Duration 9.40 mins.
In Kinships movement artist Claricia Parinussa was asked to examine three casts made for the exhibitionA Boy Stands...(Cartographies), looking for material connections to her body and what these documents present in isolation. The audience are also invited to do so with the casts that are on display The video is presented alongside the casts present in the video and the written reports that document the moments when these body parts were cast in thermoplastics.
A Boy stands...(Cartographies) ![]()
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...(Cartographies) is an exhibition of my continuing research project A Boy stands in for a rock or vice versa, exploring the inter-relations of the performing body and sculpture.This exhibition examines how touch and its resonance act as a visual gesture and as an integral aspect of making. Interrogating how as viewers we select and hold onto certain images through the duration of a performance.
The sculptural assemblages present were created through the collaboration of invited guests; poet Iain Morrison and design researcher Neslihan Tepehan, to witness excerpts of the performance installation A Boy stands...The guests were asked to carry out two tasks; firstly to choose a part of the performers body during the movement score to cast with medical thermoplastic. They were then asked to respond to a form asking for details of the cast made. After the cast was placed the performers continued their score, taking into account the material’s qualities such as heat to affect their interpretation.
Working with sculptural forms as a process to manifest moments lost or mark the viewers distance from the lived experience, the remaining sculptures and texts form a plural subjective voice, or fragments of multiple experiences.Through these invitations there is an attempt to preserve some materiality of the collective experience, a phenomenon not integral to performance but one that enables the work to extend its reach beyond limits of the work’s temporal nature.
Works exhibited:
(Cartographies) HD video. 7.18 mins.
Excerpts (Selected by Iain and Nesli) 7 Medical thermoplastic strips. Various sizes.
Excerpt Reports 1-3 A4 laserjet print, hand out multiple copies.
Kinships (a study) SD video. 10.08 mins.
Collisions. Colliding. Performance (1.12.17) 15 mins. (approx.)
Link to (Cartographies) video.
...(Cartographies) is an exhibition of my continuing research project A Boy stands in for a rock or vice versa, exploring the inter-relations of the performing body and sculpture.This exhibition examines how touch and its resonance act as a visual gesture and as an integral aspect of making. Interrogating how as viewers we select and hold onto certain images through the duration of a performance.
The sculptural assemblages present were created through the collaboration of invited guests; poet Iain Morrison and design researcher Neslihan Tepehan, to witness excerpts of the performance installation A Boy stands...The guests were asked to carry out two tasks; firstly to choose a part of the performers body during the movement score to cast with medical thermoplastic. They were then asked to respond to a form asking for details of the cast made. After the cast was placed the performers continued their score, taking into account the material’s qualities such as heat to affect their interpretation.
Working with sculptural forms as a process to manifest moments lost or mark the viewers distance from the lived experience, the remaining sculptures and texts form a plural subjective voice, or fragments of multiple experiences.Through these invitations there is an attempt to preserve some materiality of the collective experience, a phenomenon not integral to performance but one that enables the work to extend its reach beyond limits of the work’s temporal nature.
Works exhibited:
(Cartographies) HD video. 7.18 mins.
Excerpts (Selected by Iain and Nesli) 7 Medical thermoplastic strips. Various sizes.
Excerpt Reports 1-3 A4 laserjet print, hand out multiple copies.
Kinships (a study) SD video. 10.08 mins.
Collisions. Colliding. Performance (1.12.17) 15 mins. (approx.)
Link to (Cartographies) video.
This exhibition was supported by Basic Mountain and Edinburgh Visual Arts Awards 2017.
Marina City Pt. 2
Marina City Pt. 2 explores notions around physical and psychological moments of disembodiment. Using personal experience and appropriated movement the performance is seen as a visual essay presenting a lineage of actions and experiences that present the body as an active political tool and that maybe asserting your existence is as simple as jumping on the spot; I jump therefore I feel, think and act.
Music:
Future Sounds of London - Papua New Guinea
James Brown and the Famous Flames - Night Train Live at the Apollo 1962
Script for Marina City Pt.2
Photography by Maria Falconer. Performed as part of Dance Base Fringe festival 2016 Heads Up Programme
This work consists of two elements: a 15 minute looped audio installation and a live performance A nude descends into a Lump 8.1- 8.3.
The audio installation describes a series of movements that slip between actions grounded in the landscape surrounding the gallery and gestures that transport the listener to imaginary sites. The bodies described slowly find influence from their material and architectural surroundings, echoed in their actions or inabilities to form actions.
Originally conceived with Agambens text Notes on Gesture in mind. The work implements the galleries windows as a screen for the viewer to look onto. Collision and friction between the described gestures and live action allow for new ways of viewing the galleries site and the formal rhythm of Calton Hill.
Excerpt link
Voice: Kim Donohoe
A Nude Descends into a Lump (8.1-8.3)
Performance 07/05/16
Introduction Transcript.
Hello, Welcome, - Thank you for coming. My name is Mark and this is: Katie, behind me is Phillip and Carolina.
So behind me is the window display, part of the installation A nude descends and other Gestures.
So when I began writing the texts that make up this work I had always been aware of possibilities that each text could be performed, as well as being experienced through spoken language.
Tonight you are going to see A Nude Descends into a Lump (8.1 to 8.3)
- what you will see is us, as a group, trying to form movements and textures of a walk,
- a woman’s walk, as she descended the access ramp.
- a graceful walk, full of idiosyncrasies in her movements.
- so we are working from a memory, with barely more than an image to work from, trying to piece together this walk. So... we will perform 3 iterations of this walk. 8.1, 8.2 and 8.3
Photos courtesy of Erica Stevenson.