Feedback - Feedback is an original performance work that explores the ideas of ‘practice’ and ‘collaboration’.
- Submitting institution
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The University of Leeds
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- UOA32-4731
- Type
- M - Exhibition
- Venue(s)
- Wellcome Collection, London; Block Universe Festival, London; Wysing Art Centre, Cambridge; Palais de Tokyo, Paris, FR; Powerhouse Museum, Sydney, AU.
- Open access status
- -
- Month of first exhibition
- -
- Year of first exhibition
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Feedback is an original performance work that explores the ideas of ‘practice’ and ‘collaboration’; emerging from work with singer Elaine Mitchener (A-E), precursors of which can be seen in my film work, Focus (C).
The idea of ‘practice’ is caught up in the western paradigm of artmaking in which the artist moves constantly towards a final work. After 50+ years of aesthetic writing that has endeavoured to expose the artwork as transient, permeable and incomplete, the idea of the final event is still central in the ontology of the artwork. Objects produced as a corollary result of ‘the performance’ or ‘the show’, are imbued with a secondary status as is often the performer. My curatorial projects (D) have endeavoured to connect performer and visual artist in settings that challenge the status of ‘documentation’, and the primacy of the live event.
As part of This is A Voice (E), I premiered Feedback to a live audience using a self-authored generative computer programme. As artist/performer, the work places me in direct opposition with other participants via interview-type situations to more intensive arrangements reminiscent of psychoanalysis and interrogation. The work is innovative in its use of in-ear feedback technology, that provides private, random directions to each performer, whilst allowing for moments of serendipitous synchronicity. These directions are constantly re-recorded and accumulate, quickly amassing into a dense set of instructions which become impossible to follow by performer or audience.
Challenging the aforementioned teleological narratives, the piece never completes, but continues to (re)compose itself and the way it’s performed.
As a mechanism for both performance and practice, Feedback provides a new methodology for working with established artists, amateur performers and groups. In 2017, for example, it was used for a large-scale choral work at Palais de Tokyo, Paris with Musarc (B).
- Author contribution statement
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- Non-English
- No
- English abstract
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