I am satisfied by:( the perhaps unintentionally expressed ) the activity which was re-presenting in a very plastic and literal way, the title of the piece.
close up image of the hammer, zoom out of camera and set up of frame,
" am I at the boundary?"
"where is the boundary? can you still see me here? here? no thats too far? ok."
the figures of two people having a conversation (inaudible), which seemed very focussed on a plan of attack...communicating the rules to each other, establishing an understanding of expectations, desires to be realized, explored...
and then,
dissappearing,
and then
slowly and deliciously the hammer appears, and so does its lack of master!
I am satisfied by: the go for it attitude that the whole thing is standing for, your generosity of spirit, and inquisitiveness.
I am satisfied by: the flame of desire dance, the being mad ( both meanings) and happy at the same time dance and the performers explaining, breathlessly what they were doing, and finishing their work.
I laughed a lot and enjoyed this gift of a chance to look in on an intimate work in progress.
I am disturbed by: a lack of concentration on knowing (yet) the kind of eye which is seeing into the research of the piece and the kind of eye that is looking forward to performing something.
I asked this in our first skype meeting,
are you interested in parody?
are you interested in actually attempting to totally reproduce a gesture a short sequence? why?
are you wanting to show different approaches to re-covering a lost work?
are you interested in just playing around with what notions the title brings forth?
are you interested in just playing around with what notions the rumored theme of "Masturbation and the inability to control sex" brings forth?
its a rich situation very very layered, so i find it really important to focus in carefully.
i ask the basic disturbing questions:
if the viewer knows nothing of the research of the piece, nothing of its title or supposed theme, nothing of romanian dance, nothing of dance?
what is being transmitted?
...many long deaths, yearning for love, exhibitions of people apeing the movements of someone with autism, straight up in ability to express an inherent frustration...
so this is exciting to me..is one approach to working with expressionism showing the difficulty (ie: representing) one has in expressing something in life
or is there also the possiblity that one just
expresses something
ie : i sit here on the edge of my bed i handle my dick/ clit, i ejaculate, im still, im silent.i expressed it all.
I similarly expressed interest in understanding what makes a scandal? and Florin agreed but then what..?
I am still studying this and cannot report very well on this either.
I know that we would have better understandings by chatting in person about all this.
But i enjoy the limitation of distance.Our thoughts and approaches to doing this, have the opportunity to become well articulated to one another . If we can make these efforts now, I think we can enjoy agreeing and disagreeing and find it all fruitful for the process etc.
disturbed by: what is being assumed here about how one works on this together?
"the assumptions" could be maintained in good faith as good operating intuitions
it seems nonetheless essential. at the outset of a really special project to articulate these....
lets call them,
desires.....
Im wondering why we imagine expressionism after a certain historical style,
even when we are sourcing a performance from the past...what examples of this can we find today in different art forms?
(im wondering what you will think of my response dance *
of two zombies crying out searching in dead hunger for live flesh, stumbling around in an ornate anglican church in a forgotten village..)
I love being invited into this process with you.
I really adore you both as artists, and I have good feelings and energy for this inquiry.
My flame of desire is flickering...
I want to come to terms with approaches and visions and attractions/motivations
to doing this work
to clearly identify the different branches of a tree
understanding the practice for practice sake dancing/writing/brainstorming etc.*
to come to understand the governmentality of the source work
to come to understand the governmentality of the project now
id like to have an overview of the projects' body.
1) research and the history of M.s.M:
rendering texts and videos that could hold their own as art objects.
2) developing a collective approach on working on it:
including articulating independant approaches which can be linked together for making some kind of performance.
3) producing this performance.
this is a primary attempt to contribute to the process, excuse the rough edges...
this is also an invitation for some text of Manuel Pelmus early discovery about M.s.M
to enter the blog..
antonija livingstone, montreal
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