Branwen Davies performing her response to the work of Sandra Masterson
After a little time to reflect on the pilot of the Response Time performed response to
art, space and environment it’s time to think
about what worked well, what could have worked better and how to make things
even more interesting for the next one scheduled to take place 25th – 27th October.
One thing that most certainly emerged was a supportive, collaborative and friendship forming environment. With all participants enjoying their experience and being inspired to produce work.
As we’ve chosen to make this an on-going project responding to each exhibition at the Gas Gallery time constraints for organisation will always be a factor but also a benefit as it serves the nature of the project as it really is a case of seeing who gets involved and then throwing them together to see what emerges.
A few things took us by surprise, the changing light of each performance resulted in changes in the performance with shadows and darkness impacting the space and performers. Tashina Keller’s movement piece became a dance with paintings and shadows by the final show.
Every performance was completely different even without the changing light which is inevitable from performance shared with an audience after such a short time in development.
Hayley Addis asked the audience to look through the windows of the art
Many of the performances called for interaction from the audience and so the audience changes also impacted. James Baker asked the audience to spit into his
bowl. Hayley Addis asked for the audience
to make sounds which resonated and impacted through the upstairs gallery.
Vivian C. Ezugha asked the audience to
go outside onto the pavement and watch through a window. Branwen Davies asked the audience to choose from 1-12 to select which pieces would be performed, even through a rehearsal and three performances 4 and 10 were never chosen.
There was much within the space we could have made more of and no doubt will do in future projects. People wandering by throughout the performances and peering in became part of the performances and random comments from passers by were calling out to be part of future projects.
At such an early stage of the development of the project we’re unsure the role of digital recording and simply plan to continue to do this until it becomes clearer how it can be integrated into the live performance or become part of something bigger, beyond the 48 hour installations of performance.
It will be interesting to see how much the changing nature of the art impacts on the responses creating difference is how the performance makers respond to the space and environment.
We have to allow the project to evolve and change as it needs to and to help this we will being in guest curators whose job it will be to nurture the weekend’s performances and steer them towards presentation to an audience.
It is also inevitable that we think of moving some of the pieces forward to see how they can develop alone without the art, space and environment to support them or how we can take the art, space and environment elsewhere through digital mediums.
One piece by Hannah Mann, Ruth Hogg and Gareth Williams was presented entirely digitally without any live-performance and yet perfectly reflected the whole project by containing elements of performance process and responding to both exhibitions.
There are endless possibilities for Response Time and while we ponder those we’ll continue to play.
Footage, images and recordings of the weekend are available now and we will continue to post more as we edit and upload including a filmed interview with Aislinn Knight talking about her work.