PALS Play Tag! Part Three: Norway-Finland-Sweden

Representing Performance Art Bergen with the performance Nykkjen Belar te Heiemo: The Bale of Charm at Performance Art Links' event held at Fylkingen, Stockholm

Nykkjen Belar te Heiemo: The Bale of Charm performance for PALS 27.11.2015 from Eleanor Clare on Vimeo.

About Time Festival Leeds: The Travels of the Toucher

An exhibition by Eleanor Clare & Dillan Marsh at Assembly House, 20/11/2015 til 28/11/2015 

With cardboard boxes over their heads, and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The forms were destroyed and remodelled – the possibility to reform them was always there. It was a way to get to the thing. Read more...

untitled collage: Dillan Marsh & Eleanor Clare

Two Poke Holes and the Art of the Toucher

Thursday 29 October 2015
6-8pm, Edinburgh Sculpture Workshop

Join us for a one-night exhibition of work produced by artists Dillan Marsh and Eleanor Clare during their time on Micro Residency. Read more...

Yorkshire Sculpture Park Visiting Artists 14-29th July

Visiting Artists Dillan Marsh and Eleanor Clare on their time upcoming at YSP

Dillan Marsh and Eleanor Clare, both based in Bergen, Norway, will be visiting artists at YSP from 14–29 July 2015. They will be using their time to research connections between sculpture in landscape and ancient monuments. read more...

 

Approaching Materials text published by FeltActs

Image: Kam Wan (2011), 3 hours 16 minutes; 1 hour 8 minutes; 8 hours 3 minutes

Eleanor: As I understand, you bring the discussion to a consideration of how scenography – the material which creates the site and conditions of a performance – is interconnected with the action of the body. Material acts upon the body, and vice versa. The description of Bayram’s Autonomous Scenography suggests that the interplay between prop and body may lead to what may be perceived as a melting of borders, an openness to the idea of a transformation – of solid entities (and identities) merging in and out of one another, becoming and dispersing, forming illusion and, just as fast, allowing it to fall away. I was captured by the image of the pearl of sweat dripping upon the cardboard. read full article here

Edinburgh Sculpture Workshop Micro Residency

Link to Edinburgh Sculpture Workshop Micro Residency

Eleanor Clare & Dillan Marsh "Comedy & Tragedy"

Micro Residency Artists 2015/16 Announced!

7 May,2015

We are delighted to announce the artists that have been selected for the Micro Residency  2015/16 Programme.  Dillan Marsh and Eleanor Clare will begin their residency this September followed by Hannah Lees, Katrin Hanusch and  Mark Essen.

Dillan Marsh and Eleanor Clare

Our methodology is to collect visual and written material, and from this to create new text, image and object works and performance.  We assemble the new work with selections from the collected material.  Our aim has been to explore how text and practical work affect the development of each other, and how the more reflective nature of the research process is interwoven with the driving force of art making. We are concerned with the action and origin of the creative drive.

PAB NÅ 1

Gillian Carson, Eleanor Clare, Jan-Egil Finne & Henrik Koppen perform at PAB NÅ 1

Art Lab # 2 | fama_fame

Eleanor Clare & Dillan Marsh showing at Art Lab # 2 / fama_fame, ASC Gallery Window Space, London

http://famafame.tumblr.com/

#TABS - Temporary Artist's Bookfair

Deuxpiece present NEVERODDOREVEN at The Temporary Artist's Bookfair, Berlin.




NEVERODDOREVEN by Eleanor Clare & Dillan Marsh

Grafter's Quarterly Issue II: Indexing Abstraction

Documents occupy a site temporally and topographically displaced from a thing documented. In coordinating this external point of consideration, documents evidence a thing - prove its existence - but also abstract from it, severed as they are from a thing's site of encounter. To what extent, then, are we able to say that a document is related to a thing documented?

This issue of Grafters' Quarterly explores documents' (non-)relationship to a conception of reality, the authority of History, and technologies of reproduction.
Documents occupy a site temporally and topographically displaced from a thing documented. In coordinating this external point of consideration, documents evidence a thing - prove its existence - but also abstract from it, severed as they are from a thing's site of encounter. To what extent, then, are we able to say that a document is related to a thing documented?

This issue of Grafters' Quarterly explores documents' (non-)relationship to a conception of reality, the authority of History, and technologies of reproduction.

This issue includes commissioned contributions from Endre Roalkvam Bye, Eleanor Clare, Moa Goysdotter, Esther Leslie, Salomé Voegelin, and Apichaya Wanthiang, alongside previously-existing work by Georg Bartisch, Michael K. Buckland, Liam Gillick, Rune Klevjer, Mohammad Salemy, Allan Sekula, Gertrude Stein, and Marc Vallée.  Founded & Edited by Tora Endestad Bjørkheim & Johnny Herbert.

Grafters' Quarterly is kindly supported by Arts Council Norway and Bergen Municipality.
Inquiries: graftersquarterly@gmail.com
Should you want a copy of Grafters' Quarterly, we can send one to you if you can cover the postage cost.