http://hardwax.com/audio/06/06738/06738_B6.mp3 (copy and paste)

There we are, barely beyond the start of this relationship of ours; enjoying every fleeting touch, every little sign that we might be on the other’s thoughts, and then I sod off and disappear for two weeks.

It’s not very good is it? It might not even be good enough. My apologies…

Nevertheless, I’m afraid that that might be the way that things might have to be in Casa LSF. Tempting as it is to spend my days peering down the superhighway into the Elysium of your eyes, I don’t think it’s gonna happen as much as I want – busy times mean busy tims.
In the time since you last read something virginal on this page, I’ve concluded my investigations into whether it is actually quicker to get things done by doing them yourself. I’ve discovered that the answer is no, or at least not always, point in fact being my website which launched last week – if you haven’t paid it a visit yet, please do – otherwise I’ll feel like I’ve been wasting my time.

Then there was that trip to Liverpool I mentioned last time; a trip that incorporated an interesting performance from the personable José Torres Tama on the Friday, some remarkable encounters with the work of Michael Pinchbeck over the Saturday and Sunday and a fascinating 2 day workshop around issues of internationalism and cultural exchange that had been put together by Lorena Rivero de Beer.
This latter is a tricky area to negotiate, not least because of the rather obvious issue of the environment; in a time when we’re supposed to be omitting emissions from our lifestyle, is jetting to the other side of the world to show our art always something to be admired?
But admire it we typically do; the worlds of art and theatre, typical of most industries, grant increased status to the international artist; and though I abhor the idea of doing so, I find my attention is still more easily drawn to the people flown in from around the globe to a festival of work than to the ‘local’ contributors, artists whose work, we assume, has been made for local people.
Personally, I find that whole system a little bit suspect – the dichotomy created between a local artist and an international one can easily prove to be an instance of art world foolishness where hype doesn’t necessarily match the reality.

There are a multitude of reasons why it is assumed that an international artist’s work is superior to a more regional oeuvre. They will have a different cultural perspective, they will have cost more to bring in (and are assumed to be worth that extra money), they are more ‘professional’. All of which may well be the case… but that doesn’t necessarily mean that the local artist’s work is worse. And it certainly doesn’t take into account the myriad of less positive reasons why the international artist might be present.

Speaking with people who had lived in Liverpool for a while, I could understand how their relegation to the realm of “local artist” as soon as the city became European Capital of Culture may have been a little galling.
I haven’t done any international work for a while, and have never been a member of the jet-setting artistic set. I’m wary of positioning my slightly negative attitude to this matter as any kind of moral stance, and I’m trying not to place myself within an ethical pulpit. I suspect that I will be going abroad again to do my work at some stage, and I surmise that when such a time rocks up on my doorstep I’ll probably be rather pleased that it has done so.

Nevertheless, it does feel a very important subject with which to be engaged, and it will be interesting to see how Lorena may develop the work that was undertaken over the weekend (which in itself was an extension of substantial exertion by Claire Thornton when she was New Work Network Associate last year).
Parallels between internationalism and engaged art practises can be made. Aside from the fact that both were tackled in some depth by the members of the New Work Network last year (here and here), it seems that meaningful and durable encounters are central to an experience of a valid and two way dialogue with the community / culture that the artist is working within.

In other news… The weekend just past gave me an opportunity to re-show my piece A Pound of Flesh. Hosted by the wonderful Stoke Newington International Airport, the day provided a vibrant exposure to a fruity cocktail of work.

Elyssa Livergant’s performance of A Kiss from the Last Red Squirrel was aggressive and thought-provoking and provided some of the most interesting discussion in the table tennis interviews that acted as interludes between each performance. Against a backdrop of immigration, cultural heritage and questions around domestic transition, the piece challenged the nature of the relationship between audience and performer in an intelligent and, in my opinion, entirely necessary way. Others will disagree, and there were points in which lines were crossed in the performance; but that what was demanded by her subject matter. There was also something strangely invigorating to be confronted with a piece of theatre that challenged our relationship to performance without setting out to shock for the sake of it.

Taylan Halici continued the tour of his one man show Introduction to floodlondon, which, amongst attempts to drown himself and touching insights into self-hope and failure, allowed us to witness his division into two distinct entities – Time Taylan and Space Taylan. Expanding the performance space exponentially, an encounter with Time Taylan can be commissioned for a moment of your choosing. Check out the first few  such visitations on the project’s webpage, and if an idea for another one takes your fancy, give him a yell. He’s a very approachable chap.

And then there was Mamoru Iriguchi‘s Pregnant?!
A tale of a pregnant man’s encounters with maternity, rabbits and foetal protest; it’s a feat of imagination and projection wizardry which really needs to be seen to have the necessary justice done. If you haven’t had a chance yet, keep an eye out for it, it’s been whirling it’s way around various London venues for a year or so, and demand doesn’t seem to be diminishing yet (next outing is at Camden People’s Theatre I believe)….

I’ve also been learning to whistle.
Not from scratch, I’ve made some attempts before, but I haven’t made an effort this concerted for something like the last fifteen or sixteen years.
I’ve been making some progress, and am working towards a small to middle-sized repertoire of songs.

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Tim Jeeves is an artist and writer who, at certain junctures, in particular contexts and amidst a myriad of other inclinations, will turn his attention towards the flexibility of identity.
Aware that these words may invalidate such investigations by being read as a statement of a constant self, he has embarked on a project entitled 'Artist’s Statefragment'.
Viewable at www.timjeeves.com , this work, written in hypertext, enables an increasing number of artist statements, each addressing a different aspect of his practice, to be viewed non-linearly and with fluctuating priority.
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