http://grannyludski.wordpress.com/
At Home with the Ludski's #9: Voyage and Return
It happened! The London premier of I Am Still Within You since the new arrangement of the score for vocal harmony by Marcus Davidson, with a film projection designed for his composition by Kam Wan. I was accompanied by the singers Alexandra Anzemberger, Sharon Bowen & Maddy Cullen.
http://grannyludski.wordpress.com/
http://grannyludski.wordpress.com/
June Twenty-First
Dillan Marsh presents the exhibition June Twenty-First at Entrée. As the title suggest the opening will be on the summer solstice, inviting you to participate in the marking of the longest day and shortest night of the year. In an immersive construction Marsh is activating a number of rituals and he employs commercial tactics like repetition, speed and distraction. The title is fixing the exhibition to a specific time and examines how we relate to the larger systems we are taking part of through participating in smaller events. Entrée finds itself re-branded and built into the concept of the work on show. Join us for June Twenty-First at 8pm!
Following the exhibition is a new Apis Press publication by Bjørn Mortensen with texts by Eleanor Clare. The exhibition will also contain a new edition of prints from collaboration with Patrick Wagner.
Dillan Marsh (b.1980, UK) lives and works in Bergen where he graduated from Bergen Academy of Art and Design in 2011. He has participated in exhibitions and projects internationally including Sculpture Space, Utica NY, Tag Team, Bergen and Künstlerhaus Dortmund.
www.dillanmarsh.com
www.entreebergen.no
mybeautifulson with Zena Blackwell
Bmybeautifulson is a web-based collaborative work by Zena Blackwell. It was originally devised for Art Lab #1 Bern which was opened out as an opportunity to exhibit, collaborate and co-curate by Olivia Notaro. Here is my addition to the whole.
Low Lying Cloud Shelter
PAB performance meeting 04.05.2013
Sydnesplassen and around, Bergen.
Raindrops patter on plastic, which is a protection. It makes me feel safe. The wind is blowing this large sheet of plastic away, but I hold on tight, even though by the end it is falling apart. Sometimes it obscures my vision, and I can't see other people's faces. That's OK.
Elisabeth Færøy Lund was my sole companion for the duration of this event. She states that she is in a constant search for 'the moment of movement.' As I perceive it, she creates sensitive improvisation, responding to her surroundings and those she encounters.
Sydnesplassen and around, Bergen.
Raindrops patter on plastic, which is a protection. It makes me feel safe. The wind is blowing this large sheet of plastic away, but I hold on tight, even though by the end it is falling apart. Sometimes it obscures my vision, and I can't see other people's faces. That's OK.
Elisabeth Færøy Lund was my sole companion for the duration of this event. She states that she is in a constant search for 'the moment of movement.' As I perceive it, she creates sensitive improvisation, responding to her surroundings and those she encounters.
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| photo by Kiyoshi Yamamoto |
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| photo by Kiyoshi Yamamoto |
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| photo by Kiyoshi Yamamoto |
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Elisabeth Færøy Lund - photo by Kiyoshi Yamamoto
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Glasgow Buzzcut
My Horn is a Chalice will be installed as a sound installation for the duration of the //BUZZCUT// festival of live art in Glasgow. In contrast to previous installation sites, this time the work will be installed in a large disabled toilet in the bar on the Mezzanine level of the venue, The Old Hairdressers. The sound installation will be accompanied by a written text to take away. The two works, situated together in the toilet as they are, are designed to push connections between (amongst other things) ideas of the spitual and the earthly. And of course their site is one in which the spectator may be in a position ripe for contemplation.
A mono version of the installation is here:
A mono version of the installation is here:
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| Eleanor Clare |
My Horn is a Chalice
I am enamoured with the beauty and mystery of the unicorn. I must confess - it is a rapturous crush. I am carried away.
A threshold; a journey through time and space. A transition of state of mind or atmosphere.
In medieval times the unicorn was represented in apochryphal tales of the divine conception, and then in the Renaissance as an allegory of courtly love. It is believed that its wild nature only becomes submissive in the presence of a virgin, where it will nuzzle up to her and gently lay its head down in her lap - at which point it is also vulnerable to capture. Other beliefs are that the horn has healing properties, against poison and also as an aphrodisiac.
I realised this work as a sound installation for the exhibition The Ghost in the Machine situated at St Mary's Old Church, which dates back to 1563. The piece was situated in a small vestibule, which lead from an entrance to the church that was commonly known as 'The Poor Door,' and which also lead directly into the Vestry. I felt that this placement of the work resounded with my original intention.
Andrew Dickens sound engineered the piece.
I am enamoured with the beauty and mystery of the unicorn. I must confess - it is a rapturous crush. I am carried away.
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In medieval times the unicorn was represented in apochryphal tales of the divine conception, and then in the Renaissance as an allegory of courtly love. It is believed that its wild nature only becomes submissive in the presence of a virgin, where it will nuzzle up to her and gently lay its head down in her lap - at which point it is also vulnerable to capture. Other beliefs are that the horn has healing properties, against poison and also as an aphrodisiac.
I realised this work as a sound installation for the exhibition The Ghost in the Machine situated at St Mary's Old Church, which dates back to 1563. The piece was situated in a small vestibule, which lead from an entrance to the church that was commonly known as 'The Poor Door,' and which also lead directly into the Vestry. I felt that this placement of the work resounded with my original intention.
Andrew Dickens sound engineered the piece.
Cod Piece: A Split Tale
Cod Piece: A Split Tale is a performance video projection. The music was produced in collaboration with Fyn Wyre.
The 'narrative' focuses on the dual character of the Siren/Mermaid (Sea Weed Woman) and the Cod's Head, who exists in the position of a cod piece, beneath her skirts.
Shown 27-30th January 2011 at the Bargehouse on London's Southbank
A short excerpt of the video is shown here:
The 'narrative' focuses on the dual character of the Siren/Mermaid (Sea Weed Woman) and the Cod's Head, who exists in the position of a cod piece, beneath her skirts.
Shown 27-30th January 2011 at the Bargehouse on London's Southbank
A short excerpt of the video is shown here:
sea weed woman rises up from the murky depths of the mind of the artist
She is something like a mermaid or a siren.
She has long blonde hair and a flowing gown of sea green and blue.
Her lips are blue and swollen to monstrous proportions; her complexion is pallid.
Beneath her skirts, situated in the position of a cod-piece, is a cod's head.
Her songs are designed to lure us.
She rises up from the ocean; she floats upon the dark waters of the lake at the bottom of the mountain; she appears at the cliff's edge.
This much I could tell you about the character I had been developing for my video, 'Cod Piece: A Split Tale.'
In early December, I got together with Sam Timms, a theatrical make up artist, and Anna Lytridou, artist, for a photo shoot.
Hellebou book launch
The launch took place in a building formerly known as Bergen Kampsportsenter (Bergen Martial Arts Centre). It has now become a home for the fine arts - encompassing artist studios and exhibition space. The event was held in an area that previously hosted a boxing ring - a fascinating space for performance. The building still retains many clues to it's previous existence, from the 1920's style ceiling fan to the mirrored walls and wooden barriers that articulated the space for it's original purpose.
The night featured spoken word performance and music. As I entered the party, Dig Deeper were just about to entertain us, and just before I left, the seven piece country orchestra, Empty Bottles & Broken Hearts played us out...although I'm sure the revellry continued way into the night. A recording that Empty Bottles and Broken Hearts made during their stay in the Cabin for the residency can be seen here
This year the book was produced as a sleek black volume, which included two 7" vinyl records inserted into the front and back cover. The recordings included an ethereal piece by Tim Tygg that slightly reminded me of traditional Japanese music, and a 6.22 minute sound piece entitled 'digging a hole OST" by Skrekker, whose mysterious image is on the cover of the book. It seems fitting to choose vinyl as the means of recording the sound pieces when considering Ellen and Johanne's initial drive to start the residency programme. As they say in the introduction,
'Hellebou had lost it's original function and was mainly used for storage space. With a desire to revive and reuse the cabin, we turned it into an artist residence.'
It is, I think, the element of nostalgia which infuses the cabin, that makes the choice to produce the sound in vinyl relevant. During my stay with Dillan Marsh, the vinyl collection left there, which spanned from the late 60's to the early 80's was what kept us company late at night, the warm fuzzy sound of the old record player filling the cabin with the music of previous generations.
Much of the visual work produced for Hellebou, photography, performance documentation, drawing & text, reflects upon the environment of the cabin in the woods. Each book contains a pressed plant, the work of Inger Wold Lund which verifies each publication as one out of an edition of 300.
The work Dillan and I chose for the book were two dyptichs, represented in the book as two double page spreads. We decided that the figure within the photos should only ever be partially revealed. The aim was to indicate physical human presence and action, but not to be specific about identity or character (as in a portrait). We included an image of the tree tops in the sky, as it suggested to us the vastness of the world outside the cabin – what it was to be open to the elements. The images remain experimental, as we had not made a concrete plan of how we wanted them to look, and of course we both had our separate way of seeing things. It was a process of discovering how our individual ways of working could come together. The final stages of editing were a time to make sense of what we had done, and what we had drawn from our time in the cabin.
Hellebou Vol II is currently available through mail order by contacting hellebou@gmail.com or in Norway at Robot, Apollon, Norli Galleriet (Bergen) and in Tiger (Oslo). The price is 120 NOK // 15 € // 12 GBP.
More about Hellebou
Hellebou - residency and collaboration
During our time in the log cabin, we aimed to produce collaborative work that in some way reflected our experience of Hellebou. We had been talking about working together for some time, and this seemed to be the right opportunity. The theme that brings our work together is the notion of staging, in Dillan's case through the creation of 'a set', and in mine through 'the performer', both in some readiness for 'the show'.
FFI dillanmarsh.com discoco.net hellebou.wordpress.com/
As soon as we stepped foot in the cabin, we could see the enormous potential it held for still life and staged visual set ups, using what was there. We were already feeling inspired by the stories that the owner had been telling us while she drove us up to the woods. These tales were the true history of the cabin, her childhood, and how her father had built it for himself many years before, interspersed with stories about nearby dwellers and of course the folklore that surrounds the area. We were touched by the sense of nostalgia that the space evoked.
From the still lives we realised that we needed to work more specifically in our individual ways. Dillan became the documenter, and I became a part of the picture. Three different areas became the site: the porch, the inside and the deck. We thought about building, DIY, survival, homemaking, keeping warm and comfortable.
So...feeling inspired by the CD of haunting music that came with 2009's Hellebou artist's book, we set about our work. Here are a few photos that didn't make it to the final cut...those that we liked, but didn't quite work with the format of the book. The final piece can be seen in the book, and more photos will be available on the Hellebou blog later in the year. We are also hoping to produce work for the launch exhibition in Bergen.
So...feeling inspired by the CD of haunting music that came with 2009's Hellebou artist's book, we set about our work. Here are a few photos that didn't make it to the final cut...those that we liked, but didn't quite work with the format of the book. The final piece can be seen in the book, and more photos will be available on the Hellebou blog later in the year. We are also hoping to produce work for the launch exhibition in Bergen.
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Thursday 29 October 2015 6-8pm, Edinburgh Sculpture Workshop Join us for a one-night exhibition of work produced by artists Dillan Marsh...
