Time_Place_Space#3 (2004): AIT Arts, Adelaide AU
Australian New Media Arts Residential Laboratory
20 Australian participants were invited and facilitated by three international and three Australian artists: John Gillies, Marianne Weems, Clare Grant, John Cleater, Lyndal Jones and Teresa Crea.
Time_Place_Space is a national initiative that aims to challenge, invigorate and strengthen the area of hybrid arts practice in Australia, with an emphasis on performance. Each of the Time_Place_Space residential laboratories is designed as an intensive workshop during which participants are engaged in a range of practical collaborative exercises and critical discussions with peers and facilitators around notions of hybrid practice. TPS3 is co-curated by Sarah Miller, Fiona Winning and Julianne Pierce.The first week of the laboratory tends to focus around a more structured program of activities and facilitator-led, whilst the second week is more oriented towards self-directed activities within a framework of support and feedback. In the case of TPS3 Lyndal Jones led workshops for the first 11 days, leaving 3 days for 'playful' open collaborative exchange and 1 day for presenting. It was in those 3 days, that I was able to best harness my energies and the available resources.
Highlight: Meeting New Collaborator Lawrence English New Media/Music Composition/Production
Whilst the laboratory component of Time_Place_Space tended to focus on process, practice and content, as opposed to product, the initiative has had far reaching outcomes and long-term goals. These include seeding and supporting new collaborations and works that have the potential to tour nationally and internationally, building national and international networks of artists, curators and presenters, broadening and diversifying audiences, and establishing an international reputation for Australian artists working in this area of practice. As a participating artist, it has enabled a focus on process and dialogue and it has facilitated the sharing of knowledge, experience and resources. I was particularly curious and inspired by the work of Lawrence English. We explored ideas deeply, but experimented with irreverence, and therein a natural creative process emerged, or rather converged, and we saw glimpses of brilliance amongst the mishap. We decided to continue our creative exchange on aquatic-themes at RawSpace New Media Residency 2005, Judith Wright Performing Arts Centre, and by producing public presentations for River Fest, and the experiment Petrification for the ARC Biennale. Lawrence also produced an Immersive Soundscape for my major aquabatics exhibition Walking with Water at the Maritime Musuem, Victoria Quay, WA 2005.
Sarah Jane Pell and Martyn Coutts collaborate at Time_Place_Space 3 (T_P_S3), AIT Arts in Adelaide, AU 4-17 July, 2004.
Highlight: Meeting New Collaborator Martyn Coutts New Media/Movement/Production
I also valued meeting Martyn Coutts at TPS3. Coutts and I shared a clear interest in the indexes of live physical and emotional limits. We explored these interests through various independent and facilitator-led collaborative exercises at TPS3, and often in collaboration with Lawrence English and Alexandra Gillespie. We discussed techne that could magnify co-existent actual and virtual live performance presences over longer durational improvised performance. It was apparent that we were also each looking for ways of sanctifying a space or a meditative, reflective, personal and contemplative zone to consider points of inclusion and exclusion with others. Coutts was interested in the capture and relay of closed circuit surveillance technologies in performance and I was interested in the closed circuit reciprocities and choreographies of the body. We decided to collaborate bringing together two independent bodies of thought and practice to explore encounters through closed circuit technologies and live movement-based mediated performance. We then reflected on strategies and scenarios that would allow us to reveal moments where we communicate, or not; connect or separate; engage or disengage; separate and or unite; become visible and or invisible, through a ritualized dialogue of presence and absence between an audience and us, specific to our time, place, and space.Using closed circuit technologies and independent choreographies of the two independent bodies Coutts and I decided to explore the inverse or reverse space between us post T_P_S3. We wanted to research an altered tactile, aural, kinesthetic, postural and technological difference to normal biological performance and existence through the proliferation of spaces either encountered or created. Could we move from an investigation of an ineffectual life-support systems or distant information circuit between two peoples and technologies to find the other in this performance scenario? Could we ‘actually’ Interdepend? Our ideas led to a follow-on ArtsTAS New Media Residency 2005 with the support of King Street Arts Centre, Perth, Spare Parts Puppet Theatre, Fremantle and Commercial Pacific Divers to create Interdepend. While the peice didn't tour or reach audiences, the idea was sufficiently realised to demonstrate a critical bio-political-edge and an enchanting human exchange. The work has been widely written about and included as part of a cultural artefact Cosmic Interdependance launched into outer space in 2009.
Attendance was made possible with an ArtsWA Artflight Grant assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and is supported by the Visual Arts and Crafts Strategy, an initiative of the Australian, State and Territory Governments.
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