Everything I Have Is Yours
- Submitting institution
-
Manchester Metropolitan University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 258011
- Type
- T - Other
- DOI
-
-
- Location
- Salford Museum and Gallery, Salford, United Kingdom
- Brief description of type
- Creative body of enquiry
- Open access status
- Out of scope for open access requirements
- Month
- -
- Year
- 2019
- URL
-
https://vimeo.com/492085988/9609844476
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
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B - Art & Performance
B - Art & Performance
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Everything I Have is Yours (2019) was a major moving image and sound work commissioned through partnership between Film and Video Umbrella, Castlefield Gallery and Salford University Art Collection, with support from Contemporary Art Society. A solo exhibition at Salford Museum and Gallery (2019) developed into a second solo exhibition, with newly commissioned film, for Whitechapel Gallery (2019-2020). The work was acquired by University of Salford Art Collection. This multi-part research project asks: how can we capture on film, the unfolding process of exploring copyright-expired material? In a unique process of collaboration, capture, edit, the 30min artists’ film explores the experimental space between rehearsal and performance, live and pre-record and is underpinned by a collaboratively produced soundtrack made entirely from copyright expired sounds, around which the film is structured. Like the film itself, the process of its acquisition challenges the future of archives and collections, by using copyleft share-alike license to promote free future sharing. The research uniquely brings together digital archive retrieval technologies, social and relational methods of collaborative working, and artists’ moving image practice. A new public domain resource was created by extracting copyright-expired sounds from shellac and vinyl commercial chart hit records (1952-1962), a significant decade marking the boundary for copyright expiration, and algorithmically reassembling them to form new melodic and rhythmic looped patterns. In response, collective acts of performance with a diverse range of musicians, who were teenagers at the time that the recorded material circulated commercially, and now in their 70s and 80s, are captured on film. Subsequent workshops with young MCs and beatmakers produced multi-generational copyleft remixes. Research outcomes: (1) two new artists’ films; (2) two solo exhibitions; (3) publication; (4) public domain database; (5) archive source loops and copyleft remixes; (6) live events; (7) outreach programme; (8) acquisition of copyleft artwork.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -