Category: Responses

In Matt Chewiwie’s artistic statement he explains that an artist once said that ‘life is a big nasty vicious dragon’ but then admits that he doesn’t know who made that particular statement (Chewiwie, 2008). Chewiwie also declares, ‘I see myself more of an entertainer’ than an artist and speaks about not taking himself too seriously (Chewiwie, 2008). His work for example, consists of videoing himself switching on a lightbulb and falling off a ladder, attempting to run on water and inventing animated YouTube videos mimicking his friends, previous famous computer games or celebrities.

Chewiwie’s intentions are to make people feel, (laugh or cry etc.) and once this is achieved he feels as though his job is done. In comparison to Marina Abramovic’s work, she intends to ‘transform herself’ as opposed to transforming the audience (O’Hagan, 2010). However, the renovation of the audience occurs when they cry or feel angry etc. It is this transformation that is not intended but comes naturally to the audience. Abramovic claims that ‘you’re an artist if you wake up in the morning and you are obsessed to create and you have the urge to create’ (Louisiana Channel, 2013). Of course this is just Abramovic’s opinion on the definition of an artist. Her work shows that she is clearly obsessed and desperate to create considering the amount of pressure and self inflicted pain that she puts upon herself, in order to push boundaries.

In the Oxford Dictionary, an artist is one who is ‘skilled at a particular task or occupation’ (2014). This definition suggests that an artist is someone who is talented or creative at what they do and are not specifically artists just because they have the ability to do it. Regarding both Chewiwie and Abramovic, they do not show any particular skill within their work. Okay, Chewiwie can evidently use a camera and a computer and Abramovic can sure enough push her mind and body to extreme lengths and endure pain over a period of hours, days, weeks and months. It can be said that the pair are both artists as they have each created or invented something in particular, but is this enough? Are they indeed, skilled?

In my opinion, Abramovic is an artist not because of her work but because of her beliefs in her work. She is self-assured of her intentions and of course herself. It is this “taking the self seriously” that I believe matters. Like Chewiwie, if one does not take himself seriously enough, then the odds are no-one else will either. For one who states that he is ‘dictated by [his] inner child’ evidently shows Chewiwie has a more jovial approach to creating art (Chewiwie, 2008).

In addition, I don’t believe that it takes someone else to label another as an artist in order for them to become one. For me, Abramovic is and Chewiwie is not an artist, but that doesn’t mean that my opinion stands correct. For me, there is no right and wrong and I believe that art is in the eye of the beholder as the perception of art is subjective.

 

 

 

Chewiwie, Matt (2008) Matt Chewiwie’s Artistic Statement [online][YouTube] <Accessed 28th February 2014> Available at: https://www.youtube.com/watch?v=4yJPZfFOrsc

Louisiana Channel (2013) Marina Abramovic – Advice to the Young [Online][YouTube] <Accessed 28th February 2014> Available at: https://www.youtube.com/watch?v=8Ck2q3YgRlY

O’Hagan, Sean (2010) ‘Interview: Marina Abramovic’, The Guardian [Online] <Accessed 28th February 2014> Available at: http://www.theguardian.com/artanddesign/2010/oct/03/interview-marina-abramovic-performance-artist

The Oxford Dictionary (2014) Artist [Online] <Accessed 28th February 2014> Available at: http://www.oxforddictionaries.com/definition/english/artist?q=artist

American solo performer Amy Taubin focuses on the ‘representation of the self’ (Noel, 1979, p. 57) where she aspires to explore her own identity as a woman, a body and a performer. Her performances aim to assure that the audience’s relationship to the soloist is undivided. She creates three performances that present the notion of being seen as an object. Pimping for herself, Double Occupancy and Performance Which Began On A Train examine the relationship between audience and performer as she wishes to characterise the feelings of division.

In Pimping for herself, Taubin uses film to make literal the idea of the performer being used as an object ‘whose primary function is to be seen, to be observed’ (Noel, 1979, p. 56). Taubin acknowledges the audience when she is present on stage causing them to feel objectified as a result. There is a film which is shown during the piece which exposes Taubin undressing. Later on she enters the performance space and repeats the act of undressing whilst glaring at each audience member. This is ironic because although Taubin should feel as though she is receiving full attention, the audience feel objectified also. On some level, I wondered how she can fully equalise the performer/spectator relationship when at any one point Taubin is ensuring that either of them is experienced as an object. However, it is seemed that by the end of the piece both parts are equal as both have experienced being the centre of attention.

Double Occupancy again uses media but this time, audio. In this particular performance Taubin wants to create two responses within her audience between what is seen and what is heard. She wishes to discover how these methods of interaction can reflect messages in different ways. By sitting in a separate room and being watched through a window presents the concept of being looked at as a solid element of being a woman in a man’s society and how the woman then ‘learns to be an attractive object of man’s desire’ (Noel, 1979, p. 56). A thought that had occurred to me was the difference in the piece if it were to be performed by a male. As a female, Taubin represents women in a male-led society. Therefore if the piece was indeed performed by a man, the fabric of the piece would be lost as the main intentions centre themselves around the objectivity of women.

This method of being heard as opposed to being seen also creates a relationship between men and women as well as spectator and performer. I feel that by being watched an automatic relationship is established and formed between audience and performer, however by solely listening to another, something more intimate and personal is created.

For the purposes of Performance Which Began On A Train, it is the audience who are fully lit yet Taubin stands in darkness. By reading from a script that is heard through speakers within the room and appearing on a projection on one of the walls, Taubin has established a dichotomy of the ‘invisible living, inner voice with its visible outer manifestation’ (Noel, 1979, p. 56). By also recording the audience live through film they are encouraged to see themselves on a screen in order to experience objectification.

 

 

 

Carrol, Noel (1979) ‘Amy Taubin: The Solo Self’, The Drama Review, Vol. 23 (1) pp 51-58. 

Today, we were given a task to create a script expanding on the voice of someone or something. As a starting point, we were given the surroundings and beginning lighting and setting states so we were all creating from the same point. What was asked from each of us was to expand on a voice that guided the piece, but we were also tole to think about lighting, positioning, structure, atmosphere and character. At the time, I wrote within my subconscious without deliberately creating something specific but it wasn’t very exciting and I wasn’t interested in what I had actually created. Therefore, I went away and made a few short scripts within the same setting but with different outcomes. I then chose any one of these scenarios to speak about in the next teaching session where I justified my choices and decisions.

This task was obviously set in order for each of us to introduce ourselves to the concept of creating, individually. Seeing as though I have had experience in directing and devising previously, this wasn’t too difficult. However, in the past I have worked in a group where I have facilitated ideas with others and so I have had other opinions and voices to work with. Therefore, this task was slightly different. Although it didn’t spur ideas for my future performance, it helped me to envision what kind of atmosphere I would like. I like the idea of creating a connection between the audience and myself. I don’t know right now how I imagine doing so but after a few mind-mapping sessions I hope to be a step closer to an idea. I also know that I want to make use of spotlights to help with the intimacy and experiment with coloured lighting. My final automatic writing script was fragmented and while it made sense, it wasn’t structured in sentences. I like this structure as it keeps the audience alert as they are un-expectant of what will follow. I will bare this in mind when creating my final performance piece.

We had been set another task which we had to complete in groups of 3. We were all asked to bring in something in written form, such as a newspaper article, a cooking book, lyrics or a novel etc, from which we each chose a sentence at random. Our task was to create a short piece, using only these three sentences from three separate mediums, and experiment with repetition, volume, pace, silence, atmosphere and intention. We were able to create tension and humour whilst speaking the words of something absurd. This task obviously presented to us the abilities we have of creating a performance piece. No matter what the concept is, if the intentions are thought through well and we experiment with artistic elements, then a performance can be created.

If ‘all solo performers are storytellers’ (Bonney, 2000, p. xiii) then so are performers in general, surely? Considering that there is no given way to narrate a story, all methods to narrate should be limitless. Everyone has a story to tell, a question to ask or theory to answer and if performers are storytellers then of course, so are artists! Artists include performers, who choose to speak out in whichever means they feel will express their ideas and thoughts… justifiably.

Contemporary artists have been transferred into the ‘performance artist’ category. The reason for this may be because the word “contemporary” initiates something specific, such as “modern” or “current” – something that no longer describes the art that it has developed into. Instead “performance art” allows the artist to choose from ‘just about everything’ (Bonney, 2000, p. xii) that they may wish to include within their performance.

In modern theatre, artists have learned to appreciate the importance of both process and performance. Nonetheless, Jo Bonney suggests that initially “performance art” was a ‘testing ground… [it] was a process, not [a] product’ (2000, p. xii). This shows that artists around this time period prioritised the development of the art as opposed to the product itself. I understand that the process is a significant element of performance; however, I don’t think it should necessarily be ranked above the end product. Bonney adds that ‘provocation, not entertainment’ (2000, p. xii) was more of the objective in such performances. Presently, this view is still valued and shared by many artists and audiences where the main goal can be to create a debate or opinion. Although, there are still artists and audiences who expect to feel entertained when they attend a performance.

 

 

Bonney, Jo (2000) Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, New York: Theatre Communications Group.