Pecha Kucha

TRG

Cat Black

• Bringing live ‘activity’ based artwork into the TRG. Having the artwork progress over the period of the show. Using muralists/ performance painters/illustrationists to produce artwork manifested from a social and politically driven agenda

• Bringing voyeurism to the stage, observation and actions of others as the creative crux of the show whilst being within the traditional concepts from what street and activist based art derives – social and political charged conditions.

• Create a show were the audience’s attendance and gaze is part of the artwork.

• “Live Art is not a singular form of art but an umbrella term for intrinsically live practices that are rooted in a diversity of disciplines and discourses involving the body, space and time. “http://www.thisisliveart.co.uk/projects/live_culture/lada.html

I’m new to ‘performance’art

• I’m new to reading and ‘enjoying’ performance art, maybe that’s the wrong term! Maybe it’s the umbrella that performance art as being under that I am new to.

• Let me say: Live Art

• Activist/Intervention/Live art can incorporate such groups as the Publixtheatre Caravan that creates critical performances in public spaces.

• The Guerilla Girls• Fitzrovia Nior – intervent--ion art trail

The too much fun club

• The TMFC: A collective of illustrators and artists. Best known for murals and installations created at live at festivals and club nights.

The too much fun club + guests

• POW WOW HAWAII

• The travelling show Pow Wow: For three days the public was invited to view international and local artists live painting at Fresh Cafe’s Loft In Space. The fourth and last day was like a gallery opening party.

Pow Wow Edinburgh?

Expanding my views on Public Art

• By Public, what am I referring too; well I am trying to expand my ideas about public art and its incorporation of activity ...

• I’m personally questioning what I define as traditionally Public Art

• What does it mean to bring ‘traditional’ audience/location based public art into the gallery space?

Would it be a success?!

• Maybe, Maybe not!• Still questioning the transition of traditional

social and political street/public and performance art in the gallery, but does it lose its impact, meaning, purpose? I’m not sure – does it become contrite, meaningless, a spectacle for the sake of a spectacle!!!! Maybe!

Outside the TRG

• Extend to other venues/Events • Document the progression of the work and exhibit photography and film with recordings/interviews as additions to the show as it goes on.

Herakut Mural Time Lapse (could be used as part of documentation)

Use process and method as the output for the show

Problem – constant involvement in production and instilment of documentation in TRG

What I am not saying:

• I am not saying we should create a show, heavily bent on using the audience as puppets, where audience members feel the urge to hide behind others, avoid the gaze and look away or just leave, just so they are not ‘picked’!

• A safe distance, the audience is required in a physical sense, but not in a participatory manner.

In short:

• A mixed bag of Live Art as a reaction to a social-political brief

• Viewing the creative process as the exhibition• Screenings/films/interviews/photography as

documents of the activities that are added throughout the show

• To program the process and events around its milestones.

• References: • Activism/constructs of art as a comment on

society: .i.e. style wars• The Critical Art Ensemble• The Urban Aesthetic• activity of the artist and the activity of the

spectator. Bernard Gortais