Past Future Split Attention (1972)
"Two people who know each other are in the same space. While one predicts continuously the other person's behavior, the other person recounts (by memory) the other's past behavior. Both performers are in the present, so knowledge of the past is needed to continuously deduce future behavior (in terms of causal relation). For one to see the other in terms of the present (attention), there is a mirror reflection or closed figure-eight feedback/feedahead loop of past/future. One person's behavior reciprocally reflects/depends upon the other's, so that each one's information is seen as a reflection of the effect that their own just-past behavior has had in reversed tense, as perceived from the other's view of himself."
Lax/ Relax (1969)
In this work created in 1969, the artist articulates spoken language with body language by means of a feminine voice which mirrors his own in the framework of a repetitive structure.
Saturday, 12 May 2012
Monday, 7 May 2012
From 1976 to 1979, Los Angeles radio station KPFK hosted Close Radio, a weekly half-hour program that allowed artists to present sound and art projects via radio broadcast. Initially founded by artists John Duncan and Neil Goldstein, the program was primarily organized by Duncan and Paul McCarthy, with Nancy Buchanan and Linda Frye Burnham also participating as organizers at various points in the program’s history. Over the course of more than one hundred broadcasts by more than ninety artists, Close Radio challenged nearly every conceivable industry standard of radio broadcast, and collectively its projects present an encyclopedic array of strategies used by artists to present performative art works using only sound.
Saturday, 5 May 2012
by Phil Collins
Turner Prize 2006 exhibition at Tate Britain
Phil Collins’s art investigates our ambivalent relationship with the camera as both an instrument of attraction and manipulation, of revelation and shame. He often operates within forms of low-budget television and reportage-style documentary to address the discrepancy between reality and its representations. In his projects, Collins creates unpredictable situations and his irreverent and intimate engagement with his subjects – a process he describes as ‘a cycle of no redemption’ – is as important for his practice as the final presentation in the gallery.