Performing the exhibition

How does one exhibit an intangible, or many intangibles together?

Lea Anderson's R&D presentation at Wimbledon College of Art on Friday explored potential methodologies and structures for exhibiting costumes in performance - ways to perform costumes in exhibition. The costumes under consideration come from a wardrobe of some 2000 items from the inspiring 30 year history of contemporary dancers The Featherstonehaughs and The Cholmondeleys.
As choreographer for the troupe, Lea was intimately engaged with every aspect of every performance.

Now that the funding has been withdrawn from these dance companies the costumes have been 'buried' in an archive and Lea is working on a plan to bring them back to life, to animate the costumes through performance in an exhibition space.

These costumes are alive to performance. The intangible meaning held in the costume becomes tangible in its moment of performance. Accompanied by the component parts of its lifeworld - sound, light, dancer, set -  the performed costume is brought to life in such a way that it speaks back to itself and its origin while simultaneously creating an dialogue with the viewer.

Under the New Museuology trope the exhibition of cultural practices is considered of equal importance to the object on display. The considerations of intangible heritage in this field may help think more closely about how to not just exhibit but enliven these costumes a museum space.

http://www.thecholmondeleys.org/

Jedda and Night Cries

What are the visual clues that connect Charles Cheval's 1955 film 'Jedda' and Tracey Moffatt's film 'Night Cries'?
Thinking about colours and framing.
And about the scenes that echo across the years?

Art history

emaj
emaj (electronic Melbourne art journal) is the only online, refereed art history journal published in Australia. emaj aims to provide an international forum for the publication of original academic research in all areas and periods of art history.

Eddie Chambers website

Challenging Participation

Markus Miessen
The Nightmare of Participation
(Crossbench Praxis as a Mode of Criticality)
English edition published by Sternberg Press, Berlin
October 2010, 304 pages, hardcover
ISBN 978-1-934105-07-8

'...encourages the role of what he calls the "crossbench practitioner," an "uninterested outsider" and "uncalled participator" who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change.' ( press release)

Introduction by Eyal Weizman, a conversation with Chantal Mouffe, an interview by Hans Ulrich Obrist, and post-scripts by Bassam El Baroni, Jeremy Beaudry, and Carson Chan

Immanence

Looking for a way of talking about the immanent moment - the one at the site of encounter between a work of art and a viewer. Anish Kapor talks about making work that creates a sense of awe in a viewer/participant. But I'm not talking about a spiritual sense here, but a bodied sensation leading to thinking and transformation.
So now considering Deleuze and the 'Plane of immanence' - see Wikipedia http://bit.ly/TXiY for starters.