In Remembrance - Manchester
From the 11th hour on the 11th day of the 11th month in the 11th year 11 artists present 11 performances.
11 hours of art.
This event is made in art
This event is made in art
11 11 11 brings 11 of the UK’s most questioning, curious and audacious artists into one location to perform 11 new performances that ‘attempt to re-acknowledge, re-address, re-surface, re-action, re-speak the remembrance’ of past events and past lives on this day of ‘remembrance’.
Time: 11am-10pm (Doors open at 10am)
Date: 11/11/11
Venue: Platt Chapel, 168 Wilmslow Road, Manchester M14 6HA | www.plattchapel.co.uk
Prices: £12 | £8 unwaged/student Click here to buy tickets
Download the timetable (pdf file)
Following 11 hours of performance Platt Chapel is transformed into an installation of music, sound and imagery. In Loving Memory is a wake, a celebration, a night out, a celebration of lived lives and times.
Time: 11pm-2am
Date: 11/11/11
Venue: Platt Chapel, 168 Wilmslow Road, Manchester M14 6HA | www.plattchapel.co.uk
Prices: £6 Click here to buy tickets
I stand naked in the centre of the space.
I have a piercing with a hook through each arm and each leg connected to lengths of black cotton.
The x4 lengths of cotton run up to the ceiling and through X4 eyelet screws before falling to the floor, excess cotton spills over the ground before connecting to X4 ice blocks…
I stand as a sculptural installation. After time has passed I start to turn, either my arm/arms or my full body, I gather the cotton around my body and elevate the ice blocks. I twist and turn until I can't go any further.
Time will pass further with ice blocks suspended around me, slowly or quickly I unravel and allow the blocks to hit the ground.
I start again...
180 minute cycle in the Chapel starting at 2pm
‘...HOLDING... VENTURING...WARNING... SUPPORTING... CONTINUING... WORKING... SAYING... BEING... CONFIRMING... LOSING... DISAPPEARING... INCREASING... REPORTING... LOSING... STUDYING... INCLUDING... SHARING... REDUCING... SAYING... AFFIRMING... SEEING... RISING... FALLING... AGREEING... ALLOWING... LEAVING... UNDERSTANDING... OWING... REMOVING... BECOMING... SAYING... REPORTING... RECOGNISING... MISSING... SELLING... SUSPECTING... TAKING... CONDUCTING... BEING... SHOWING... HOMING... LISTING... BEING... MISSING... ASKING... ECHOING... DYING... NAMING... BEARING...’
20 minute cycle in the Graveyard starting at 11:40am, 12:40pm, 1:40pm, 2:40pm, 3:40pm, 4:40pm, 5:40pm, 6:40pm, 7:40pm, 8:40pm, 9:40pm
Prior to the performance Bean will be following the training regime devised during her work in 2009. The programme originally focused on swimming and gym training and how the discipline of technique and habit allow the body to fall into remembered movement. This repetition and cyclical actions of the body seem to accelerate the movement of thoughts and creative process.
In returning to this regime Bean will address the memory held in the body (scars, marks, building and loss of muscle and fat and identity associated with this) and the work that came out of this period (the text, mantras, actions and materials).
Bean will also return to materials of salt water, urine and Navy Strength Plymouth gin. She is interested in the multiple meanings and use of materials and how each material holds a history.
The silence of remembrance allows us the time and space to articulate in actions the complexity of what has been before.
180 minute cycle in the Chapel starting at 6pm
The dividing of two, the blur of memory,
The wet, the pain, the blame, the guilt.
Open vessel, drained of You.
We drift along the river into the sea.
This piece of work explores love, ritual, borders, physical limitations, memories and loss. This is a two-part action, which will begin at the beginning and finish at the end of the event.
180 minute cycle in the Chapel starting at 11:01am & 9pm
The dreadful image of a young male body being buried in a mound of earth is inscribed in the cultural memory of a nation in times of war or plague. Here, though, the body is a living one, the mound moves as the body struggles for breath. Martin O’Brien’s work focuses on physical endurance in relation to the fact he suffers from Cystic Fibrosis, a severe chronic disease in which the body produces excess mucus which among other things restricts and prevents breathing through clogging up the lungs and airways. In this regime of repetitive burial, in which O’Brien bursts his way out of the make shift grave when his breathing is restricted to the point of hyperventilation before being reburied, images of human mortality are created in relation to traumatic memory of mass death. O’Brien exploits his own physical condition through this act of endurance and confronts the nature of his own disease, at once a destructive image of suffering and an emphatic statement of survival.
60 minute cycle in the Chapel starting at 8:50pm
The Architect combed his hair and went mad. Gradually the Architect realizes a suffocating current. Architect got the current in a tight headlock, after several punches to the face the Architect let go.
60 minute cycle in the Chapel starting at 7pm
This performance is inspired by the entropic movements of the gravestones in the Platt Chapel cemetary and the separation from the bodies they once marked, along with the fragments of memories signified by the faded writing on the tombstones. Beginning with a rubbing of the 11th word on 11 of the stones, I will use each word as inspiration for drawing a portrait of a lost face around the rubbing of the word. The portraits will then hang outside to disappear in the elements as the bodies and lives of those they allude to, unless claimed by someone who wishes to become a caretaker of the drawings, and thus furthering their lives.
Perpetual cycle in the Graveyard starting at 12pm
In this performance
Beginning with one garment, I place layer upon layer onto my body. dress coat tights scarf hat necklace shoes
With each layer comes a memory – expressed through drawing/writing and a vocalisation/song fragment.
Paper memories *crumpled like flowers* are placed at my feet.
My shape changes. BuLGing. Movements restricted. [illness]
90 minute cycle in the Chapel starting at 3pm
White Mum is a performance/text work that explores ideas around death, remembrance and celebration. Greenwood will utilise text and diaristic gesture to remember the loss of a familiar figure; a cousin, and single mum who recently died of cancer at a relatively young age. Rituals of remembrance, mourning and celebration will be re-enacted alongside a gathering of objects that in life may be considered as mundane, but in after-life carry a special signification. These objects or totems undergo a shift in representation, becoming memorials to loss and mourning, but also signs that celebrate loss and renewal. Greenwood wishes to explore these shifts and aims to re-interpret the psychic and physical contexts that surround loss and the attempts to re-connect or communicate to a lost relative. In keeping with 11 11 11, Greenwood wishes to utilise a series pop songs that reached number one in order to evoke memories that re-navigate the life-span of White Mum. The pop song represents a communal mapping of the past, where the materiality of expression, technological advancement and aspects of semoitexte are subject to ongoing mediation and meditation. The audience will be invited to take part in this remembrance through communal singing and a collective consideration of what it is to remember the death of loved ones; where intimacies and pure moments of reconciliation are shared and uttered.
Greenwood hopes that through the text/actions that re-constitute a prolonged remembrance, communication will be made, and that a sign, visible or hidden, will be revealed during his performance.
30 minute cycle in the Chapel starting at 9:30pm
Live mixing of sound, song and silence throughout the 11 11 11
During the 11+ hours of the event, there will be live recording and mixing various sonic expressions from the actions and expressions of the participants, along with a collection of songs memorial and a varied palette of prerecorded silences.
Sardonik Grin (Llewyn Máire) invokes sonic disobedience through the surrealist mutations of cut-ups, various experimental instrumentations, voice/tone, and sample-based loops. Text-mutations, illbient beats, analogue freqs, field/ found and ritual recordings are manipulated through tapes, samplers, data and CD mixing, synth and circuit bent sound, spontaneous interface with radio and SW transmissions, FX processing and the environment.
Northness tackles the physicality and persistence of remembering. It re-performs pasts that live on through the body, embodied pasts that resurface continually, even to the extent of inhibiting the body from functioning effectively in the present. Using bricks, sticks, texts, hair, tobacco, alcohol and iron, NORTHNESS speaks through subordinated and exhausted positions about the economy of the body. It repeats and doles out redundancies as it performs the aesthetics of hard graft. This bleakness is celebrated and made new, it is sanded, cleaned, amplified and animated through actions and objects that are characteristic of my own past and my own Northness.
90 minute cycle in the Chapel starting at 5:05pm
This exchange of insights, skills, knowledge, experiences, reflections on the issues and actuality of the documentation of performance practice is part of.
This exchange invites 11 participants to engage with 4 professional artists who use their art form to document ‘the living moment’.
Using the disciplines of writing, photography, video and sound, participants will work for a day exploring the practicalities of documentation, investigating the systems needed to fully document the ephemeral work of 11 performance artists work that will be performed on the 11th, as part of the performance event, 11 11 11, In Remembrance, Manchester.
This documented material will then be immediately utilised in the generation of a 4-hour installation – In Loving Memory.
You will work with Roshana Rubin-Mayhew, Michael Mayhew, Llywen Maire, with an introduction by Michael Mayhew – ‘The Documented Remembered Body as Object‘
To register interest please contact Michael Mayhew – mm@michaelmayhew.com
State what area of documentation you are interested to pursue; photography, video, writing, sound. Please send 500 words informing us what you have done that is relative to this situation and what you believe you can bring to this situation. Within the text inform us what you believe to be the core of the documentation of performance art.
Places are limited to 11. Participants must be fully committed to the full 2 days.
Deadline for expressions of interest is 20th October. All participants will be selected and notified 5 days following the deadline.
Time: 10am-4pm
Date: 10/11/11
Venue: Platt Chapel, 168 Wilmslow Road, Manchester M14 6HA | www.plattchapel.co.uk
Prices: £10 (on arrival)
In Conversation is an opportunity for the artists to discuss openly with each other along with their audience some of the issues centred round memory, the act of documentation and its relationship to the act of performance.
What are the reflections of the artists whose work is re-edited, re-framed and re-represented?
What is their memory of this act they now have an opportunity to re-watch re-played?
What memory does the artist carry and hold?
What is the body of memory?
Time: 11:30am-2:30pm
Date: 12/11/11
Venue: Platt Chapel, 168 Wilmslow Road, Manchester M14 6HA | www.plattchapel.co.uk (Brunch available!)
Prices: FREE
11 11 11, In Remembrance, Manchester is produced, promoted & made in art. 11 11 11 is curated by Michael Mayhew, Manchester
art is the studio of artist Michael Mayhew, housing his process and praxis. A process and praxis that is cited as ‘Important, significant, and influential.’ (Lois Keidan – Director, Live Art Development Agency)
As an artist he is cited as - ‘One of the most original and searching artists currently working in the UK.’ (John E McGrath – Artistic Director, National Theatre of Wales)
art is located in Whalley Range and also houses Composer Nina Whiteman, Graphic & Website design company Off The Grid and Enviromental Artist Sophy King.
art asks ‘what if and arrives at why not?’ with every proposition.
art aims to infiltrate society and the cultural fabric of that society with the curious and out and out audacious.
art aims to instigate collaborations with all that is and could be perceived as art.
Michael Mayhew acknowledges the continued support of Nikki Milican OBE, patron of art.
For more information about the event contact mm@michaelmayhew.com
Website designed, built and hosted by Off The Grid
Partner event 11.11.11 Exchange Radical Moments! Live Art Festival
