My recent performance work – PENUMBRA – involves the use of traditional theatrical lighting to project a special ‘zone’ onto the stage – the lighted area is described as a “NO ZONE.” Outside of the “NO ZONE” something is permitted. And inside the “NO ZONE” that same something is prohibited.
The work attempts to mix-up roles which are usually kept separate – that of ‘on-stage’ actor/performer and ‘behind-the-scenes’ director/technician.
Since I am both performer and lighting-operator I can direct the powerful beam wherever I want (even into the faces of the audience) and, within the construct of the performance, the “NO ZONE” is imposed wherever the light falls.
A member of the Liverpool audience suggested that the space described is in fact a “NO COMFORT ZONE” and this seems very fitting!
(images – stills from video documentation by Sam Meech)
Of course – another strategy for making information/data and concepts more ‘tangible’ or ‘graspable’ when exhibiting in the public realm, is to re-present the information using a ‘loaded’ material, (as this example from a Liverpool Museum demonstrates…)
Abandon Normal Devices commissioned me to conduct an experiment at FACT this week, based on my “Message equals Medium” photographic archive of text messages. The result was a subtle intervention into the Btween09 “bells and whistles” new-tech / social-media / business conference.
The idea was, that the work should stimulate discussion around the ‘human-face’ of technology and act as a trailblazer for September’s inaugural ANDfestival in Liverpool.
Inadvertently :-) the work was actually interpreted as a REAL WORLD model for a NEW TECH business – uh-oh! (see vid below…)
Sergio Muñoz Sarmiento is an artist who practices art law. He is interested in the relationship between contemporary art and law, with a focus on copyright, free speech, deaccessioning, and nonprofit organizations.
Manufacturers of riot and personal defence shields since 1977, when Arnolds made for the Metropolitan Police the first shields ever to be used in the UK.
Coincidence Engine One consists of a precisely fabricated expanded polystyrene foam construction whose form evokes an amphitheatre. Within this structure, twelve hundred clocks of identical design are arrayed in concentric arcs.
As an interactive artist Rozin creates installations and sculptures that have the unique ability to change and respond to the presence and point of view of the viewer.
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