Kaffe Mattews – you might come out of the water every time singing

Sitting on the edge of a pontoon my feet dangling off the edge into a dim abyss. Though in my equally dim mind I know that the solid floor is inches away from my feet. I am staring at my feet and I am surrounding, enveloped by shifting patterns of sound. These sounds generated by the data accrued from the behaviour of Hammerhead sharks that inhabit the waters of an island I shall never visit.

The varying sound tumbling around me in pitch and speed, gives me a duality where I'm both part of this environment and its centre. Attempting to avoid the cliché for listening to sound art I keep my eyes open. The next time you experience a sound piece look for people doing the 'sound art pose' – eyes closed, head cocked to one side. My reason for this is that like all installations, a sound installation should alter my perception or experience of the space in which it is installed.

I'm laying on the platform now, looking up at the four green lights and a trench that forms part of ceiling the gallery space. The sound passes from speaker to speaker indicating that invisible, partly physical thing are circling the space.

Then the rumbling kicks in.

The platform begins to vibrate; it begins to vibrate my vision. It's not an entirely unpleasant experience but it is akin to being drunk, on you bed waiting for room to stop spinning. Something which is at one thrilling but you want the sensation to leave you so you can return to a sense of normality. A mixture of laying on my back and the rolling thumping sound has disoriented me.

Having already though about writing about my experience words begin to rush in. Really hard-core pretentious stuff like: 'What fire could recall the firmament' and 'How can you code the seas'. Then I realise there are meant to be sharks here swimming in the either, but there isn't. What I am experiencing here is movement transformed in data then transformed into sound. An attempt to comprehend nature as right, as abstract, as a diagram in a book.

Then I begin to consider is the enveloping sound really that abstract. It feels as much as an amplification of the world around you. The movement of others, the lives of others, if you can spend a few moments stand at the top of the stairwell. Looking at the people walking around the space below and see how it tally's with the sound.

Somewhere within the swirl of sound I began to think about how in our species attempts to catalogue the world still points to something unknowable. Something elusive in the actions of the creatures which inhabit this planet from: apes to bacteria. Maybe it is this experience of the unattainable that makes us delve deeper into the unknown. To listen out for the song that is referred to in the title of this piece.

Kaffe Matthews installation is currently part of the Galapagos exhibition at The Bluecoat until the 1^st July

http://www.artistsvisitgalapagos.com/

http://www.kaffematthews.net/

Prometheus

Well it's been a week since Prometheus landed Ridley Scott's return not only to the Alien franchise but to science fiction. The film not unlike George Lucas's return to the Star Wars universe has seen some frenzied fanboy action who've been waiting 30ish years for Ridley to get back to the future.

Thirty years that's plenty of time for people's ideas and beliefs about a film, and what a film should be to become quite ingrained. Even Scott who was responsible for so much of what we would expect from any film connected to the Alien franchise would have a mountain of expectation to climb. Despite Scott being the drive behind Prometheus, as he appeared haunted by the hollow eyes of the 'space jockey' and its role in the creation of the xenomorph.

As Scott is drive behind Prometheus it's only natural that his influences and sensibilities' will show through. What do I know about his influences? Well I believe that one of those influences to be the work of Moebius and comics like Metal Hurlant. From the opening 'sacrifice' scene where a unidentified alien destroys himself leaving bits of its DNA all a familiar looking landscape, before skipping millennia to a group of futuristic archaeologists. Somewhere around this point I wondered if I was watching a live action version of a Moebius strip. It seemed that Prometheus would be a grandiose, sometimes queasy, mixture of ancient mythologies and futurism often found in comics of the 70's.

Like these comics, Prometheus is a bit of a fantastic mess. It has plot holes that you could fly the Nostromo through. It also has several competing plot strands; this element invoked a comparison with David Lynch's Mulholland Drive. Mulholland Drive being an unmade TV series mushed into a film leaving a few stories untold. Of course Scott's films aren't always celebrated for their plots. The film seems to breeze through characters, or does it? Comparisons between the crew of the Prometheus and Nostromo can be drawn, though the crew of the Prometheus are meeting for the first time and therefore don't have the shared experiences and the petty grievances of the Nostromo crew.

The exception would be Fassbender's David who is pretty much the focus of the film and thanks to the behaviour of pervious androids (expect Bishop) we know that androids are sneaky and not on your side. Preferring to tow the company line and admiring the alien. Having an android at the centre of the film does invite comparisons with Blade Runner, though the androids in Blade Runner are much nobler then the ones in Scott's Alien universe. In both films androids have disappointing encounters with their creators.

All that aside what has Prometheus brought to the Alien franchise. For me it has brought of back a sense of Freudian unease to the alien. When characters become infected by the alien there is an undercurrent of a sexual act being forced upon them. The character of Shaw herself is infected through 'normal' sex in the ultimate corruption of human reproduction. This corruption of reproduction and therefor a corruption of humanity lies at the core of what makes the alien scary. Killing you out right isn't enough, especially if it can infect you and force you into becoming the genesis of some other vile creature. You can see my point when you are confronted with the possibility of giving birth to a squid baby, a squid baby that has eyes that shoot tentacles.

Prometheus is uneven, but it is ambitious and tries to deal with everything from the parent/child bond to the ultimate question of why are we here. Maybe not successfully but after a week I'm still thinking about it where with some blockbusters I've forgotten them on the walk home.

PS. I saw it in 2D.

Galapagos, The Bluecoat - Liverpool

I am sure I am not alone in doing this but when I wonder around exhibitions making seemingly random connections between the work on display and my own experiences. One of these connections happened while looking at The Bluecoat's current Galapagos exhibition, where I was reminded of a novel I had read I few years ago called The Traveller in Black
by John Brunner. This was a fantasy novel wherein the titular Traveller in Black is charged with bringing order and reason to a world of chaos and magic.

Why would this fantasy novel spring to mind, when the twelve artists involved in the exhibition have rooted themselves within the real world, within the physicality of the Galapagos Islands themselves. It may lay in my perception of the islands themselves, which provides a kind of link to The Bluecoat's previous Topophobia exhibition. The associations between the exhibitions between Brunner's book and the exhibition may have been triggered by Alexis Deacon's sketches of the creatures that dwell of the dream archipelagos.

Within Deacon's rather beautiful drawings there is the reminder of a time when 'here be monsters', things that existed just beyond the horizon, monsters which disappeared into fiction as Europeans expanded their influence across the globe. The islands saw their first European visitors in the 16^th century who saw nothing of worth in the islands, outside of providing a rich source of protein in the form of Giant Tortoises. So this pragmatism is counter to the image I have of sailors struck in awe at the creatures living on the islands. Though I have to wonder what the sailor Thomas Chappell saw that caused him to burn one of the islands in 1820.

Maybe this marks the point the starting point where the European idea of reason conquered though exploration and categorization the realms of mythology. Like Brunner's titular hero's quest to bring everything to a single nature. A process that continues to this day, when confronted by Dorothy Cross's hovering whale spine, their first reaction is to assume that it is the bones of a dinosaur. Rather than the bones of some forgotten giant species. I also wonder if this speaks about our perception that we are the top of our evolutionary tree and therefore there is nothing 'bigger' then us currently on this planet.

Taking that supposed place on the top of the tree, eventually humans settled on Galapagos. Their lives and settlements becoming fodder for the exploratory photographs of the likes of Paulo Catrica or even falling under the critical eye of the islands true inhabitants such as The Blue-footed Booby (with the help of Marcus Coates) who sees nothing special in the lives of humans. I guess what we can take from the progression of reason is that we aren't as separate from nature as we seem, and within the ecology of the islands we see ecology of our selves.

I've also written a piece about Kaffe Matthews sound installation read it here

http://confusedguff.blogspot.co.uk/2012/06/kaffe-mattews-you-might-come-out-of.html

http://www.thebluecoat.org.uk/events/view/exhibitions/1255

http://www.artistsvisitgalapagos.com/

Where I’m Anymore…

This was a piece I wrote as a companion piece to this http://www.thedoublenegative.co.uk/2012/02/no-map-for-this-territory/ which in turn was about the recent Topophobia exhibition at The Bluecoat….

Where to begin, where do I position myself to begin writing. It's problematic. Especially when the subject you want to talk about, in this case the Topophobia exhibition at The Bluecoat, which itself deals with the shifting definitions of space and place.

So where I am? (Or should that be where was I?) Well this piece was initially written in The Bluecoat Gallery, to be more precise Gallery 3 of The Bluecoat. That's the room at the back with the really big windows, where the orbs of Polly Gould sit quietly and look out on the passers-by.

It seems apt to start here, in a place which a mere four years ago not exist in this state as it was created during the gallery's two year hibernation. Which leads into the other reason, it was in that period of hibernation that saw the 'arrival' of Liverpool One, a large retail development which has become to dominate this part of the city.

Looking out into the street I wonder if this is an example of what Marc Augé termed super modernity. A space or place which is as once familiar, but holds no meaning. A place which has no evidence of human permanence, the little echoes of humanity, yet. In a slight digression a place like Liverpool One also highlights, if inadvertently, the economic, social and political forces that shape a city. Also how the ambitions of a small group of people can have on the wider population.

Why have I wittered on about retail development (a subject I know very little about) well spending time in Gallery 3 it hard not to see a bleedthrough between exhibitions themes of displacement of the reduction of meaning which leads to feeling of anxiety and the space immediately outside the gallery space. Though I am not sure which is bleeding into which.

Perhaps it's just being in the Gallery 3 space with it large aquarium like windows which offers me a view on the people passing by which makes me reflect on the transient nature of the space that surrounds us. This in turn makes me reflect on the transient nature of the space I inhabit.

Surely to some degree this gallery is a non-place. As much through necessary for a gallery space has to be accommodating to the art which flows through it. A sympathetic shell, a contemporary gallery in the broadest sense of the world.

Are the spaces of The Bluecoat and Liverpool One a model of how we live in the world? To understand that nothing is permanent, that everything is open to change. These shifting, intermediate spaces have existed in one form of another. Ever since somebody set up an artificial border (a hedge of fence) and claimed that this land is different from all the land which surrounds.

This claiming of ownership of land can be considered the origin of where our concepts and landscape and place. Is this where our anxieties about place stem from? This supposedly setting of physical boundaries created a set of undefined boundaries between commerce and culture. For centuries the idea of a place was in part set by the people who wanted to or could afford to, little interest in with we would consider 'landscape painting' until land owners wanted to be able to show off their lands without taking people there.

What has this got to do with The Bluecoat or Liverpool One, well for one it shows the artists role in defining or exploring our notions of place. Only now these definitions are as much up to the individual as much as they are to the culture, perhaps our modern definitions of place arrive from shared experiences rather than solely physical limits. Would it be better to consider these apparent non-places such as Liverpool One, chain stores and even perhaps contemporary galleries (though I haven't mentioned it before the internet) as the canvases, stages on which we become part of a collective experience.

Of course from my removed position (once in Gallery 3, now elsewhere) I can't offer definitive proof of this, but it is something to consider the next time you pop into a gallery or even Tesco's or Starbucks.

The exhibition will tour to the Spacex Gallery, Exeter from the 12^th May

www.spacex.org.uk

www.topophobia.co.uk

TiLT Dance Platform Night 2, The Kazimiar Liverpool

This article is a follow on to this article written for The Double Negative http://www.thedoublenegative.co.uk/2012/04/tilt-the-kazimier/

Once again I find myself heading towards the Kazimiar, on a cold yet bright evening. My mind is set upon differences at the end of last night we were promised a fresh programme. Therefore should I expect a different atmosphere or should I expect the same mix of the tired and untested. Guess I'll find out soon.

Somehow I find myself being the first one in and after a few cordial hellos I notice someone manipulating inks on an overhead projector to the strains of an electronic score. All very UFO club. This is tonight's overture, though I must say I preferred last night's quiet acrobatics. It provides an unobtrusive backdrop to idly scan the audience, it seems a different mix to last night though there are a few familiar faces there.

I also note there is a familiar face in tonight's programme.

Tonight is already feeling slightly slicker and it's not long before the first act enters the arena. Two dancers (performing under the name dt.Ellipsis') enter the space and begin performing accompanied by Jurassic 5's 'Lesson No.6', I mention this because this section of the performance just seem to mirror that kind of cut 'n' paste approach, the dancers skip to one style another. The music changes and the dancers settle into another rhythm it's during this section of the performance that the dynamic between the performers becomes clear. Their interaction, the way they counter and complement each other is something which is always exciting to watch.

Later I check the programme and it confirmed that this performance was indeed about the interplay of two performers. That was evident through this piece.

The reason I have to check the programme at a later point is because there's barely a moment before into the space there enters four white clad figures. They take the stage for a brief, energetic and somehow earnest performance. Whether it's brevity of Jordan Mullinger's piece I feel I can't offer more.

Already I'm seeing a figure at the top of a flight of stair indicating their readiness. The lights go out and a projection begins, a figure walks across marshland, this figure is soon edited into a jerky, jumping dance. This ends and a solo dancer enters the space where she begins to performance a series of measured, controlled and repetitive movements all in the air of the buzzing, clicking Ryoji Ikeda like soundtrack. Her considered movements provide a counterpoint to some of the more frantic performance I've seen. As much as dance might be about the expressive freedom of movement, it is surely as much about the individuals dancers control over those moments, the control a dancer has over there body. That's the sense a get from watching this dancer. Even when she's joined by a second dancer and the pace increases, there's still that sense of control running throughout the performance. While watching this performance a small voice in the back of my mind whispers 'Merce Cunningham' and that's not a bad thing. The piece ends with a repeat of the video which began the piece, which was intriguing but I wonder if this video could have been better integrated into the piece, it does seem a minor point.

It's interval time; I get the chance to read about the pervious performance, which was Tender by Joe Lott Dance. It's time for reflection. It's been a breathless first half. Without any pauses the acts have come on one after another. It's provided the evening with a drive and energy that seemed to be absent from last night, thought that drive does threaten to blur the performances into one lump. Still I don't know what to expect from the second part of tonight.

Well I already know that due to injury Marc Saad will not be performing. Instead we are going to be treated to an impromptu performance. During the interval the stage has been readied, a set of drums have been splayed across the space. It transpires that this is the duo of Hollie-ann Coleman and Lucy Mercer who 'opened' last night's event. It starts with Lucy and her guitar and Hollie-ann responses to lights concealed in the drums. What is evident is the rapport between the girls on stage, which makes for a pleasing addition to the programme. Though there's a part of me that question how impromptu this is, the romantic in me likes to think that what I'm seeing is spontaneous.

For the final piece we are given a repeat performance of Collaboration which also closed last night. I whole I still feel the same about the piece as I did last night. You can see the potential in this piece and I hope to see its development. Oddly though it's the piece that feels the most unfinished, but that's the nature of this beast?

Regrettably due to being a slave to public transport I have to miss the band Taara.

It has been another night of strong performances thought this night has felt more focused. I might be repeating myself, this platform points towards a core of performers and curators who are willing to share their enthusiasm for their chosen artform. Hopefully this will go some way to strengthen Liverpool's reputation for dance and live art in the north-west and beyond. It's an ambition we all should support.

www.tiltdance.co.uk

New article for The Double Negative

http://www.thedoublenegative.co.uk/2012/04/tilt-the-kazimier/

Samantha Donnelly: Contour States – Cornerhouse, Manchester

Starting at the top, the first piece I come across is what appears to be a curtain of masks, hanging, shedding off the wall. The acclamation of dead skin cells and therefore linked to thoughts of aging and deterioration. Thanks to a misreading I pay proper attention to the piece's title, which is: As You Shed Your Beauty We Will Continue To Project. So far, so reasonable.

Moving to another piece, where I'm greeted by an arced partition of corrugated Perspex, only it isn't that simple. Though there's a strong sense of physicality, I'm lost in the adornments. A large nugget floats in the air; a reproduction of the Venus de Milo sits on a plinth strung with a line of knotted elastic bands, two straps stretch from the floor to the ceiling. Two Polaroid's of the sculpture sit on a mirror, reflections on reflections. Oddly after finding out this pieces title Illusions of Supersaturation I begin to understanding what's happening. Maybe the individual objects have no individual meaning but they are reprehensive of information overload, but it hard for me to separate the use of materials with meaning. Or who you read a piece.

Like with the sculpture which shares the space with Illusions of Supersaturation , Contortionist which features tights stretched over wooden poles, along with fleshly lumps of latex growing at the end of tubes. Rightly or wrongly I read it as a piece which references the human body as machine as sexuality, especially female, commodifed.

At some point between seeing these pieces and the other pieces I come to terms with what's happening with these assemblages, and the way I do that is through J.G Ballard. I can feel you rolling your eyes from here. It's while looking at the juxtaposition of what looks like chicken skin and spilt nail varnish, or to give it is proper name: Circular Fictions and Absolute Truths. I realise that these sculptures are not unlike assemblages or collages created by many character in Ballard's fiction. In Ballard's fiction you often find a character who attempts to deal with the influx of contemporary life, or succumb to the apparent psychosis of contemporary life, by selecting random images or to create a new meaning one that is solely their own. The prime example of this would be Ballard's The Atrocity Exhibition.

Away from Ballard I do wonder the paradoxes within Donnelly's work. In presenting work with reflects the fractured and multi layered world is she attempting to point to something outside of that world or is she simply adding to it. I am unsure; on the whole the work has a feeling of things in flux of the possibility of change. To attempt to understand such a shifting a change landscape in which we live in, will always prove problematic and interesting. In having abstracted an already quite abstract world it feels like Donnelly has created a world which is just out of sync, or from a future 5 seconds ahead of us. Where meaning can mean anything.

http://www.cornerhouse.org/art/art-exhibitions/samantha-donnelly