U2 empty Shop Documentation 2

June 15, 2010

Really busy week end so will try to start blogging it all and will update if necessary.

Here is the show reel clip for the college web site:

The invitation card:

Things didn’t run smoothly due to connectivity issues in the building, which meant couldn’t stream successfully from Empty Shop HQ workspace/gallery. The connection kept dropping.

After over an hour of trying I was on the point of abandoning the live cast but Nick from Empty Shop insisted I wait and try when Carlo arrived at 2 pm. We made the decision to move the site of the performance to a landing outside the office where broadband connectivity was better.

I think the piece was ultimately more successful when taking place in a less dictated and staged space.

Andy had mentioned previously that he felt the snow walking pieces were more representive of the walking asspect of the project than the balancing pieces and the immedicacy and simplicity of the set up on the landing at Empty Shop brought something of the same quality of the snow pieces to the live streamed piece which will be an asspect I hope to include in further work.

This is the recording of the livecast piece embedded on my web site:

http://susanmortimer.com/walktheline.html

A link for the cast was put on online art events listings, as well as cards and emails sent out and Anna-Leiza posting it on MADA 10’s Twitter account.

I was pleased with the viewing figures, which although were small had had to contend with broadband issues, being a Sunday afternoon and start of the World Cup.

A compilation of the whole event:

This final clip was made using the tag cloud of vinyl lettering:

This has been a really positive piece of practice and will provide a good platform for moving forward with the final piece.

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One Response to “U2 empty Shop Documentation 2”

  1. Elizabeth Plain Says:

    I was in the gallery while the artist was ‘Walking the Line’.

    It was possible to watch the artist ‘live’, or to watch the performance on a screen and this for me was one of the key points of the piece.

    ‘Live’ I could see all of the body movements required for balance and the concentration required to progress along a narrow piece of tape. I was also very aware of how the artist was tiring and had to use more of her body in order to remain upright e.g. spreading her arms for balance in order to turn tight corners.

    On screen the visible action was confined to the artist’s feet and lower legs, and this restricted focus turned the act of walking into something that was mesmeric to watch. It was also, for me, a viewing experience that was curiously detached from reality and I found myself, in an almost trance-like state watching the feet going round and round, while divorced from the emotional reaction that the ‘live’ performance elicited.

    I thought that the contrast between the two viewpoints was fascinating. As was the idea of enabling an audience to compare ‘live’ action, where there was a personal choice to be made of perspective and perception, and a simultaneous broadcast of a ‘given’ image, where an element of restriction was involved and the attention of the viewer was focussed in a particular area.


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