Body Acts and Documents

ruth

 

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Ruth Myers
Body Acts and Documents

Screen Shot 2016-07-28 at 11.08.00 AM
Ruth Myers Floorpress (performance) 2016

21/7/2016

12pm

Floorpress
Attach to the bottom of things
The act of fixing

WB Building,
63 Wellesley Street East
Te Ara Poutama,
Auckland University of Technology
Auckland

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Body acts and documents draws on personal content, historical filmic body performance and feminist video art practice with a specific emphasis on training and particularising the body through repeated tasks and acts.  Disciplinary and performative positioning of body is explored through documents and performance exploring personal endeavour as a model for not denying disciplinary frameworks, but exerting pressure on them. Working across home and institutional contexts as performative scenes, and utilising technological ‘double acts’, the work explores this mode of production proposing and provoking a ‘sensing of the subject’.
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Two Critiques Next Week…

On Thursday 23rd June 2016 we have two Critiques lined up:

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Julia Holderness i
12 PM to 12:30 PM
ST Paul St. Gallery 3

 

John Vea
12:45 PM to 1:15 PM ii
outside Work and Income,
450 Queen Street,
Auckland, 1010

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i Footnotes from Gallery 91
From a thesis on Barbara Brooke by Petrena Fishburn

Installation workshop and critique

 

ii we have provided 15 Minutes to get down to Johns Critique from AUT

Critiques: 16/06/16

On Thursday 16th June 2016 we have three Critiques lined up:

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Ruth Myers: 12 PM to 12:30 PM – Test space

Olivia Webb and Chris Braddock:  12:30 PM to 1 PM – Test space

Lance Pearce:  1 PM to 1:30 PM – Level 4 foyer

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A bit about Ruth Myers…

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Body Acts and Documents, Ruth Myers

Tuesday 14 June- Wednesday 15 June, various sites

Thursday 16 June 10-10.30, Test Space                                                       

 This project explores body acts and their documents as performative scenes which emerge through and are conditioned by disciplinary frameworks and performative mechanisms. Specific training tasks drawing on home and personal contexts, and technological mediation explore expanding or exerting pressure on this ‘scene’ to think relations differently.

Critique: Olivia Webb

Olivia Webb Choir Of The Self 2016

 Critique Olivia Webb

May 19, 2016, 11am

Audio Foundation

3 Poynton Terrace

Auckland

For this exhibition OLIVIA invites listeners/viewers to interact with the some of the artworks, so please feel free and encouraged sound your own voice!

The Choir of the Self is the latest iteration of the on-going sound and performance series, Scale. This new work builds upon the preceding iteration of the series which explored WEBB’s experience of the congregation at St Patrick’s Catholic Cathedral in Auckland, taking form as a multi-channel sound installation.1 In this busy central city church, people from different cultural groups negotiate their culture and their individual musical traditions and histories through a Catholic, Western music framework. WEBB studied examples of musical scales from four different music traditions present in the congregation: the Indian Bhairavi Rāga; the Indonesian Pelog Gamelan scale; the Chinese Qing Shang hexatonic scale; and the Korean p’yŏngjo pentatonic scale. She made recordings of herself singing these scales and a Western C-Major scale which play through individual speakers as a multi-channel sound installation. The scales are coupled with a Gregorian chant sequence Veni Sancte Spiritus (Come Holy Spirit) transposed into the four non-Western musical scale systems represented in each speaker. The result is a homophonic rendition of a traditionally monophonic chant; a chance based composition that includes many tight tone clusters and non-traditional harmonies.

This new exhibition brings to the forefront a polyphony of experiences – transposed, transcribed and performed as new works for the sung voice. Through this on-going exploration the sung voice is heard to express meaning beyond spoken communication; thus revealing the complexity of the everyday negotiation of our ‘self’ in space.

As an ongoing project, Scale considers an experience familiar to us all: the negotiation of the ‘self’ in social space. In his book, A Voice and Nothing More, Mladen Dolar describes this ubiquitous use of the voice in everyday communication, stating:

“We use our voices, and we listen to voices, at every moment; all our social life is mediated by the voice…. We constantly inhabit the universe of voices, we are continuously bombarded by voices…. There are the voices of other people, the voices of music, the voices of media, our own voice intermingled with the lot. All those voices are shouting, whispering, crying, caressing, threatening, imploring, seducing, commanding, pleading, praying, hypnotizing, confessing, terrorizing, declaring . . .– we can immediately see a difficulty into which any treatment of the voice runs: namely, that the vocabulary is inadequate. …[S]inging takes the distraction of the voice seriously, and turns the tables on the signifier; it reverses the hierarchy – let the voice take the upper hand, let the voice be the bearer of what cannot be expressed with words.”2

NB: This exhibition aligns with the latest release of the Writing Around Sound journal3, produced by the CSSA. This May 2016 issue includes a short essay by OLIVIA WEBB about the themes in this exhibition.

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  1.  For more info on Scale please see: http://auricle.org.nz/scale-by-olivia-webb/Scalehttp://www.tetuhi.org.nz/exhibitions/exhibitiondetails.php?id=170
    http://eyecontactsite.com/2016/01/gregorian-chant-as-geographic-sandwich
  2.  Dolar, M. (2006). A Voice and Nothing More. pp. 13-30. United States of America: MIT Press Books.
  3. See: http://auricle.org.nz/writing-around-sound/

 

OLIVIA WEBB lives in Wellington, New Zealand where she teaches singing and is studying toward her PhD. She has performed and exhibited internationally as an artist and vocalist, and enjoys singing early polyphonic music with her local choir each week.

Her sound oriented art practice draws on experiences had as a classical choral singer, utilising performance and multi-channel sound installation to explore our experience of space; both architectural and social. Her focus centres on the human voice, particularly through a cappella song, as a way of revealing and ushering forth silent traditions and experiences embodied in space and place.

The Choir of the Self
Opens Thursday 5 May, 5.30pm, with refreshments provided by Liberty Brewing!
Gallery open 12 – 4pm, Tuesday – Saturday.
Closes Saturday 28 June 4.00pm.

text sourced from http://www.audiofoundation.org.nz/programmes/exhibitions/olivia-webb-the-choir-of-the-self

https://www.facebook.com/events/698092343664523/

Critique: Ruth Myers + Lucy Meyle

ruth myers

 

floorpress, Karetai Rd, 2016

Studio Critique R. Myers

April 14, 2016, 10am

Test Space

WM201C

being made, performing disciplining bodies explores encountering the performative and disciplinary body as shared performance. Key ideas of the disciplinary body (Foucault) and performativity of body acts (Butler) are examined through spatial and temporal positioning and encountering of body in early film, 60’s and 70’s feminist video art practice and contemporary art where body is trained, restrained, limited, realigned and re-configured. From these framings, practice considers the notion the personal is political, and explores through sculptural, technological and performance encounters, ‘performative scenes’, in this case floor, table, and doorway, as social sites, structures and movements in which body acts, exert, request and reveal, and require and implicit audience in contingent, relational and political performances of ‘being made’.

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Paw Paws, Lucy Meyle, 2016

Studio Critique Lucy Meyle

April 14, 2016, 11am

RM, Gallery and Projects

3 Samoa House Lane

Newton

Auckland

(NB. Entrance off Beresford St)

Serving Suggestions: 

Auckland-based artist Lucy Meyle makes sculptures and drawings proposing humourous perspectives on everyday things.

Using materials like masking tape, orange peel, PE foam, and sunlight, the exhibition works to uncover the possibilities of the intersection of care and humour.  Why are certain degrees of care considered silly, and why are other types considered appropriate responses? Through shifts in scale and alternative uses of objects, the sculptures and drawings in Serving Suggestions investigate roles of humour and care in art and society.

Serving Suggestions will run until Saturday 22 April 2016

 

Lance Pearce Critique 31/03/16

CANCELLED

Anthony Crib final PHD submission

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Join us for a critique of Anthony Cribb’s final PHD submission in St Paul st Gallery 3 on 26th march at 1pm.

This event will be followed by a public viewing of the work

Studio Critique: Alex Plumb 09/10/2014

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Studio Critique: Elliot Collins

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Elliot Collins’ Critique today at 1pm

Studio Critique: Suzi Gorodi

Suzie Gorodi’s three channel video installation

Suzie Gorodi’s three channel video installation

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