29 Oct In discussions with Anne Mager – Curator
We reached out to our exhibition curator, as we now have 20 + capes to work with as our raw material. I had a clearer focus after talking with Kimberly but have more work to continue around a means or system to measure the performance with a before/after gap analysis.
To Anne: We want to focus on how best to organise and frame the performance. When it starts/ends/how to record it from various viewpoints/sources/formal and informal performances. The capes are tools to enact something,allowing intra action to occur – though when not in performance mode we would like them to be displayed as a soft sculpture. We would value greatly input and direction from you now that we have raw material to work with.
From Anne: I think it’s an important aspect to display them as objects before/after the performances. Just some ideas on possible ways of displaying them:- a smaller selection of 3-5, on hangers or some other kind of holder system hanging from the ceiling – all of them on a rail to showcase the variety in colours and materials, a bit like this: https://artviewer.org/ed-atkins-at-cabinet/ (complete different project, but I like the idea of using costumes as an installation)I was thinking of the front area of the Clanbrassil venue for this.
We’ll definitely need permission from the performers regarding photo and/or film documentation.
I recently met Corinne Mazzoli, an Italian artist who also works with collective performances in public space, not in capes though but in colourful sniper-like costumes: http://cargocollective.com/corinnemazzoli/2018-The-Party-Wallhttps://www.youtube.com/watch?v=MBgn88jQBqs
Don’t know if this is helpful at all, but maybe it can give some kind of inspiration for the documentation.
From Susan: Lots of possibilities stemming from these wonderful examples, love the colourful yeti suits and how playful the children were with them. Being in the work as opposed to looking at it. Though having work on rails may also encourage people to try them on, and that appeals too. On Saturday I built a temporary installation in the studio with the capes using hanging and pinning, I was surprised by the new tensions altering the form. I have lined up the use of a drone for recording our work. Caoimhe is reaching out to a group that may be able to perform in the capes for us. See you Wednesday.
Notes to self: At this point I am relieved and excited by the vision that Anne has for the work, unknowns and all. She has not shied away from the changing nature of work, its like she sees the entanglements and possibilities in it – costume/display/performance/objects. In one corner of the exhibition adding a full length mirror and a few capes on a rail would encourage spectators into ‘trying on’ some capes. Photos could be shared via a hashtag on Instagram (Caoimhe’s suggestion).