PATRICK LOAN: OBSERVATIONS / PERFORMANCE NO.1 (HOHE WARTE STADION, VIENNA)
This is the documentation/ record of a journey that was undertaken on Tuesday 10th February 2010 (as Hans Krankl*) from the Gerhard Hanappi Stadium (Rapid Vienna’s ground) in the 14th district of Vienna to the Hohe Warte Stadium (First Vienna FC’s ground) in the 19th district of Vienna. * Hans Krankl is one of Austria’s most famous footballers and played for Rapid Vienna from 1971 1977 and again from 1981- 1986. In 1979 1980 he played for First Vienna FC a small club on the outskirts of Vienna and one of the first football clubs established in Austria. I walked from the Gerhard Hanappi Stadium to Hüttledorf U-bahn station and took the U4 green line to the end stop at Heiligenstadt. I then walked to the Hohe Warte stadium. The journey was recorded and documented in a variety of ways. Journey time on the U Bahn 31:14Total journey time (approximately 54mins)
ROB FLINT & CHRISTINE SULLIVAN: SOUND PROOF
Sound Proof is collaboration between Rob Flint and Christine Sullivan. Sound Proof explores the limit of description as a medium of transcription. Rob sits at the back of a darkened space, viewing a monitor, whose screen is not visible to the rest of the room. He wears headphones and speaks into a microphone. His speech is audible in the room, slightly amplified. Chris documents his actions with a video camera. Rob is watching the film “Proof” (dir. Jocelyn Moorhouse, 1991) a film he has never seen. The plot of the film concerns a blind photographer who uses other peoples descriptions of his photographs as a means of verifying his world. Chris has not seen “Proof” since it was released, so Rob is describing it to her through the microphone while viewing it for the first time.
KATE WIGGS & JOANNA AUSTIN: THE CONVERSATION CONTINUES
Our proposed piece would take the form of a conversation between two artists about the importance of conversation in our individual and collaborative practices, and how having these vital conversations recorded affects the process. This piece is not scripted, nor is there any pre-determined conclusion. Our experience of having our conversation recorded in the given setting cannot be rehearsed, making this a unique, unrepeatable event. We intend this as a continuation of the Symposium piece which was performed at the last Five Years event (Interrupted Correspondence), and the conversation will again be fuelled by red wine, as a reference to Plato’s original text. With the theme of this event in mind, we have been discussing our understanding of the term ‘bioacoustics’, in particular the idea that birdsong may differ depending on whether or not the bird is caged. This concept will be the starting point for our conversation, with us considering the parallels between caged birds and self-conscious performers.
MELISSA BLISS: WHAT DO WE WANT? JUSTICE! WHEN DO WE WANT IT? NOW!
Will include recordings of chants sung at demonstrations - repeated phrases, call and response, simplified rhetorical messages and words adapted to new situations
May include recording chants from the audience, writing our own chants, spontaneous outbursts of chanting, a song book of demon chants.
Instructions: To start the performance: at the same time: 1. Play the audio soundtrack (the sound from the journey; duration: 39:14) 2. Read the script everything in quotation marks: instructions; timings; numbers, durations etc using the times on the left to synchronize the soundtrack and the script. 3. Play the slide show (146 photos; 7 seconds for each slide) as discussed the slide show will not synchronize with the soundtrack or the reading of the script (please loop if possible should play approximately twice during the duration of the soundtrack 39:14).Props needed: 4 chairs, Stopwatch Narrator (Edward Dorrian) to read everything in quotation marks written below (all directions, timings, numbers etc):