Contact, Manchester are looking for artists to submit ideas for Lost & Found a new upcoming event in June.From Monday, June 6th to Saturday the 11th Contact will host the very first Lost & Found Festival 2011! With this invitation we would like you to tell us how you would like to get involved with the festival, whether that be through a one-to-one performance, an interactive installation, anything!LOST & FOUND 2011Lost & Found is a festival which examines the idea that art and inspiration is found in unusual situations, locations and interactions. We are looking to curate pieces which allow audiences to stumble across art in everyday situations; lose themselves in a piece, in a place and may allow people to find that they are part of the performance.This intricate and inspiring event will be layered with a pick-and-mix of pop up performances, taking place in various locations around the centre of Manchester throughout the week. The festival culminates in a final day of performances and art works which take place in the Contact building, having been inspired or created from collected images, stories and data from the outside world and from the subsequent week of creating around the city.The festival will essentially take the form of two parts:Part IMonday - Friday Lost & Found will be staged around the city-centre at various outdoor venues:Piccadilly GardensA Northern Quarter CafeSt. Peters SquareA Metrolink TramMediaCityUKPart IIDay-long event at Contact throughout the entire building.So with this in mind we would like you (although it is not absolutely required) to come up with a two part idea. One to take place outside of Contact, and the other to take place inside Contact. These can act as companion piece or as one being a response to the other.Creative works may cross the boundaries between theatre, art, photography and digital media and in the process opening new creative opportunities and collaborations.The idea of ‘Lost and Found’ is not only used as a curatorial theme and a spring board for discussion, but also a tactile image and framework for the event – an event which is like a lost and found box of hidden treasures. We would really like you to take this idea and run with it.For this submission process we will be taking your ideas via e-mail until the closing date of Friday, March 18th. From there, we will have a Pitch Party at Contact on Tuesday, March 29th at 7pm @ Contact in Space 2.If you have any questions about the festival, the submission process or any other inquiries feel free to ask.The members of Contact's premier young producing and programming scheme Re:Con are the creators and organizers of Lost & Found.Thank You, Good Luck and Start Pitching!Re:Con
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Thursday 24 February 2011
Tuesday 22 February 2011
Reading list
The Man in the High Castle
Theatre of the Oppressed
The Artist's Body
The Corner
American gods
Dreams from my Father
Motion Picture and Video Lighting
Trainspotting
The Illiad
Theatre of the Oppressed
The Artist's Body
The Corner
American gods
Dreams from my Father
Motion Picture and Video Lighting
Trainspotting
The Illiad
Wednesday 16 February 2011
QUOTE
“Me too. I want to know God, and I want Him to know me. I want Him to know that I'm still here. That I'm still stuck in this place.”
Tuesday 15 February 2011
Contagion project/ Acting class 6
Contagion piece. Performing in front of camera using the techniques learnt during my sixth acting class. Experiments.
Chris is a great teacher.
I always knew from writing to acting that you should go within to produce you're best work.
Chris though really gave me the impetus to internalise my acting and be truthful. He told us to stop externalising, to stop acting in a sense tell the truth.
We were involved in an exercise, sitting in a chair, each of us looking away from one and other; closing our eye's and going back to a place in our past that had significance that we had strong feelings of. I won't say where I went but Chris took us through it, how we felt, who was there, the details of our surroundings. We sent what felt like an hour, internalising, going back to the truth.
Coming out of it I felt feelings, to strong to explain, I was sharp and I cold tackle acting truthfully, really truthfully.
Contagion can begin.
Chris is a great teacher.
I always knew from writing to acting that you should go within to produce you're best work.
Chris though really gave me the impetus to internalise my acting and be truthful. He told us to stop externalising, to stop acting in a sense tell the truth.
We were involved in an exercise, sitting in a chair, each of us looking away from one and other; closing our eye's and going back to a place in our past that had significance that we had strong feelings of. I won't say where I went but Chris took us through it, how we felt, who was there, the details of our surroundings. We sent what felt like an hour, internalising, going back to the truth.
Coming out of it I felt feelings, to strong to explain, I was sharp and I cold tackle acting truthfully, really truthfully.
Contagion can begin.
Studio space
I require a couple of magazine file's and sticky pads for my space. Need to turn my space in an office of my choosing. Large print out of piece as poster.
Friday 11 February 2011
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
This is bigger than us....this is life
CONTAGION
How do you eradicate it ?
Is it inside you, or a group ?
Is it physical ?
What is the contagion ?
I there a cure ?
Procedures to contain contagion ?
Performance project
_It's a disease that make's me love you_
_Black can't love white_
Is it inside you, or a group ?
Is it physical ?
What is the contagion ?
I there a cure ?
Procedures to contain contagion ?
Performance project
_It's a disease that make's me love you_
_Black can't love white_
Film
I've been thinking that the issues and the voice I'm searching for is in the films I know and love. I should look to their voice's and internalise them.
_Blackandwhite_
_Relationships_
This is bigger than us....this is life.
Marina ABRAMOVIC
BALKAN BAROQUE 1997
balkan-baroque-135325_0x440.jpg
The center piece of an epic performance, Abramovic sat on a pile of 1,500 beef bones, cleaning everyone of them everyday for six hours for five days. She sang folk song's from here childhood. This extreme performance would take it's toll on the artist, citing dedication to the theatrical and real nature of the piece. She did so to shed the tragedy of war and the internal conflicts of herself as a right of passage. I could not find the video of this to realise the potential power of the work. The scale and deeply personal fixation of the work is why I choose to recognise the work, I'm trying to look deeper in myself, but I'm finding it difficult to get a fixed position on my internal feelings. What is my agenda?
The center piece of an epic performance, Abramovic sat on a pile of 1,500 beef bones, cleaning everyone of them everyday for six hours for five days. She sang folk song's from here childhood. This extreme performance would take it's toll on the artist, citing dedication to the theatrical and real nature of the piece. She did so to shed the tragedy of war and the internal conflicts of herself as a right of passage. I could not find the video of this to realise the potential power of the work. The scale and deeply personal fixation of the work is why I choose to recognise the work, I'm trying to look deeper in myself, but I'm finding it difficult to get a fixed position on my internal feelings. What is my agenda?
Tuesday 8 February 2011
Günter BRUS
SELF PAINTING
The black stripe is self mutilation, a symbol. He walked through Vienna like this and was eventually arrested for being potentially disturbing to the people. The body is centre of the painting.
http://blogdrop.posterous.com/artists-i-love-gunter-brus
Self-mutilation 1965
'Self-painting is a further development of painting. The pictorial surface has lost its function as sole expressive support. It was led back to its origins, the wall, the object, the living being, the human body. By incorporating my body as expressive support, occurrences arise as a result, the course of which the camera records and the viewer can experience.'
-Gunter Brus, quoted in Le Marais. Sonderheft Günter Brus, 1965
The black stripe is self mutilation, a symbol. He walked through Vienna like this and was eventually arrested for being potentially disturbing to the people. The body is centre of the painting.
http://blogdrop.posterous.com/artists-i-love-gunter-brus
Giuseppe PENONE
ROVESCIARE I PROPRI OCCHI (TO ONE'S EYES) 1970
'Mirrored lenses, when placed over my eyes, indicate the point that separates me from that which surrounds me. They are like a skin, a border element, the interruption of a channel of information ....By blocking my vision I eliminate data necessary for my subsequent behaviour.'
-Giuseppe Penone. Artist's statement. 1977
Taken from
The Artist's Body, Edited By Tracey Warp, Survey by Amelia Jone
'Mirrored lenses, when placed over my eyes, indicate the point that separates me from that which surrounds me. They are like a skin, a border element, the interruption of a channel of information ....By blocking my vision I eliminate data necessary for my subsequent behaviour.'
-Giuseppe Penone. Artist's statement. 1977
Taken from
The Artist's Body, Edited By Tracey Warp, Survey by Amelia Jone
Stuart BRISLEY
OPPOSITE
Moments of Decision and Indecision 1975
This piece took place in one room fro six days. Everyday the artist would cover himself in white and black paint, to a point that he could not see or move, thus creating sensory deprivation. Trying to climb the wall would only compact the isolation, in the audience feelings of helplessness and frustration set in.
Taken from
The Artist's Body, Edited By Tracey Warp, Survey by Amelia Jone
Moments of Decision and Indecision 1975
Taken from
The Artist's Body, Edited By Tracey Warp, Survey by Amelia Jone
ACTING CLASS WEEK 4 or 5
I turned up late so I didn't have the time to shake of the outside world, and focus on the room for two hours, focus on the job.
This was the only piece I did yesterday, yesterday was my weakest session, well scratch that, my most challenging. I couldn't be truthful and really add subtext, my responses felt flat and lacked conviction. This was disappointing because I was pretty good last week.
This was the only piece I did yesterday, yesterday was my weakest session, well scratch that, my most challenging. I couldn't be truthful and really add subtext, my responses felt flat and lacked conviction. This was disappointing because I was pretty good last week.
Wednesday 2 February 2011
Piece #2
A. Tim
B. Son
A. Don't you dare
B. What, you are though
A. Not now, never, I will never be
B. I want to tell you things, you might not have all the information
A. I have all the information I need
B. Please let me explain
A. Walk the fuck away, get away from me, I won't be held responsible for what I do to you
Tuesday 1 February 2011
100 coolest things in film.
100 Pacino and De Niro finally meet in heat
99 Sharlto Copley ad libbing in District 9
98 Mickey Rourke's ram head necklace
97 The opening scene in Indiana Jones and The lost Ark
96 Epic Pulp of Shutter Island
95 Christopher Nolan
94 The Joker's magic trick
93 Music and the monster chewing scenes of Daniel Day Lewis in There Will be Blood
92 Hand held shaky camera work
91 Michael Caine in Children of Men
90 Johnny Depp's best performance in Ed Wood
89 Viral marketing
88 Method acting
87 British filmmakers being the top dogs in America
86 Movie posters
85 Hard graft of a shoot and the payoff of greatness
84 Movie Macguffins
83 Final scene of Raging Bull, "I'm the boss, I'm the boss, I'm the boss"
82 Short films
81 Movie moustaches
80 Leonard's tattoos in Memento
79 Fight Club, One of the best films of the last 20 years and one of the most important of all time, "Fuck off with your sofa units and string green stripe patterns, I say never be complete, I say stop being perfect, I say let... lets evolve, let the chips fall where they may"
78 Goldeneye, a return to bond movies of Connery and the last film that feels like the Cold War world aftermath
77 Hans Zimmer score for Inception
76 People smoking in film
75 Panic Room's long take that starts upstairs and goes through a coffee pot, beautiful
74 Zabriskie Point exploding stuff
73 Movie Shoot outs, the best......Heat
72 Ron Burgundy
71 Orson Welles reveal in The Third Man
70 Richard Gere in Internal Affairs
69 War of the World's remake (that score!)
68 Last shot in The Departed
67 Film's in New York.....Taxi Driver, Nick and Norah, Bringing out the Dead,
66 Dune, yeah that's right
65 Van Morrison's TB Sheets in Bringing out the Dead
64 The shot where a custodian sweeps up the piss in HUNGER by Steve Mcqueen
63 "Here comes the pain!" in Carlito's Way
62 Toy Story trilogy
61 Pixar movies and their dedication to the craft of filmmaking
60 Nathan FIllion in everything
59 Performance
58 James Franco, as close to a James Dean we'll have. Scratch that, He's the only James Franco we will have, i predict great things for this guy.
57 Colin Firth's rebirth
56 The look of complete confusion on Lars Thorwald's face that anyone would be interested in his life in the end of Rear Window
55 Toilet scene in Trainspotting, Renton desperate for his last hit, shits out the suppositories, dives into the worst toilet in the worst bathroom in scotland. Magic.
Piece #1
A. I want you.
B. I don't want you.
A. I want you so much I can't breath without you.
B. Don't
A. Don't what.
B. That, don't pretend that you need me
A. I do need you.
B. You only want me because you're lonely.
The words, don't have their meaning yet, no subtext, so they have a variety of contexts.
I will act and record these along with the thoughts replacing the scripts.
B. I don't want you.
A. I want you so much I can't breath without you.
B. Don't
A. Don't what.
B. That, don't pretend that you need me
A. I do need you.
B. You only want me because you're lonely.
The words, don't have their meaning yet, no subtext, so they have a variety of contexts.
I will act and record these along with the thoughts replacing the scripts.
ACTING CLASS WEEK3
A. Where have you been?
B. Out
A. Are you ok?
B. Yeah, fine.
A. Shouldn't we talk?
B. What About?
A. You know what about.
B. What do you want me to say?
I was B, Kate A.
Paired up with kate, we had to create the details of the piece, SUBTEXT. Subtext gives you meat on the bones of the words, without it, the words have no power to affect.
This was my best performance so far, my best acting. It was OUR best acting. It's important to be relaxed and confident, to have no fear, the audience will feed of this. It was "Intense" said one. "Excellent, excellent, excellent" were the words to describe the scene.
My character felt trapped by the baby in the relationship with my wife of three years. I don't know how to stop the way I'm feeling, I know it's wrong, but I can't stop it. Self destructive fool.
Kate just wanted to be loved and for me to say something to let her know this. To break free of my insecurities and to be part of the family. SUBTEXT.
We performed the piece again, this time, replacing the written words with the thoughts, the feelings of the script.
B. Leave me alone
B. Fuck, fuck, fuck
B. We've been through this, and for some reason I still can't apologise
B. I want out of here
I want to study these more side by side, the importance to have a story, truth behind the words can't be expressed.
B. Out
A. Are you ok?
B. Yeah, fine.
A. Shouldn't we talk?
B. What About?
A. You know what about.
B. What do you want me to say?
I was B, Kate A.
Paired up with kate, we had to create the details of the piece, SUBTEXT. Subtext gives you meat on the bones of the words, without it, the words have no power to affect.
This was my best performance so far, my best acting. It was OUR best acting. It's important to be relaxed and confident, to have no fear, the audience will feed of this. It was "Intense" said one. "Excellent, excellent, excellent" were the words to describe the scene.
My character felt trapped by the baby in the relationship with my wife of three years. I don't know how to stop the way I'm feeling, I know it's wrong, but I can't stop it. Self destructive fool.
Kate just wanted to be loved and for me to say something to let her know this. To break free of my insecurities and to be part of the family. SUBTEXT.
We performed the piece again, this time, replacing the written words with the thoughts, the feelings of the script.
B. Leave me alone
B. Fuck, fuck, fuck
B. We've been through this, and for some reason I still can't apologise
B. I want out of here
I want to study these more side by side, the importance to have a story, truth behind the words can't be expressed.
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