Tag Archives: vest & page

Sound Seeps Thru Ma Very Soul

What a busy week I had!

14-21 Sept 2017

(für Google-Übersetzung ins Deutsche siehe unten englisches SkriptJ)

First I embarked to Germany to learn more about Performance Art (PA) skill then I went to see some key practitioners in the world of books in London, my feet hardly touched the ground even tho’ my mind and body were deeply rooted to the earth during the PA workshops- 8 hours a day for 4 days.

a carol, vasiliki + gerhead
Carol & Vasiliki with Gerhard.

Somnambulant Rogue Allows Ambient Sound To Seep Thru His Very Soul.

 I felt a bit of a Rogue abandoning all my responsibilities at home to embark on a 4 day workshop in a foreign country (Germany) with the wonderful duo VestAndPage

a andrea & verena pagnes 2
VestAndPage with Verena holding the famous ‘Merkel rhombus’

(VAndP ) but I decided to Allow myself to venture to Dusseldorf because I love what they bring to Performance Art so much, they create a beautiful Ambient backcloth in which the participants feel comfortable and adventurous, all getting drawn in, so much so they fully engage in the Somnambulant atmosphere with vigour and apparent ease.

a no notes + Eva
Eva allowing the sheet to speak.
andrea mallouris
Andreas taking control of the sheet, or so he thinks.

In one exercise we were asked to write about our experience so far, then to choose a small number of words which we would consequently make ‘actions’ for. So, the challenge was to enact ‘Somnambulant’, not such an easy task but I mind-set myself to walk like a zombie in a film. VestAndPage don’t make ongoing judgements on your choice of actions, they let you ‘do what you do’ but you do it with some enthusiasm as you know the whole group will be watching when you are to take the floor solo and enact your moves. Rogue, Allow & Ambient presented me with slightly harder visualizations, but I found some moves which I shall be exhibiting during my ‘gig’ on 5th November at Colchester Arts Centre along with pieces I had planned before I went to Dusseldorf.

 

In Wuppertal I made a pilgrimage to see the place where Pina Bausch used to lead her dancers. I had sweet & sour feeling as I looked at the apparently abandoned building as “the company is on tour in USA. Kind regards. Ursula”. But I was able to visit book binder Roger Green who kindly showed me many of his book projects and if I ever have the wherewithal I shall go back to attend one of his workshops, altho’ I won’t go by train again as the journey takes up to 12 hours each way, even with the 3 hour wait at Stansted a flight would be less time consuming. Trying to ascertain the train connection times for my homeward journey proved nigh impossible at the information desks in Dusseldorf and before that even with the Eurostar phoneline ‘help’ people. In the end it was Patrick at Hostelworld who said in his matter of fact way, “What’s the problem? Just get on a train (to Koln) then onto the next one to Bruxelles”, which is exactly what I did and I had 4 lovely sunny hours in Bruxelles where highlights were the Tintin shop and Montana, a graffiti shop where I saw – Mater Museum: by Vincent Glowinski  (Author), Agnès Debizet  (Author) and Joe Sorren by Gingko Press. I sat in the sunny square eating a scone bought in Koln, drinking a coffee I bought with my last 2€ coin and listened to a woman playing beautiful oboe.

 

I would stay again at the Hostelworld as their place was comfortable and breakfast was good. I must remember however to ensure that I stamp my ticket BEFORE boarding the train, I forgot on the journey back from Wuppertal to  Dusseldorf (altho’ I was tired and a bit cold) and as sod’s law would have it that was the only time the guards boarded my train in 12 local journeys! There’s a 60€ fine if they decide to apply it but they can make allowances for dim foreigners (Brit-victims of the Brexit fiasco) who cannot read the instructions on every ticket!

 

In London

I learned so much from my meeting with book artist Sam Winston, we are partners in crime with words! We both undermine the canon. We each play wit werds in our individual ways. It’s so re-invigourating to see a kindred-spirit’s ‘play’ with the written hand-scribed word (often in pencil). He suggested maybe I do more with existing (manu-scrips) and less with future texts; whereas I had (gladly) signed off from all the versions I wrote in the 70’s of The Shrewd Idiot (SI buk) he hinted maybe not, maybe do more buks from those scrips. And as for my future tomes, lessen the content, be selective so they’re more discreet, which would be a lovli idea, especially for the viewer.

 

Sam does in fact do a lot of ‘Performance Art’ and he is well aware of that but does not utilise is in the remit of his output, it is merely a means to an end. For me Performance Art (PA) has become an integral part of my remit along with and inside of my books. Doing PA in fact makes it harder as I have to learn how to do it better but that’s not really a problem cos PA opens up the side of me which loves to flaunt around, the dancer in me, the exhibitionist, the dare in me, the chance-taker, adventurer but it also helps put my books’ contents out there by inviting folk to look at the books and also see some of my physical interpretations on what I think is important in them.

 

It’s great to have my A4 version of The Shrewd Idiot on sale at the wonder-full bookartbookshop @Bookartbookshop à Londres! Am set to do a gig thur on Jan 26th 2018. Tanya  has suggested it be a celebration on the centenary of my father’s birth, which is a wonderful idea and I shall prepare a PA to remember him with, incorporating mentions I made about him in The SI buk.

For google Translation into German below:

Übersetzung ins Deutsche:

Was für eine anstrengende Woche hatte ich!

14-21 Sept. 2017

 

Zuerst habe ich nach Deutschland begonnen, um mehr über Performance Art (PA) Geschick zu erfahren, dann ging ich zu einigen Schlüsselpraktikern in der Welt der Bücher in London zu sehen, meine Füße berührten kaum den Boden, auch wenn mein Geist und Körper tief auf die Erde verwurzelt waren während der PA-Workshops – 8 Stunden am Tag für 4 Tage.

Somnambulant Rogue Erlaubt Ambient Sound, um seine Seele zu sehen.

Ich fühlte mich ein bisschen ein Rogue, der alle meine Aufgaben zu Hause aufgab, um einen 4-tägigen Workshop in einem fremden Land (Deutschland) mit dem wundervollen Duo VestAndPage zu beginnen, aber ich habe mich Erlaubt, nach Düsseldorf zu gehen, weil ich liebe was sie zur Performance Art bringen, so schaffen sie einen wunderschönen Ambient-Backcloth, in dem sich die Teilnehmer wohlfühlen und abenteuerlich fühlen, alle werden eingezogen, so dass sie sich in der somnambulanten Atmosphäre mit kräftiger und scheinbarer Leichtigkeit engagieren.

In einer Übung wurden wir gebeten, über unsere bisherigen Erfahrungen zu schreiben, dann wählen wir eine kleine Anzahl von Wörtern, die wir folglich “Aktionen” machen würden. Also, die Herausforderung war, “Somnambulant” zu verabschieden, nicht so eine leichte Aufgabe, aber ich habe mich in die Lage versetzt, wie ein Zombie in einem Film zu gehen. VestAndPage machen keine laufenden Urteile über Ihre Wahl der Handlungen, sie lassen Sie ‘tun, was Sie tun’, aber Sie tun es mit einiger Begeisterung, wie Sie wissen, die ganze Gruppe wird beobachten, wenn Sie das Wort Solo nehmen und Ihre Bewegungen zu tun . Rogue, Allow (Erlaubt ?) & Ambient präsentierte mir etwas härtere Visualisierungen, aber ich fand einige Züge, die ich während meines “Gigs” am 5. November im COLCHESTER ARTS CENTER ausstellen würde, zusammen mit Stücken, die ich geplant hatte, bevor ich nach Düsseldorf gehe.

 

In Wuppertal machte ich eine Pilgerfahrt, um dort zu sehen, wo Pina Bausch ihre Tänzer führte. Ich hatte süßes und saures Gefühl, als ich das scheinbar aufgegebene Gebäude ansah, als “das Unternehmen auf Tournee in den USA ist. Mit freundlichen Grüßen. Ursula “. Aber ich konnte die Buchbinder Roger Green besuchen, die mir freundlich viele seiner Buchprojekte gezeigt hat und wenn ich jemals das Wohlergehen habe, werde ich zurückkehren, um an einem seiner Workshops teilzunehmen, auch wenn ich nicht mehr mit dem Zug fahren werde dauert bis zu 12 Stunden pro Strecke, auch mit der 3-stündigen Wartezeit bei Stansted wäre ein Flug weniger zeitaufwendig. Der Versuch, die Zugverbindungszeiten für meine Heimreise zu ermitteln, erwies sich an den Informationstafeln in Düsseldorf und davor sogar bei der Eurostar-Phoneline “Hilfe”. Am Ende war es Patrick bei Hostelworld, der in seiner Sache eigentlich sagte: “Was ist das Problem? Fahren Sie einfach in den Zug (nach Koln) und dann auf den nächsten zu Bruxelles “, was genau das war, was ich tat und ich hatte 4 schöne sonnige Stunden in Bruxelles, wo Highlights waren die Tintin Shop und Montana, ein Graffiti-Shop, wo ich sah – Mater Museum: von Vincent Glowinski (Autor), Agnès Debizet (Autor) und Joe Sorren von Gingko Press. Ich saß auf dem sonnigen Platz und aß einen in Koln gekauften Scone, trink einen Kaffee, den ich mit meiner letzten 2€ Münze gekauft hatte und hörte eine Frau, die schöne Oboe spielte.

 

Ich würde wieder in der Hostelworld als ihr Platz war komfortabel und das Frühstück war gut. Ich muss mich aber daran erinnern, dass ich mein Ticket vor dem Einsteigen in den Zug stempeln kann, ich habe auf der Rückfahrt von Wuppertal nach Düsseldorf vergessen (altho ‘war ich müde und ein bisschen kalt) und wie das Gesetz des Gesetzes das hätte Wächter bestiegen meinen Zug in 12 Lokalreisen! Es gibt eine 60 € Geldbuße, wenn sie sich dafür entscheiden, sie anzuwenden, aber sie können für Ausländer (Brit-Opfer des Brexit-Fiaskos), die die Anweisungen auf jedem Ticket nicht lesen können,

 

In London

Ich habe so viel von meinem Treffen mit Buchkünstler Sam Winston gelernt, wir sind Partner in Verbrechen mit Worten! Wir beide untergraben den Kanon. Wir alle spielen wit werds in unseren individuellen Weisen. Es ist so re-invigourating zu sehen, ein Verwandter-Geist ‘Spiel’ mit dem geschriebenen Hand-geschriebenen Wort (oft in Bleistift). Er schlug vor, vielleicht mache ich mehr mit vorhandenen (manu-scrips) und weniger mit zukünftigen Texten; in der Erwägung, dass ich von allen Versionen, die ich in den 70er Jahren von The Shrewd Idiot (SI buk) schrieb, abgesehen hatte, hat er vielleicht nicht angemerkt, vielleicht noch mehr buks aus diesen Scripts. Und wie für meine zukünftigen tomes, vermindern die Inhalte, selektiv, so dass sie mehr diskret, was wäre eine lovli Idee, vor allem für den Betrachter.

 

Sam macht in der Tat eine Menge ‘Performance Art’ und er ist sich dessen bewusst, aber nicht nutzen ist in der Aufgabe seiner Ausgabe, es ist nur ein Mittel zum Zweck. Für mich ist Performance Art (PA) zu einem integralen Bestandteil meiner Aufgabe zusammen mit und innerhalb meiner Bücher geworden. Das macht PA in der Tat macht es härter, wie ich lernen muss, wie es besser geht, aber das ist nicht wirklich ein Problem cos PA öffnet sich die Seite von mir, die liebt zu flaunt herum, die Tänzerin in mir, der Exhibitionist, die Wagen in mir, der Chance-Taker, der Abenteurer, aber es hilft auch, den Inhalt meiner Bücher da draußen einzuladen, indem er die Leute einlädt, die Bücher zu betrachten und auch einige meiner physikalischen Interpretationen zu sehen, was ich in ihnen wichtig finde.

 

Es ist toll, meine A4-Version von The Shrewd Idiot auf den Verkauf an der Wunder-full bookartbookshop @Bookartbookshop à Londres! Am 26. Januar 2018 soll ich einen Gig thur machen. Tanya hat vorgeschlagen, dass es eine Feier zum Hundertjahrfeier der Geburt meines Vaters ist, was eine wunderbare Idee ist, und ich werde eine PA vorbereiten, um mich daran zu erinnern, indem ich die Erwähnungen einbeziehe, die ich über ihn gemacht habe Die SI buk.

 

 

Advertisements

Talking To The Moon in Colchester.

a fulmoon 6sept17 4sm

There was a full moon tonight and I awoke at 2am to take some photos of our nearest neighbour, some may tink am a bit nutty?

You’re not going to believe this but I am already preparing for my Book Launch at Colchester Arts Centre (CAC) scheduled for November 5th 2017. Apart from my books and artworks being there I shall do some Performance Art (PA). I know the things I’d like to do and with the ambience and assistance at CAC I am certain that it’ll be the best venue so far where I’ve done my PA stuff. I shall use this Bruno Mars Talking To The Moon piece https://www.youtube.com/watch?v=J9pXeziqdLc in my The Three Graces (see below).

However. Whatever I plan at the moment may change dramatically as I am about to go to Germany to spend time with my PA heroes Vest & Page (aka Verena & Andrea). This is a link to a trailer of their 2016 film, ‘Plantain’ https://www.youtube.com/watch?v=vS80Ki-T9bI   Their workshop is phenomenal like their work and I shall leave it a different Performance Artist to the one I am now. Hopefully a better one, of that I have little doubt. The last time I did PA in the company of V&P I poured wine over my head, I had pancake dough plopped on it too, leaves and grass all over my body and the gathered onlookers were laughing at my antics which, I must warn you, only encourages me to do more!

pete & jamiephoto ©jurgen fritz 2015

For those of you who need to know more about what PA is I can say that it is whatever the PA artist decides it is (Jurgen Fritz said in 2015, “Pete does what Pete does and that is what it is.”). PA can be very short, just a few minutes or very long, several days non-stop which is called ‘durational’ [or endurance, for the person doing PA and the potential audience]. You won’t have to ‘endure’ mine as am only planning on 3 pieces each about 15 minutes long.

a old ahed mask mould
Working towards the definitive Apulhed Mask

I have also prepared the definitive Mask of Apulhed(man) and have been doing ‘research at Tate Modern where I saw the South Korean Geumhyung Jeong make her masks come to life. https://www.vice.com/en_us/article/zm37m8/geumhyung-jeong-at-tate-modern-tanks-seven-different-ways Also went to see avant garde Flamenco dancer Rocio Molina at Barbican cos I want to put about 60 seconds of ‘flamenco’ into ma gig. This week I went to see Michael Clark Company do his tribute to David Bowie at Barbican. As there’s quite a bit of (purported) dance in ma gig am hoping their moves influence my body in a positive way. It was a good night of dance, a bit short at 90 minutes including a 20 mins interval but it was good to see how good Clark dances.

a geumhyung jeong fini veri sm
Geumhyung Jeong reflecting after her battle with her rather naughty masks.

The link below will show you some very differing PA pieces with a go at describing the form that is PA in the first para. :

http://www.complex.com/style/2013/04/the-25-best-performance-art-pieces-of-all-time/pandrogeny Two of my favourites are Oskar Schlemmer and Laurie Anderson.

There are ‘purists’ who tend to prefer not to use music, dance, or spoken word and like to do intense, mysterious-meaningful actions which may be about political or ethical issues. I am not a purist. I like to use music, dance, spoken word and changes of garb. I like to tell stories through movement & masks in my PA, stories about myself and the state of the world as I find it now and how it was when I moved through the years I have lived. Not a lot has changed over the years, the rich get richer and the rest of us just have to muddle on doing the best we can. I need faith hope & love to carry on pushing creative outcomes which make people think and maybe even entertain for as long as I am able, I am just so fortunate to be able. Ability takes years to accumulate and it can disappear in the blink of an eye so I make as much use of my time as I can.

a smsi cova wordsThis is a cover I designed but did not use for the book.

So, at the moment the stories I shall focus on will be taken from the book I have just published called The Shrewd Idiot. I knew the idiot well and I feel for his inability to get things right in his life. At the time portrayed in the book (1969-73) he didn’t know his ass from his twits. He was in fact a very lucky man with many friends and some were very close to him yet he often went out searching for more. One thing I know now, after all these, was that he rarely felt or showed any sense of being ‘worthy’. He didn’t comport himself with the pride and feeling of value that many of his achievements warranted.  Once he had achieved some good accomplishment he never rested on his laurels, he moved immediately on, to the next challenge.

When it came to his relationships with women, like many men, the one he was with was rarely the one he wanted to stay with and he was always looking for a better model. The idiot never understood that ‘a bird on the handle is worth two in the brush’ or summat like that. So, in almost all he did, and he did a lot, he was never satisfied. And one reason he couldn’t get his head together and think straight was cos he spent a lot of his evenings under the influence of alcoholic beverage. “Pissed all th’time”, some were heard to say when asked about his state of mind. In the Colchester Arts Centre PA at 2pm on 5Nov 2017 My 67 year old self will have some dialogue with my ‘Self’ from the early 1970’s, that’s if he remembers to turn up, sobre.

pete self P veriveri best veri sm
Self Portrait painted by the idiot aged 18 in 1969. I use the face as a mask in the CAC PA.

His drinking sprees will not be the subject of the PA, but his relations with women are in a piece called The Three Graces (about the 3 women he actually liked to be with…most of the time). Between 1969 and 1973 the idiot had relations of quite intense quality with 3 young women (these didn’t overlap…much) but lost all 3 because of his inability to show commitment. Actually he could commit. He committed to being Social Secretary at college, to playing football for the 3rd eleven at college and to ‘making art’ but that didn’t help his relationships in fact it very much undermined them. So The Three Graces is about the idiot’s feelings of loss after they had all wandered away from him.

Sounds really sad dunnit? But no, it was not only sad, it was uplifting, the idiot had to look at what he did and change for the better, which he did but it took decades and the help of a good woman to bring him through to a better place. Her identity is not evident in The Three Graces PA, but she was there for him as he managed to settle down, have a family and eventually stop savouring the evil brew.

The idiot eventually did be shrewd and now he has published some memoirs. And the whole idea of the book launch is to encourage folks to purchase them in the form of a beautifully composed book. There’s two or three to choose from at varying prices, but you’ll get to see them on November 5th.

1st-sighting-sans-cover-sm
Inside pages of The Shrewd Idiot (A3 deluxe version) showing the use of palimpsest

Finally watch some incredible movement here:

https://www.youtube.com/watch?v=9ms7MGs2Nh8 a Swiss man doing butoh PA in Japan

Bookbinding and beyond

I valiantly attempt to meditate, am still trying after all these years but am not very good at it, yet. I was intrigued when I read this in Brain Pickings: ‘Oftentimes during meditation, I am visited by flash-memories dislodged from some dusty recess of my unconscious — vignettes and glimpses of people, places, and events from long ago and far away, belonging to what feels like another lifetime.’ Maria Popova.

I have experienced exactly that, I remembered my own first visit to the Lake District during a deep restorative yoga relaxation session with Catrina. I saw that as strange but very understandable. In some ways the significance of that one memory was that the trip was with my junior school at the end of my time there and it was the first time I had been anywhere away from and without my mum and dad (Jack & Jenny K.).

10 TRY'D

The Society of Bookbinders (SoB) Conference 2017

I audaciously sent my bound version of Inside This Earthen Vessel with David Jury’s beautiful letterpress renditions of my six poems into the (SoB) Competition & it was included in the (SoB) Exhibition (organised and set up by Marie Doinne and Mylyn McColl) where it was in good company. It happened to be the biggest height & width-wise in the show. There were however many exceptional entries and I particularly liked the two books entered by Rahel Scheufele (Switzerland) who won the Second Prize & Third Prize in ‘Fine Binding’.

Sumi Perera’s ‘soundwave scroll & boxset’ called 28 or not 28 was for me one of the best in show as she not only bound her cd in a box but also created a very beautiful round box for her scroll.

sumi perera sm

Also I loved the cover, which was all I could see in the display cabinet- and I would have loved to have seen inside of Daniel Wray’s Koi Karp & Chips.

koi chips

In fact the method of display disallowed showing insides of books which for me is a shame as the insides must make up 50-90% of the book. In my case I made the bind to house the prints! And the prints are high quality letterpress the words being very meaningful too.
a vessel buk at SoB3a sm

 

The Catalogue has excellent design and layout by Mel Jefferson who also won the People’s choice award.

I was lucky to be able to attend several talks about different aspects of Bookbinding where I was astounded by how little I know:

Kathy Abbott A ‘Tomorrow’s Past’ Modern Conservation Binding in Limp Vellum www.kathyabbott.biz I learned so much watching Kathy’s talk in which she informed me that EVA is the best adhesive to use as it conserves better. Very instructive about making a ‘pricking temple’ and how to score creases from the mid-page out to top/bottom.

Roger Green – Making a Drop-Back Box www.buchbinderei-green.de I recently made my first book-box which had a ‘lip’ around the box, Roger’s had no lip and it was much stronger.

Renate Mesmer – Medieval girdle bindings. Renate’s incredible intro to making girdle books was quite stunning, concomitant with someone who works at the Library of Congress in Washington DC.

Consuela (Chela) Metzger –the ledger book. Chela showed me the making of  a cover in parchment with all sorts of tacketing.

John Mumford – Islamic bindings John gave a fascinating talk on how books were made after Constantine became Roman Emperor and felt the need to have ‘50 new churches decked out in shimmering gold and jewels which also adorned the parchment bibles that had to have heavy wooden boards on to keep the parchment flat.

Christopher Harvey- Old Manuscripts, Working Books, Changing Structures – Aspects of Book Conservation at the College of Arms, London www.college-of-arms.gov.uk Chris spoke well of the collection housed near St Paul’s in London where he tackles, ‘support & structural issues of the paper book-blocks’.

Peter Bower Adventures with Books: Investigations into Book History using Paper Analysis. Peter’s talk about his detective work in paper analysis was fascinating.

Paul Johnson – Pop Up Books In a way I saved the most intriguing til last. Paul showed us how he goes about making his incredibly complex one-off ‘pop-up’ books.

I was lucky to sit next to Monique Lallier during the formal meal in the Ballroom at Keele Uni as she proved to have a good sense of humour, as did her husband Don Etherington who told me he was an amateur binder and me being ignorant believed him, the joke was on me Don. It turns out that Monique does the most beautiful bookbinding and if I work hard for the next 50 years I may catch up with her. We also found that we read the same books, Book of Joy by Dalai Lama & Desmond Tutu and Red Notice by Bill Browder, what a strange coincidence. Next I must read her book on binding which she did with her husband!

After attending the above talks and demos in just 2 days I was knackered but much better informed about some of the skills which are out there. So, I am sticking my girdle book under my belt and, like Bunyan’s hero Christian, I’m setting off on a long road down Bookbinder’s Way. First stop may be Wuppertal in Germany (Pina Bausch’s dance place) where Roger Green has his bindery. He lives about 30 minutes train journey from Dusseldorf where I hope to be later this year to benefit from Vest & Page’s workshops in Performance Art (PA). Verena & Andrea (who are V & P) are two of the very best PA practitioners and I am hoping that just being there and getting guidance from them will help me move forward in the arts of Performance Art!

Am gonna need as much help as I can get as am doing some of my own pieces at Colchester Art Centre on Nov 5th as part of a launch for my Shrewd Idiot books.

Talking of Colchester Art Centre I must congratulate Ant & the team for setting up a great show of photos taken by people who live out on the streets in Colchester. It opened on Friday night in the Old Bus Depot which is a big old dusty near derelict site but I love old bus & lorry depots, something about my youth when we used to go frequent them when it rained and we couldn’t keep playing football in the backstreets until the rain abated. So, shelter for me as a kid, and now shelter for the artworks made by people who could benefit from better shelter in today’s world.

 

 

 

It’s For The People.

 

Going back to thoughts https://apulhed.wordpress.com/2016/01/10/a-lifelong-friend/ on my old friend for 60 years Trev*, initially it would trouble me that my words don’t reach people like him but, on consideration, I have spent 48 years developing my words & ideas which he neither followed nor kept up with my path, why should he? I don’t understand his zone either, he was an accountant, I don’t do money, ask HMRC they’d confirm that. *Good news is Trev got in touch and said he enjoyed my last blArt.

Here’s the first viewing of one of the Apulhed Comix c.1977 that never got published in the 1970s. By 1979 I had created Happy Apulhed, a much more friendly, less eerie character.

ahed sets off color sm

When I was doing Apulhed comics at college in the early 1970s my old mates back in Burnley could explain my work was beyond their experience by saying, “Pete’s gone off to college and is full of new-fangled ideas, he’s just a bit strange but we can tolerate that because he’s…” Now nearly 50 years later I have further widened the gap. Not vindictively, just by osmosis, as a result of my endeavours but it still begs the question- If my art cannot reach ‘normal’ folk, am I missing the mark?

Nonetheless folk from all over the world do find my art interesting. yesterday I had hits from Vietnam and Sweden and my total views is fast approaching 10K. Some write and say I write well or the blog is good. But more, I feel that when I do any more Performance Art (PA) I’d need to be able to communicate or ‘get’ to the public’s minds whilst neither condescending them, nor demeaning my ideas of course. There would always be an elephant of surprise and an unsettling feeling in the outcomes I produce to keep the onlookers’ attention. Don’t want youse all falling asleep now do we?

I have been looking again at Verena & Andrea’s (Vest & Page) stuff in the vids on their website. http://www.vest-and-page.de/#!selected-works/caf0 They show by their astounding work that by comparison my work is a mere blot on the floor left by a PA Baby in his swaddling bands. (‘Swaddling’ is an age-old practice of wrapping infants tightly in blankets or similar cloths so that movement of the limbs is tightly restricted. Swaddling bands were often used to further restrict the infant. At the moment I feel constrained as if by swaddling bands and only by ‘getting’ my work out there’ will I change my garment, or maybe relinquish [most of] them.) The good news is I’ve been invited onto the Book Arts Day for The Society of Bookbinders on Sat 5th March 2016 in little old London town to do some Performance Art. Right now I’m working on a new piece, ‘Brush’, using words from Colin Lloyd Tucker’s beautiful song ‘Brush’. My friends, the Townsend Twins are helping choreograph the movement. I may also include a new rendition of Clay Jug after the beautiful poem by Kabir.

And ‘PA Baby‘ is maybe another pseudonym for me as it cover the fact that I’m old enough in calendar years to be their grandpa yet in terms of my experience in the field of PA I’m just a baby. In fact whilst at IPA in October a lot of my work brought me, and indeed some observers, to tears. In my case because I was going back into my early experiences and re-living them and also seeing that at 64 years old I weren’t about to have certain experiences again and indeed the inevitability of the changes old age will bring also weighed down on me. I got my crying in first. Some watchers cried in sympathy, some because I touched a chord and others just cried cos they were incredibly tired after 8 days of full-on PA practice with a group of strangers to start with who fast became close bonds. I still find it so daunting to think of what is out there in the Performance Art field. But it’s silly to compare. It’s like comparing a little village’s pub band to the Rolling Stones but there again the greats do look at the new stuff coming thru and like V&P are very encouraging. My mate IEPW told me that David Bowie liked Arcade Fire so much that he requested to sing with them and they accepted his offer. https://www.youtube.com/watch?v=z6c9Ejfu-iU

Also he did this with them uploaded 2 Feb 2006 https://www.youtube.com/watch?v=EkCc_qiI7UA well now, David had another 10 years.

Deathday instead of Birthday celebrations?

Image053

A Big Cloud of Unknowing.

When I heard of the death of David Bowie I thought to myself, they should have a day each year to celebrate him, maybe his day of dying would be the best day for an annual remembering of his creative, original and inspirational, trend-setting (in its purest form) life. Undoubtedly he did set trends.

Image062

OM

The Dalai Lama has said, “Usually I don’t consider birthdays something important. In Tibet we consider the death anniversary more important. I think that’s quite wise. A person who made good contributions in life, then after [their] death, remember them in some anniversaries…as a Buddhist monk I believe every day is a new day, every day is birthday. The particles of our body momentarily changing, always become something new. Mental thinking, because of new knowledge & experience, also changes. So every day is a birthday. [If] we use our day in a proper way then the months & decades, whole life becomes meaningful. If you can help other, do it as much as you can. If you cannot do it, at least, restrain from harming others. That’s the essential of meaningful life.”

I’ll drink to that, nowadays my chosen drink is water.

 

Let’s Do It, Live Art…

‘Whilst Live Art remains elusive to most mainstream commentators its influence is pervasive, and intriguingly the concept of performativity – its central tenet’ from an article by LADA (Live Art Development Agency) Director Lois Keidan that appeared in Guardian Online on 22 October 2015 when I was half way thru the two week course led by Jurgen Fritz which has totally re-aligned my thinking on what my art is, was and forever more will BE. I am so determined to do Performance Art in my future and have just come across a conversation involving a friend I made (Andrea Pagnes http://www.vest-and-page.de/ ) at the IPA fortnight with a man whose work totally blew me away when I discovered it in a book that I saw at the bookshop in the National Theatre (I’ve yet to see anything other than photos of the man), Ron Athey. Their conversation gets to the hub of the issues in PA and altho I am a novice by comparison I felt so privileged that both Vest & Page said such wonderfully constructive things to me about my efforts. I received so much encouragement to carry on. Recently I have heard it said that ‘art’ is a minority interest (but today on Anglia BBC morning news they tell me “Creative Industries are worth £76 billion per annum to the ‘Economy’- why don’t i see any o that?), well it may be a minority interest to some but it’s been my obsession now for 48 years. I still have some more to say and it will be thru PA/Live Art which is so much more demonstrative in its appreciation than the ‘art world’ [sorry art-world but I been trying to make a dent on you fer 48 years and the door won’t budge! At least when I do Live Art they clap and cheer (when I get off)]Hee Hee.

v & p latex dancers

That’s Andrea in the mask on right hand side.

Some words from Andrea Pagnes in conversation with Ron Athey,

AP‘… the richness and uniqueness that can emanate from personal experience, lived life and the consequent artistic research which arises directly from the deepest inclinations and existential urgencies of an individual.’

‘…when performance art intersects life directly and uncompromisingly, and draws on the most basic instincts, processes and transforms the deeper reasons and urgencies of Man’s presence in the world … it is revelatory: a sincere, transformative experience on human scale.’

RA says, ‘…How, in any medium, to bring something esoteric to

life, how to disturb a given, how to represent the super natural.’

AP you have … challenged conventional bourgeois mores, tastes and expectations

…by addressing viscerally emerging social hypocritical worries…’

RA performance art today… is not populist. Why not do benefits/write for funds/self produce in an amazing site-specific place? Cuz it is so much work but so worth it!

 I love the bit about ‘the richness and uniqueness that can emanate from personal experience’ and that underpinned what 3 of my course leaders said to me. Andrea saw the natural clown/fool in me in two settings which he commented on. I see from the vids on V&P website that he has done much work with clowns.http://www.vest-and-page.de/#!the-smile-at-the-top-of-the-ladder/c1orh

They all encouraged me to use my life experience in my PA, something which comes easy to me I must say as I’ve reached a point in my life where I treasure every moment I have lived and I am ready to go out there and bring my stuff to folks in a variety of settings. At IPA I used some of my Ashtanga Yoga practice in some of my pieces, particularly the Jug Dance but there were other ‘moves’ and references too. Ashtanga Yoga is a fairly vigourous form which emanated from the teachings of T. Krishnamacharya thru his pupil K. Pattabhi Jois. Another of his students B K S Iyengar popularised his Iyengar form in Britain from the 1960s. The main difference as far as I can see is that Iyengar encourages the use of aids like cushions to ease the new student into the forms that can be somewhat excrutiating for a long time for starters. I for one have massive difficulty trying to do a lotus position but no matter, you do what you can and you gradually move towards perfection.The good thing is people do yoga into their 90’s which is fortunate cos I never started til I were in ma 60’s!arnolfini outside jug dance smPhoto by Nicole Murmann (thanks!)

This is not Yoga it is Performance Art, why? cos PA is what the artis says it is, Jurgen told us that, didn’t he?

I discovered a book on yoga which I’d recommend to anyone who wants to know its benefits, it’s called, The Reluctant Yogi by Carla McKay http://www.goodreads.com/book/show/15000943-the-reluctant-yogi

I have been doing yoga once or twice a week and now I am so glad I began as it’s obvious it has so many astounding benefits.

Namaste.

2 weeks doing performance art.

I’m on fire!pink bonfirebonfire at earth spirit centre

I just spent 2 weeks doing performance art with some TOP TOP people. Jurgen Fritz (JuF)  set up IPA 10 years ago. His fellow leaders were Vest & Page (VaP) amazing, they work as a dyad and Jurgen works alone. 20 of us were split into 2 groups for intensive training over 8 days 10am -10pm each day. Am well knackered now. Especially after staying on for the second week:

“Pop Up Performances

International Performance Association (IPA) Bristol comes to the Arnolfini to present a series of innovative ‘pop-up performances’ by 16 international performance artists;

Alba Murcia (Spain)

Nicole Murmann (Switzerland)

Oozing Gloop Ye Olde (UK) Image001

Taz Burns (UK)

Bojana Videkanic (Canada)

Pete Kennedy (UK)

Andrea Greenwood (UK) andrea greenwood

Jolanda Jansen (Netherlands)

Carol Andrea Montealegre Pinzón (Colombia) andrea carol2

Sam Ford (UK) Image053

Robert Hardaker (UK)

Anna Kosarewska (Ukraine) anna

Öykü Aras (Turkey)

Debbie Guinnane (Ireland)

Amruta Mapuskar (India)

Jamie Burr (UK)

Leo Kay (UK) not in popups. These will take place over three days (22-24 Oct 2015) in the foyer, stairwell and landing areas of Arnolfini, as well as outdoor locations of Castle Park, St Nicholas Market and Bristol Harbour.” This was one inspiring bunch who worked on Performance Art (PA) workshops for 10 hours on 8 days together under the guidance of Vest & Page aka Verena Stenke & Andrea Pagnes  and IPA instigator Jurgen Fritz http://www.fritz-performance.de/.

And boy did they do some good stuff in the streets of Bristol. Jurgen took over 1000 photos which when I get access to I shall be putting some onto this post. Right now however am just notifying yez that ‘AM BACK AND AM DIFFRUNT!’

I played my part as the old fart but they didn‘t seem to mind, in fact they kept saying nice tings and that only encouraged me to do more. I learned that I am a player and so as of this moment my work begins.

And it’ll take more than one blog to describe some of the wonder-full things that occurred down at the Earth Spirit Centre near Glastonbury then in Bristol. For me it was a life-shifting insight into possibilities around the edge of which I have tampered since my first PA piece at St Lukes in Exeter 1973. All of my life has been a preparation for my future PA outputs. My books will tell the story of that life from college days to now and of the old works I did in the visual arts and writing of books then. My future books will reflect my movement into PA. I’m going to move my blArt name on to PArt, no longer blArtin but PArting. Good time to change on the last day of my ‘When I’m 64 period’ and on 27th October I reach my OAPs; the Old Age Pensioner who does Occurring Art Performing.