Start working towards producing work/ an outcome for the Hazlitt Theatre exhibition

I shall be producing work relating to the project I am working on at the moment, so the work I produce could consist of sculptural objects in which a spotlight is upon them in a vitrine/ shelf like space and/or a film that is part of the showreel in the cinema area of the theatre. It shall not be technically demanding so there should not be any difficulties as such, the deadline for the show or rather when the show takes place is 13-15th May 2010.

Letter

Letter written to the owner of the Little Wenham Hall, indicating my desire to visit.

Rough Edit of Film/Video

This Video piece the original is approximately 3 minutes long, this is a short segment to give the general idea of the work. As the focus in the piece, I have taken the place of the computerised voice of the Sat Nav system adding a human element to the instructions to reach the place of Wenham in Suffolk. This was filmed rough to give a general idea within the reading of the instructions it is noticable I have a cold, again reinforcing the idea of a human element. I have to ensure I don't get too self-concious about certain work. The Video itself was shot using a mini dv camcorder, the light is too severe in the background and the family/domestic setting off the piece suits the nature of the piece. The sound quality is something that would also need to be addressed. Do I reshot and possibly lose some of the charm of the original or to I try to work with what I have? I have a leaning to the latter suggestion and will work on the audio and quality of the piece.

Also looking into how I start/end a film piece and look into editing in more detail.

Little Wenham Hall / Castellated Hall

Working on new project ideas

The Polaroid is a good tool of documentation, reducing this product to a digital media adds a layered aspect to the images. I felt it was important for me to return to the idea of the map as the initial place I discovered the places associated with my surname and therefore made me determined to associate myself with this place in a completely arbitrary way. It almost becomes unimportant the fact the second photograph in unfocused and the exact the location appears to be almost hidden, a fact that it is up to myself to establish something about/in the town rather then mere documentation.

I had felt up to this point that I had allowed myself to become overwhelmed with the numerous possiblities of what could do within this project; it isn't a fact or to the best of my knowledge any members of my family came from this area but perhaps this is where my surname originated? A person's surname is indicative to their own identity and gives a sense of belonging to something outside of themselves, without this sounding too contrived.

It is now about moving forwards and creating a respectable body of work. A mass production of work then look at how they relate, the core of this project is in respects a 'joke', a self referential one and it is important to acknowledge and let it feed into my work rather then take myself too seriously.

Ideas:

- Work with an architect to redesign town

- Engage with town / embed myself there

- Let Wenham reshape me, stay there emerse myself there (Join Women's Institute ?)

- Imagining of the place without actually going there

- Tours of the place (gathered information from secondary sources 'Fake' Tours)

- Tours relating to the history of the place (Pyschogeography)

- Audio Tours (Janet Cardiff)

- What does it mean to travel the 2 hours to have the same conversation with the same person (i.e local butcher/baker/paperboy etc) on the same day each week to make them think you are local?

- Robert Smithson ' Spiral Jetty' and one artists re-discovering of Spiral Jetty

Wenham Map

This map indicates the location of Little Wenham / Greater Wenham, etc in Suffolk, England

Research for New Project

Godfrey, Tony (1998) 'Conceptual Art'

Bruce Nauman 'Walking in an Exaggerated Manner'

Research into MA Project

Looking at the relationship between artist and location.

Sol LeWitt:

Keith Arnatt:

Research into Project Proposal

Bourriaud, Nicolas (2002) 'Relational Aesthetics' France:Les Presses du reel.

Questions asked:

"How are these apparently elusive works to be decoded, be they process-related or behavioural by ceasing to take shelter behind the sixties art history." (pg.7 introduction)

Artists:

"Vanessa Beecroft dresses some twenty women in the same way, complete with a red wig, and the visitor merely gets a glimpse of them through the doorway." (pg.8)

Is it sculpture? Is it installation? A performance? Social Activism? (questions asked in relation to Rirkrit Tiravanija's work produced for Aperto 93.

Fluxus : described as intermedia

How to occupy a gallery?

"relational" artists

Issues outlined in 'performance works'

Felix Gonzalez-Torres 'Untitled (Blue Mirror)' Endless posters that can be taken away by the visiting public.

Research into Project Proposal

Editor Ferguson,Russell (1998) 'Out of Actions: between performance and the object, 1949-1979'

Great Britain :Thames and Hudson

Paul Schimmel ' Leap into the Void: Performance and the Object'

"Actions performed with the goal of producing objects gave rise to the execution of performative actions whose primary goal was the process of creation rather then the production of objects, which gave rise to the creation of performances that often involved audience participation."

(pg.17)

(Spatial concepts)

Research into Project Proposal

Edited by. Donna De Salvo (2005) 'Open Systems: Rethinking Art c.1970' London:Tate Publishing

"...there is something especially intriguing about the late 1960s and early 1970s. Perhaps the impulse to revisit this period is one of nostalgia for its artistic innovations and redefinition of the art object." (De Salvo 2005:11)

"Building upon the structures and systems of Fluxus, Neo-concretism, Minimalism and Conceptualism, all of the artists included here are linked by their use of a generative or repetitive system as a way of redefining the work of art, the self and the nature of representation,"

(De Salvo 2005:11)

(Period of opening up the object to the world)

Artists:

- Sol LeWitt 'Buried Cube'

"Were LeWitt's concerns close to Smithson's own exploration of 'site' and 'non-site'? Maybe we should see the work as a performance, as the act of burial itself, in which case it is not its location that counts so much as its duration." (pg.28)

Joseph Kosuth : Chair works "But a piece of text is still an image" (Boris Groys, pg.56)

"Art documentation is by definition not art. It merely refers to art..." (Groys, pg.56)

-John Baldessari 'Trying to Photograph a Ball so it that it is in the centre of the Picture'

-Richard Long ' A Line made by Walking'

-Martha Rosler

Essay tutorial | Structuring

Relating to the work I am producing at the moment;

1) Layers, trace of film / film as object / tangible quality of analogue over digital

2) Analogue to Digital, etc (The 'Real' / Lossless quality)

3) Evidence of others in the film, original filmmakers?

4) Different technologies used to view films

Interested in the making, the process. The immediate experience created by film. Looking at artists' practice or a particular art piece. Having a dialogue with a theorist.

Baudrillard? - The 'simulcra' and 'hyperreal'??

I would like to introduce the work of Stan Brakhage whose work relates to the surface of the film itself, etc.

Research:

- Powerhub filmmakers (Guy Sherwin, etc)

- Rosalind Krauss 'A voyage on the sea...post-media condition'

- Nicky Hamlyn 'Film Art Phenomena'

- Malcolm Le Grice

'One Take' Project

These stills are from the super 8 projection of the re-filmed segments of 'Miss World' and Ballet dancing.

Miss World Pageant 16th November1967 :- Madeleine Hartog Bell (Peru)

Stills from 'One Take' Project

Manifesto 'How to Recognise when you are turning into Sophie Calle'

Tutorial 25th Nov 2009 notes regarding Project Proposal

Opening up questions, what technically do I want to explore, what thematics?

I usually refer to my work in regards to it being a performance, although not being in the overt sense, rather relating this term in relations to the process in which I work. Using the camera as a tool of documentation and this often being the document of the performance itself.

This opens up a dialogue of what is considered to be performance? What is the 'Role' of the performer?

What processes are gone through in the performance? Does it need an audience to make it a viable piece of work? Can the processes themselves be the work rather then the intentioned outcome?

(e.g Film yourself editing the film)

The filtering out of information and deciding what is seen.

Am I a performer? A question to be asked, more in a sense of opening up a dialogue rather then encouraging this question to be answered and then dismissed. The audience would have to deal with this question.

Process as performance? | Structures?

Whats important?

(e.g The objects might not be there anymore just the script./ series of photographs documenting set up. etc)

Setting up a framework, someone else has contact with.

Wheres the audience? Who is the audience?

When is the word performance used correctly? What distinguishes performance?

Research:

- Actor Network Theory

- 'Out of Actions' Book on Performance Art

- 'Seriality' Mel Bochner (Setting up systems)

- Lars Von Trier (Dogme 95)

There of course would have to be a relevant reason to use super 8 rather then just the appeal of how it looks? I wish to experiment with this medium I would not consider myself to be a filmmaker and to use an old technology is something that appeals to me, I have looked at the work of Stan Brakhage previously.

There is a vibrancy in the colours within these films and the projector itself becomes integral to the work with the noise as light is projected through the frames. I have also written about the still and moving image in relation to Laura Mulveys text 'Death 24x a second'

'One Take' Project 3 (Nicky Hamlyn)

This is a film project, I want to use the film to encapsulate something the photograph may perhaps lose within the decisive moment.

I am intrigued by using film as documentation, exploring my surroundings and looking to the film as a trace of something, an imprint. Can this be the same within the digital medium of film or is there a lossless quality with the use of this technology opposed to analogue and the use of mediums such as 8mm or 16mm?