Our first stop heading south from the Schloss in Brandenburg was in Dresden, capital of the Free State of Saxony. Crossing the bridge over the River Elbe we both let out an audible sigh at the sight of the grand Baroque and Rococo buildings lining the waterfront. Later on in the hotel reading ‘Germany’ by J.F Dickie (TRNS 141) we found that this is a routine response for new visitors entering the city, in fact it is expected. The ‘Germany’ travel guide also told us that Dresden was the home of ‘gemütlichkeit’, an untranslatable german phrase meaning a kind of cosy warm feeling of belonging and social acceptance. We spent our time there in search of this phenomenon.
The second stop on The LFTT Library Translation Tour was at The Schloss Wartin Summer Salon* in Brandenberg, Germany in collaboration with Polish artist Aga Tamiola and Emergency Kit for Neuroskeptics. Billed as ‘a survival kit to help a modern person be more human in a time of neuroscience’ the ‘E-Kit’ is a fragmented poetry anthology re-presented in a neuro-labs slide box, a receptacle which once contained cross section images of rats brains. As literal ‘slices of thought’ the E-Kit’s text fragments (coincidentally of a scale commensurate with the limits of a twitter post) are further employed in sympathy with the early Dadaists as a performance prop, allowing the subconscious thoughts of artist and audience to speak through the medium of the Kit. Read More
For the Guesthouse closing night artists in residence Inma Pavon and Carolyn Collier performed work from research they had been conducting with the library throughout the past year. Dancer and movement choreographer Inma Pavon has an interest in the act of writing with and through the body, using scriptural form as a way of developing ‘signature’ gestures that can be transformed live with increasing nuance. Pavon is currently pursuing a Phd in University College Cork on the uses of chance methods in group and solo choreography and lectures in the School of Music and Theatre. Visual artist Carolyn Collier, who completed her MA in Art and Process at Crawford College of Art in 2013 is interested in the body as architectural space, more specifically how the architecture or environment becomes a second skin for the performer, often replacing the self present body with a manifest trace of the act of research. Image above is of work by Carolyn Collier. (www.carolyn-collier.com)
Inma Pavon led a ‘Group Spelling Performance’ based on Becketts ‘Quad’. The Libraries new in-house ‘Glochen-spiel’ (Bell-game) is courtesy of visual artist Barbara Wheeler-Connolly who has been collecting bells as travel souvenirs (mostly gifts) since the 70’s. She very kindly donated her collection to The LFTT in the hope that it would now have a more active life than its previous status as object of display in her home. The bell has a curious capacity to trigger sonic memories much in the way a postcard would trigger a visual one. Of course these bells are also very beautiful… http://wheelerconnolly.weebly.com/
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In May 2013 Mick O’Shea and Irene Murphy performed live in The LFTT Library at Highlanes Gallery as part of the exhibition ‘Things in Translation: The Legs Foundation’. Mick and Irene regularly perform as part of sound-art and performance collective Strange Attractor. They are both instrumental in the experimental sound-art scene which Cork city has become renowned for, which also includes Danny McCarthy David Stalling and Anthony Kelly and others. https://www.facebook.com/StrangeAttractorIreland
In August 2013 violinist and performance artist Katherine Atkinson was invited to respond to The LFTT exhibition Things In Translation: The Legs Foundation at Highlanes Gallery. She decided to stem her performance quite literally from the individual works themselves, enacting an intimate one-one-one engagement with the textures and forms they evoked. It was quite ‘spellbinding’!
Katherine’s work is inspired by physical theatre, using strong visual images as part of the performance. When performing the violin becomes an extension of her physical self, another part of her body as well as an extension of her voice. Inspired by physical theatre, Atkinson uses strong visual images as part of her performance, often responding to specific architectures and environments in an exploration of the boundaries between public and private space.
Katherine says of her practice “I am interested in testing performance concepts in public spaces. I am fascinated by the ways in which audiences respond to public performances, and I have researched this in both my performance work and through academic research.
The encountering of visceral experiences through the physical, sensory and emotional archaeology of an edifice is an inspiring premise. I am interested in looking at the envelope of a building, thinking about the site, ruminating over its purpose, imagining who’s been there before, and sensing who’s there now. It is fascinating to contemplate how a space may change over time, or even in a moment. Wrapped within a site, it is exciting to imagine how the space could be transformed through music and movement by responding to surfaces and textures, floors and ceilings, nooks and corners, light, dark and all shades in between, constructing a physical audio-active foundation for the building.” Read More