2 performances, 2 exhibitions, 1 film and 1 whistling lesson (plus some blurb on aesthetic access) =

So I said from the off that I wasn’t going to be the most regular bloggist in the world, but this, perhaps, is taking the piss.
Sorry. A month really isn’t regular enough, is it?

And I’m afraid I can’t even say that I’ve been hugely busy, busy enough I suppose, but not utterly swamped. The most likely reason for such slackness is down to the fact that it’s been sunshiney I suppose.

Taylan and I have continued with our work on Window. It’s all there, and I think we’re pretty pleased with what it ‘all’ is, we’ve just got to tidy it up around the edges (Window cleaning, if you will) and do some bits and bobs with timings. Book your tickets now if you’re planning on coming – there’s a distinctly limited audience due to the one to one nature (twice over) of the performance.

Other than that, I’ve been more a consumer than a producer of creative goods in the last few weeks.
I paid a visit to the Classified exhibition at the Tate Britain; interesting exhibition, tragic shame about the sponsors.

I also had a quick ocular rummage in Richard Long ‘s Heaven and Earth at the same gallery.

The installations that mark the halfway point through this show are truly remarkable spaces to encounter; after the very visual presentation of assorted photographs and mud paintings in the earlier part of the exhibition, the encounter with these pieces provide a particularly profound contrast. The calmness and majesty conjured up by the massive geometric arrangements of rocks in the vast gallery space of the Tate create an experience unlike anything I have experienced before in the heart of a city.
And truly.

I’ve also given a couple of hours over to What the bleep do we know?, a film that apparently caused a bit of a stir when it came out a few years ago (though completely passed me by at the time).
It’s a largely documentary film, punctuated with a non-too satisfying narrative tale, which provides some very accessible explanations of a number of the most exciting theories in quantum theory. Then it ventures into a lot of twaddle about how we all have absolute power to create reality through intention, misquoting the science that it had so wonderfully represented at first, and subtly encouraging us to join the Ramtha School of Enlightenment in Washington (I’m not going to deign to link to that).
The best bit of the film is probably to be seen on the link above, but there are others worth a watch. All I’d say is though, if you do indulge, I’d recommend doing some reading around on the web for a bit of background before doing so.

Similar issues, though thankfully without the preachy preachy hokum were present in Obscurity, an outdoor performance for the Docklands festival that was contributed by the visually impaired-led theatre company Extant.

Though there was a nice message to the show, a sort of ‘we’re all part of the same elephant’ thing, it was the way in which the show lost nothing of its aesthetic by being accessible to blind people, the way in which the accessibility was an integrated part of the show, that made the most impression on your blogger.
No headphones and muffled audio description going on hear m’lord.

Christened ‘Aesthetic Access’ (I believe by Jenny Sealey of Graeae Theatre Company), this artistic integration of access still seems to be solely, if sadly understandably, the reserve of the disability arts sector.

New work / live art / contemporary theatre – whatever moniker you want to adopt for this particular occasion – is often heard to be hollering about the need to bring in new audiences. Yet how much new work makes any consideration for the disability community? And how many potential audiences are passed over because of this omission?

It needn’t cost, and it could add something to the work. There would probably need to be additional marketing to encourage these audiences, but as is shown by Jenny Sealey and Maria Oshodi of Extant, such access is not solely the responsibility of the producer or venue. With the right understanding of the issues involved, it can be a part of the show itself, giving a unique flavour to the event, and, of course, maximising the possible numbers of those attending.


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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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