Wednesday, 1 October 2014
Sunday, 28 September 2014
ARE YOU A PARTICIPANT?
ARE YOU A COLLABORATOR?
I am pleased to invite you to a presentation of my new project ‘Song Weaving project’, in collaboration with traditional weaving company in the UK. I will present the idea, talk about the collaborative aspect within the work, the innovative crowd-funding model and the participatory aspect of the project. The presentation will take place during the launch of the Human Resources Art Activities – HURAA on the 3rd of October at the V&A Lecture Theatre.
From the press release: “The Song Weaving project will connect people through participatory art building a sense of belonging, meaning of the making and owning an object of art…
The Song Weaving project takes an artistic interpretation of the ancient art of weaving in community, blending novel technological ways of creating fabrics and participatory art. It explores the idea of recording a shared memory of an experience, creating meaning through pattern.
The Song Weaving project puts forth the question: How do we attach value to the things we put our time into, the things we create, buy and own. My hypothesis is that human beings inherently love participating in an experience through which they can connect to each other. This emotional engagement gives value to objects that are outcome of this experience much higher than an everyday piece of design or art”.
HURAA aims to explore ‘what is participatory art’ (and its grass-roots transformative effect) through a series of artists talks and projects, to develop new ways to produce successful art projects, and of course to help with the creation of some exciting new art.
The HURAA launch is a free one-day event that will include artists’ talks, presentations and performance. To attend you can reply to this email and email to firstname.lastname@example.org. Full details at http://huraa.org.
The HURAA launch programme:
10.30am-1.00pm: 3 artists working internationally.
REINIGUNGSGESELLSCHAFT (Germany) initiates projects that generate new relations and interest groups.
Factory of Found Clothes (Netherlands/Russia) develops a strategy of ‘Utopian Unions’, constructing situations for encounter.
Corin Hewitt (USA) engages in cycles of transmutation, through live processes in gallery spaces and beyond.
2pm-3pm: a screening about ‘Open for Business’ by Multistory a touring exhibition that documents manufacturing in the UK through the work of photographers including Martin Parr from the Magnum agency.
Following this is a presentation of the ‘Song Weaving project’ by Evgenia Emets of a HURAA project in development, how it is being produced, and the outcomes that are looked for.
3.30pm-4.30pm: ‘Feast’ – a performance and round-table discussion. With an approach that combines eccentricity and engagement, Gluklya Pershina and Susan Morland present an exploration of the way that art can operate as an agent of change.
Monday, 14 April 2014
Saturday, 14 December 2013
One line poetry. One line drawing.
Separation is a demon guarding the door of joyful heart
If we have survived separation though darkness we must expand this unity with light
Size each: 14 x 19 cm, ink on paper
The work was created for and exhibited at the show dedicated to William Blake "The visions of William Blake" at the Dragon Cafe in the Crypt of St George the Martyr Church in november 2012. The exhibition hosted Illuminated drawings from contemporary artists inspired by Blake art, and the size of original William Blake drawings. All the work was commissioned for the show by the William Blake Congregation.
These drawings are available separately or together side by side / double sided mounting. Can be framed.
Thursday, 21 November 2013
Interrogated Silence: participation performance
Space: Hoxton Gallery at the Arch
Reflections on the performance – a conversation between Lani Rocillo and Evgenia Emets:
EE: Lani, how did you feel about the performance today?
LR: It felt like the collective energy was of resistance. Which include ours at some level.
EE: Yes, absolutely. I found it very interesting to be working with this aspect, as it never happened before, during the two first rehearsals we had quite a different experience – one of openness and involvement. How do you think we can deal with this kind of “obstacle” in the future, how shall we look at this “opportunity”?
LR: A vocal warm up to engage people into voicing, release tension and to hear how they sound in the space. We can tone along the body and maybe focus also on the solar plexus.
EE: I agree, however I am thinking: How to make people step out of the box? How to overcome the usual pattern in contemporary performance: ‘You – entertain me!’ You see, we are dealing with the audience that has been brought up to be entertained to be sitting back passively, to delineate, and to divide. We have put this audience in a box ourselves, so what are we waiting for now. Are we waiting for equal, active conscious participation?
LR: I feel we can state the point that the aim of this performance is to break down barriers of the conventional performer/audience context. As a mirror of day-to-day relations we are all performers and audience in one way or another. With intention of sharing the self, the act of voicing can dissolve separation. With all participants sounding, the invisible interconnectedness becomes visible.
EE: Lani, what do you think about Victor’s suggestion of a ritual, as something that removes your thoughts by mere repetition of actions, when you either learn and know how to do beforehand or learn from watching others as you go through the process.
LR: Humans do a multitude of things that are repetitive that somewhat remove thoughts. Our daily rituals for instance. To be able to share oneself requires being fully present in all levels of being. A kind of framework might support this process but the framework is not set. It might change from performance to performance as it evolves.
EE: Yes, the idea of creating a structure that can be worked through every time we gather in a space, then tested and developed into something new on the basis of something that exists prior, so that this experience constantly changes over a long period of time.
LR: I do think that we need to give clearer guideline at start to make people feel safe. Feel safe within boundary before leaping into the unknown.
EE: What kind of seamless experience can be created so that the box flips open, so that the magic comes out and play? Can this work be directed in the form of a game, playful, where everyone who steps into the space starts singing along as if to the invisible audience of their own?
LR: You mentioned earlier about the performance we saw at LSO (“Graphic Scores”). A woman singing with projected graphics and words. It was mesmerizing. Perhaps we can incorporate this game as part of warm up. Play brings us seamlessly to be involved.
EE: I love the idea, integrating visual aspect into the space is very interesting especially when this visual work comes out of mere background image that accompanies the sound and becomes a score. Let’s think about it for the next one.
On another note, I feel we have no intention of anaesthetizing the audience, the opposite of waking people up from the paralysis of art. How do we prepare and educate the audience for direct unobstructed perception of deeper, more complex layers of work? We have managed to remove the stage, but these are very first tentative steps of audience on this stage.
LR: We prepare the audience by pointing out that they are performers as well. Removing the stage brings the platform to all who are drawn to be involved. It is an invitation in a given space to visibly explore one’s potential to create. Awake as active participants we see that individual expressions in the collective are aspects that shape the experience. All are significant.
… to be continued