Collaboration with Marco Miehling (GER) 2020/2021
How do we allocate ourselves and the work we are doing responding to remote places within a different cultural framework? The new circumstances inevitably affect our preconceptions of the local and the global, how we move between the two states, and the artworks we create.
Whereas the local takes place in the territory of a specific place, culture, and time, the global emancipates itself from this specificity, attaining what is described as universal validity. The relationship between the local and the global (and the attraction of moving between the two) is one of the main factors in the discourse of climate change. It therefore becomes our shared responsibility – as the creatives, the artists, designers, and others – to imagine new ecological futures…
Contemporary Sculpture Fulmer, UK
Passivated Mild Steel
At the same time but at different places, the installations in different countries will respond to each other activated by performances.
In goings. 2021. Performance, in process.
How does one move, when we are told we cannot move? Time of internal movement and awareness. Forced to stay, hold tight, held by a constructed boundary, confined by invisible walls, constructed with mind made limitations, parameters of personal, physical, social, spacial and distant. Deluded by old notions of human connection. The ground is my support, gravity my companion. The present moment is my breath. Seeking an equilibrium. Between active rest while in motion. Oscillating between polarities. Where is the centrifugal force that spirals upwards, outwards, inwards, towards. I cannot see, I am seen. Here, I cannot touch. I am touched.
About the score:
Our starting point was Do Re Me.
I gave her collected sounds that I recorded while in Iceland, the Northern Hemisphere, it was mid winter.
I then gave her this text to read:
An excerpt from In search of the miraculous. Fragments of an unknown teaching. Page 129.
The law of octaves explains many phenomena in our lives which are incomprehensible. First is the principle of the deviation of forces. Second is the fact that nothing in the world stays in the same place, or remains what it was, everything moves, everything is going somewhere, is changing, and inevitably either develops or goes down, weakens or degenerates, that is to say, it moves along either an ascending or a descending line of octaves. And third, that in the actual development itself of both ascending and descending octaves, fluctuations, rises and falls are constantly taking place…. Nothing can develop by staying on one level. Ascent of descent is the inevitable cosmic condition of any action. We neither understand nor see what is going on around and within us, either because we do not allow for the inevitability of descent when there is no ascent, or because we take descent to be ascent. These are two of the fundamental causes of our self- deception. We do not see the first one because we continually think that things can remain for a long time at the same level; and we do not see the second because ascents where we see them are in fact impossible, as impossible as it is to increase consciousness by mechanical means. Having learned to distinguish ascending and descending octaves in life we must learn to distinguish ascent and descent within the octaves themselves. Whatever sphere of our life we take we can see that nothing can ever remain level and constant; everywhere and in everything the waves rise and fall. Our renergy in one or another direction which suddenly increases and afterwards just as suddenly weakens; out moods which ‘become better’ or ‘become worse’ without any visible reason; out feelings, out desires, our intentions, our decisions – all from time to time pass through periods of ascent or descent, become stronger or weaker.
And there are perhaps a hundred pendulums moving here and there in man. These ascents and descents, these wavelike fluctuations of moods, thought, feeling, energy, determination, are periods of the development of forces between ‘intervals’ in the octaves as well as the ‘intervals’ themselves.
PERFORMANCE REHEARSAL ONE. Nirox Sculpture Park (10/02/2021)
Improvisation with Cécile Lassonde (FR)
This is an ongoing initiative to investigate methodologies which enable different artists from different locations to work together from one place to another at a simultaneous moment in time and space. It brings together artists to enhance cultural exchange in the context of political fragility and ecological awareness.
Through the use of replicating numerous physical shapes, a digital zoom meeting event, an online performance exchange occurred between Marco Miehling (GER), Luca Bosani (ITA) at Contemporary Sculpture Fulmer (UK) and Jessica Doucha (SA) and Cécile Lassonde (FR) at the NIROX Foundation.
An experimental time-based, site-based occurrence between North and South locations. Together, we explore the possibilities of reducing the ecological footprint of artistic collaboration and of finding alternative ecologically aware modes of working that allow for the coexistence of human and nonhuman actors.
Performanced by Jessica Doucha (SA) and Cécile Lassonde (FR) at NIROX.
Photography by Hankyoel Lee
Simultaneous live stream performance with Luca Bosani (ITA) At Contemporary Sculpture Fulmer (UK).