I mean that I am part of the work of (Wo)Man With Mirror and it is also central to my research. The research lingo calls this being an ‘embedded researcher’ and a downside of that position is that the embedded researcher’s observations can be written-off as too subjective. The research model I’m working with makes a plus of my embeddedness and the fact that this research focuses on my own practice but nonetheless, having ways to say ‘this is actually what happened’ are useful. From a research point-of-view, that’s the purpose in Diana being there.

So now, 10 months later, what do I think Di’s notes contribute? Her notes record our interaction as she observed it, and in what they observe they show up what she thought was significant. For example, she captures body language, at one points she notes my ‘hand on heart’ as I comment on the uncertain future of film stocks and she captures in detail the eating and drinking that goes on. Reflecting on what she captures and what she leaves out, what emerges for me is a scene of hospitality. Now I know this was important to me because I spent some time organising it before that weekend but this is why Di is here, because her external observation captures that, helping to bring more to my PhD data than just my subjective experience.

It’s slowly emerging for me that their contribution is as a written record, filtered through the skills of the discipline of anthropology and through the particular skills and experience of Diana, who came along with no background to Teaching and Learning Cinema. Because of this filter, or lens, they do something that the video and audio recordings don’t do (the media archaeologists of course argue that these recording technologies encode very specific kinds of filters on to what we have come to accept as indexically ‘real’). I will get to a discussion of records and what one is.

Here are her notes from the start of our day:

Louise and Laura arrive at the community centre through the wide flywire doors and Louise introduces Laura. Then Lucas arrives and greets Laura. Lou ferries food while Laura cuts cake and makes coffee. Lucas and I have a conversation about ethnography. Lucas: Anthropology and ethnography are different things. Diana: Cultural anthropologists use an ethnographic method grounded in long-term observation in a field setting…I haven’t used this method in a setting like this and am not sure what insights it might bring. Lou suggests that Lucas and I could put out a table. I carry a 4-seater, Lucas carries a 2-seater. Lucas places them as a block and I re-position the tables to form a rectangle. I set up my laptop at the end of the table furthest from the kitchen. Lou places several A2 user’s manuals on the table. Lou is in kitchen cutting capsicum and cucumber strips and unpacking dips. She explains that the dip is made from excess eggplant. Knock at the side door and Louise goes to the door and opens it and Pete enters with filming gear in hand. He and Louise exchange a long hug then Pete and Lucas hug and Lou introduces Pete to Laura. Pete asks Louise whether she has explained to Laura that he forgot the lomo. Louise: yes. Laura: It’s OK. Pete apologises to Laura. Louise says to Pete that she knew Laura would be ok about not having the lomo to film with. Lou introduces Pete to me. Louise explains to me that Pete phoned her before he boarded the train this morning at 630 to say that he has realised he had forgotten the light. I ask Lou what a lomo is she explains that it is a tank. Pete and Lucas talk about how abundant the Urambi gardens are. Lucas asks who wants coffee and pours coffee for himself and Laura and Lou. Pete and Lucas talk about the facility of the community centre for art work. Pete says he has noticed the piano in the other community room and Lou suggests that he could play. Lou places the film camera onto tripod in the doorway. Conversation about bhaba ghanoush dip and how to make. Laura asks Lou how she made it. Lou positions the tripod and camera at the bottom of the room [so that it is capturing the activity at the table]. The film must be rolling, the buzz is audible. Pete asks Lou where filming will be done. Lou says we haven’t decided that yet [as a collective]. Laura removes a large camera from a bag and places it on the kitchen bench top. Pete walks across and picks it up and says it is very nice. I ask Pete directly what term he used to describe the piece of equipment he forgot to bring. It was lomo or [film developing] tank, he says. Lucas approaches the table where I am working and asks me whether I am observing and writing about what they are doing. I say I am but not sure about the meaningfulness of my observations in this context. Lucas says that as a group they have never worked in this formation before and they are just catching up working out what they are doing.

Why this blog post is/is not a record

So it’s taken me a long time to work out what Di’s notes contribute. This neatly brings me to the time delay in writing this reflection. In the same way I couldn’t understand the significance of Di’s notes when she gave them to me, it’s only now, 10 months later that I’m starting to actually understand what I want to say about art and archives and this business of knowledges of the body. It’s quite simple – I want to say that knowledge of the body is important. Implicit in this is the importance of valuing things we can’t see.

But let me say more about the time lag in this blog post. Wearing my records manager’s hat, the time at which the record is made in relation to the event carries weight. The best records are those that are impartial, produced as a by-product of a process. If there’s no process to produce the record, then making the record as close to the time of the event it documents improves its standing as evidence. For example, if there are bullying problems in a workplace, making a diary note straight after the meeting where bullying was experienced will have far more validity than a diary note made 10 months later. TLC’s blog has worked effectively as a record of our work because, thanks to the era of Lucas’ practice using blogs as artworks, notes (mostly by Lucas) have come quick smart on the heels of practice.
However, for the archivist, digestion time is critical. In the art of appraisal (deciding what becomes archives), contemporary best practice is sentencing (applying retention decisions) on creation ie you have worked out before hand how long different kinds of records need to be kept and you then have a list of record types and durations for how long they should be kept. In government jurisdictions, this is a key task that government archives carry out–helping government agencies come up with these documents about retention decisions.
So the key here is that you have a good holistic picture of what’s going on in the agency so you can make some reasonable decisions about what should be kept and how long for. There are some key principles to this: community expectation (some of my archivist colleagues call this The Canberra Times test, ie if this record is chucked, will it be on the front page), evidential and legal requirements, and what the organisation actually needs to do its business.
So as a record, this blog post is way too late. However, here’s the art historical slant–performance studies has an important discussion about whether performance remains or disappears. The timeline for this goes like this. 1993: performance studies scholar Peggy Phelan wrote a book exploring what goes ‘unmarked’ in visual culture, mulling over the value of things that can’t be seen. She asserted that it’s in the nature of performance that it disappears. 1997: art historian-focused-on-performance art, Amelia Jones, pointed out the reality that documentation of performance does not disappear and can be used by people like Jones to talk about performance works made, as she describes, when she was a child (or in the case of Laura, before she was born). This performance studies discussion continues–Rebecca Schneider’s idea about performance as record is one I am still really making sense of … Lucas and I did use her idea to talk about re-enactment as a kind of mini-ritual.
Right, let’s get to the point. It’s this.
Jones makes obvious that documentation does let us access work from the past. And I have spent the past three days going through our documentation of the work with Laura so that’s my claim that this blog post has some validity as record.

Laura Hindmarsh and Man/(Wo)Man With Mirror

Last week Laura and I got together for our inaugural chat about using the user’s manual for (Wo)Man With Mirror. Laura’s participation has been a long time coming, started in 2014 with an unsuccessful TLC grant application. That project proposed putting the user’s manual to work with a group of artists in different cities and regions. As preparation for this current work with Laura has unfolded, that idea with multiple artists and locations was ambitious! The work for one artist alone is ample!

So what’s the plan for this work with Laura? Below is the logistics email sent out this week, some changes of course.

So to get back to Laura and I getting together last Tues … our purpose was to measure her up for a mirror, to fill her in about my PhD which hovers unsubtlely behind her using the user’s manual (her re-enacting our re-enactment is excellent data for my tending the archive project) and for me to learn more about what she’s up to on her PhotoAccess residency.

I discovered a lot in our hour. Critically, Laura is considerably smaller than I am – her wing span measures 142 cm.

Measuring Laura 02

Fortunately I had a small spare mirror made for my mum in c. 2010. On Wednesday, I took this to the glass shop in Tuggeranong and got it cut down. It looks tiny but seeing it in Laura’s grip today, we think it’s right.

To return to Tuesday’s get together, I understood better how repetition and its slippage are themes in her work so I see why she is intrigued by using the User’s Manual. Anyway, after about an hour, we reigned in our conversation, agreeing to hold off on the musings until we are underway with the whole contingent (Lucas, Diana the anthropologist and a little later, Peter the cinematographer). At this point I tasked Laura not to prepare, thinking that Lucas and I would effectively ‘teach’ Laura the piece. We discussed our thoughts that there was little point in us all being together if she (Laura) was just to work from the user’s manual – she could do this on her own in London. We wound up our chat in favour of food and Austin Buckett in concert.

Louise and Laura consult the user’s manual in Laura’s studio at Gorman House.

Consulting user's manual

Of course since our meeting, life has intervened and we will have a slightly tighter schedule than originally planned. So yesterday I called Laura and asked her to take the reigns and get herself prepared enough to be ready to film on Sat (20 March). She sounded quite relieved on the phone to have the opportunity to study Guy’s version and look closely at what we have online. I took her mirror over to her this morning. It was very wet which put me off adding a fresh coat of white to the back – Laura has enthusiastically taken care of this.

So now it looks like Laura will work predominantly from the user’s manual. I’m imagining the role for Lucas and I becomes one of ‘coach’ or just the pragmatic passing on of information, as Guy did with us. What we have done so far is to set up the infrastructure for the work (maybe hospitality is a better word) – the mirror, the stock, the camera and cinematographer (our friend Pete Humble) and I suppose a conducive environment by us all making the effort to come together – quite major as Laura had to re-book her ticket, Lucas and Pete are travelling from interstate, there is a coterie of child minding arrangements behind freeing up three adults this weekend.

Some other notes from Laura and Louise meeting 10 March

Laura’s PhotoAccess work so far includes beautifully processed Tri-x in pos – greatly exciting for me and my super 8 enthusiasms (Tri-x is the standard Kodak B&W positive product offering which I cross-process to neg). She talked me through her contact printing experiments, involving swinging a large format enlarger onto the floor onto 16mm strips laid out down there. You get the gist, physical film adventures par excellence …

And my PhD, well that’s about things that are prone to disappearance and how keeping them alive calls for a kind of ‘tending’. It uses TLC works as case studies. Tending applied to this setting came up in work Lucas and I did on our Performance Matters article on Horror Film 1. My recent angles of inquiry have been into Indigenous knowledge management and ecosystems post climate change – novel ecosystems and the end of pristine wilderness and all that. Behind this lies my hunch that keeping stuff is a chancy business at best and there’s some adaptation in our thinking away from the binary of access and preservation that can help us through this and it’s a lot to do with linking knowledge to its source and keeping that connection alive. This work of Laura’s will hopefully contribute to my dataset as will Diana’s study of us at work.

Here’s the email about logistics from earlier this week:

On Tue, Mar 15, 2016 at 9:29 PM, L Curham <lcurham@gmail.com> wrote:

Hi all

Just confirming we’re all go this weekend. Please chime in if I’ve overlooked something.

I’ve organised the Urambi community centre as our work space. I used it on Monday for another project and it is just fantastic for this kind of work … great having the kitchen and plenty of room, extra tables etc. We had a fabulous sit-down pizza lunch on Monday. I’ll make you one on Sat.

So here’s a 25 words or less on what we’re up to:

Our task this weekend is to shoot Laura’s footage using the User’s Manual as our guide. In the first week of April, Lucas, Laura and I will then get together to work on the performance side of things.

Here’s a schedule:

1-7 March – Laura and Louise get together briefly. Laura receives (Wo)Man With Mirror users’ manual. Louise measures Laura’s ‘wingspan’ and organises mirror.
Fri 18 March – Lucas arrives, intro afternoon, dinner together
Sat 19 March – studio day, drive around location options, rehearse ‘choreography’
Sun 20 March – Pete Humble joins us as cameraman. We shoot Laura’s footage.
Weather contingency – if forecast is terrible, we may have to be ready to shoot on Sat. Current forecast is mostly sunny Sat and Sun, tops of 22 and 23 degrees, 20% chance of rain on Sunday. I’d say we’ll be fine to plan to shoot on Sunday.

Over this Fri, Sat, Sun ethnographer Diana Glazebrook also joins us intermittently to do a small ‘ethnography’ of our work. Di is a good friend of mine and an anthropologist who specialises in displaced people in Papua. She is intrigued to make a study of us at work.

Mon 21 Mar – film goes off to Nanolab, returns later that week.
Fri 25 Mar – LC reviews footage (with Laura if you want to do that)
Tues 5 April – Wed 6 April – studio days. Task is to put the work together with projectors and the film.
Cover days if needed: Mon 4 April – if first lot of film is NG (no good), we need this day to re-shoot. Soonest we could get footage back would be Thurs 7 April, so studio days are then Thurs 7 April and Fri 8 April.

And here’s an equipment list
S8 camera – Pete is bringing
Manfrotto stills tripod – LC
Super 8 colour pos – LC (have 3+ rolls)
Mirror – I have ordered as Laura’s wingspan smaller than the mirrors I have
Projectors, tripods, film, mirrors of TLC version LC (if needed).
Documentation devices – LC
Laura’s DSLR
Lucas’s zoom

Best, LC

Horror Film 1 – Re-enactment in Progress at CCAS, Canberra

oliver thomas practicing horror film1
Oliver Thomas practicing Horror Film 1 at CCAS

Between 23-28 June, the Teaching and Learning Cinema (Louise Curham and Lucas Ihlein) is in residence at Canberra Contemporary Artspace.

We’re continuing on with the research we began last year in the UK, towards a re-enactment of Malcolm Le Grice’s Horror Film 1 (1971).

We’re not sure how far along we’ll get this week, but on Saturday June 28, at 3pm, we’ll be presenting a work-in-progress showing of this piece.

There’ll be cups of tea, and discussion about re-enactment of performance and expanded cinema, and the particular projects we’ve done in this area.

It’s free and all are welcome. The gallery is nicely heated, thank goodness.

As a bonus, we’ve got all our Super 8 gear with us, so we’ll be presenting a performance of (Wo)man with Mirror – our re-enactment of Guy Sherwin’s Man with Mirror (1976-now), and we’ll have some of our (Wo)man with Mirror Users Manuals to hand out too.

Here’s the event on Facebook, in case you lean that way.

Hollow in the Paper

hollow in the paper invitation

Teaching and Learning Cinema is contributing to this exhibition in Hobart.

At the invitation of curator Bec Stevens, we’ve sent an installation based on our work with the project (Wo)man with Mirror (2009-) – our re-enactment of Guy Sherwin’s Man with Mirror (1976-).

We’ve enjoyed our discussions with Bec, in the lead up to this show. We’d not thought about this work in relation to the idea of the ‘infra-slim’ before, even though it has strong resonance with what we’re doing.

Here’s more info about the show, which will be at CAST, Hobart, from 13 July-18 August 2013.

– – –

Hollow in the Paper* was initiated through readings of two intertwined notions proposed separately by Duchamp. The initial text included the succinct idea of a transformer to utilise slight, wasted energies – with these mostly bodily energies being, for example, “sneezes and sighs” or “the movements of fear, astonishment, boredom and anger”.

And the second notion being the infra-slim, infra-thin or infra-mince. A term chosen for its “human, affective connotations….not an exact laboratory measure”. A somewhat slippery and elusive term which amongst many manifestations is suggested as a “conductor’ that eases the natural and infinite passage from one dimension to another”.

At a similar point in history, when these ideas were conceived, Wilhelm Reich’s Orgone Institute was investigating Orgone energy as an anti-entropic, cumulative and omnipresent force, exploring an alternative idea of how we perceive and direct energy. Georges Bataille also published The Accursed Share, where his theory of a general economy gave particular emphasis on understanding the portion of excess energy that is inherent within any system of production and exchange.

The works within this exhibition reflect on the process of becoming: on transductions of states of energy; and of processes of perception and ‘flexible subjectivities’. Amanda Davies, Fiona Lee and Maria Kunda, David Haines and Joyce Hinterding, Pat Brassington and the Teaching and Learning Cinema, present paintings, prints, performance, Orgone altering devices, and heightened states of consciousness as a means of exploring various states of the infra-slim.

* “The hollow in the paper between the front and the back of a thin sheet of paper….To be studied!…” appears in Duchamp’s descriptions of the infra-slim

(Wo)man with Mirror at Apiary Studios

Lucas Ihlein media release-1

Here’s the same flyer as a pdf.

BOOKINGS HERE.

Artists’ Salon: Moving Image 1 at Critical Path, Sydney

louise and lucas with woman with mirror users manual

Part of Critical Path’s Artists’ Salon series, Moving Image 1 looks at experiments with movement within interdisciplinary practice and is curated by Narelle Benjamin and Sue Healey.

It will feature a discussion with and studio presentations of work by artists Sam James (From the Rainforest Mind to the Desert Mind) and Louise Curham and Lucas Ihlein ((Wo)man with Mirror).

Saturday 11 May, studio open from 3pm onwards with 4pm event start.

Free event, but please RSVP here.

More details:

CRITICAL PATH PRESENTS
ARTISTS’ SALON: MOVING IMAGE 1
installation works by Sam James, Louise Curham and Lucas Ihlein
SATURDAY 11 MAY 2013
4.00 – 6.00 pm
at THE DRILL
1c New Beach Road
Darling Point (Rushcutters Bay)
The Drill Hall will be open from 3.00 pm for viewing of Sam James’ installation.
Free public event
Continue reading ‘Artists’ Salon: Moving Image 1 at Critical Path, Sydney’

Xavier Garcia Bardon’s essay on “Man with Mirror”

xavier garcia bardon essay clip

Xavier Garcia Bardon, a film curator from Brussels, has written a book chapter all about Guy Sherwin’s Man with Mirror.

Excitingly (for us), his essay also includes a consideration of Louise Curham and Lucas Ihlein (Teaching and Learning Cinema)’s re-enactment/extension of Sherwin’s piece, entitled(Wo)Man with Mirror, which was first performed in 2009.

Xavier’s chapter is in the following book:

Philippe DUBOIS, Frédéric MONVOISIN, Elena BISERNA (ed.), Extended Cinema. Le cinéma gagne du terrain, Campanotto Editore, Pasian di Prato, 2010. ISBN: 88-456-1171-1

With Xavier’s permission, we’ve posted a link to the pdf of his chapter here.

It’s in French. If anyone can do a translation for us, we’d be eternally grateful.

workshop 27 April 2009 – Louise’s notes

TLC workshop Monday 27 April 2009 – Working towards a re-creation of Guy Sherwin’s Man with Mirror.

Chronology

10.35 am Lucas collects Louise from Central.
10.45 am arrive Petersham.

Discussed contribution of new iteration given Guy is still performing this work – discussed the value of ‘slips’ in our iteration, and the significance of transmission of the work to a new generation, both contributions we hope we are making.

There was lengthy discussion about integrity in re-enactment, informing audiences where work knowingly departs from the form and/or intention of the original. Also a long discussion about William Raban’s Diagonal, recently shown in Canberra by our Brisbane colleagues who brought Guy out last year, Otherfilm. Noteworthy that this film was made as a single film that runs concurrently through 3 projectors, ie one film, laced to run through 3 projectors one after the other.

Reviewed Lynn’s YouTube documentation of a London performance of Guy’s along with our ‘gash’ telecine (ie very rough video tape of projected film) of Guy’s 1976 super 8 that we made in Brisbane last Aug. We checked out the timings of the three cycles and the position of the roll changes. We double checked our understanding of how the actions unfold. We studied the actions that occur around the roll changes.

12.30 pm
We loaded the camera, measured focus, set tripod, set sun/shade/dapple position on the mirror, set the framing. We selected to wear singlets as the tension in Guy’s body in performing with the mirror is noteworthy. For me, I pondered the implications of the pregnant body by June when this work is shown.

1pm ate minestrone with rocket salad from Petersham garden

Framed up Lucas so we might detect a neighbour in the background. Discussion of where Louise would be visible when the mirror side faced out.

Discussion of the role of the second person turning the camera on and off – not sure if Guy had a helper, we think we detect a second person in the 1976 footage.

We checked the duration of an S8 reel at 18FPS. We enlisted a timer to help with the choreography – a word I really understand now as the placement of action in time.

We filmed Lucas, a most exciting development. Questions about whether the sun moved too far during the 9 mins as by the end the dapple was quite subtle and his face may be darker than we’d like. The dapple of the clothes line and the mulberry leaves was very beautiful and such a sharp autumnal Sydney day.

c. 2 pm
After filming Lucas, we went up to the glazier to get my mirror cut down. We had a long chat with the glazier, who explained the difference between a glazier and a glass cutter, separate trades in the UK but rolled up here in Australia.

We then filmed me. By the third roll I found the mirror very heavy – felt like I had no real control over it, mostly desperation at the weight and lack of inspiration as to what to discover with it given the battle to hold it.

4 pm
We concluded with discussions about staging the work.
– immovable requirement seems to be clear floor space
– discussed possibility of four performance pairs – Louise, mother of Louise, Lucas, father of Lucas
– requirement to carry through commitment to construction of this performance as the work we are exhibiting.

5.18 train Petersham to Central

16 Feb correspondence

drawing 16 Feb 2009 illustration of 'framed' mirror