Matt Harding / Voicemails

Anuka Ramischwili-Schaefer / tbili

“This piece is a response to the layers and multiple meaning-making mechanisms of the archive. Specifically, tbili relates to translation and the warping of language and information. I play on my memories of watching TV in Post-Soviet Georgia, where lack of film and television industry has resulted in a reliance on dubbing. Often, a single actor will voice an entire cast and narration, with multiple layers of original and previously-translated languages audible in the back; Turkish, Russian, English. The result can be a disorienting cacophony. tbili is based around a poem, with literal word for word translations into a dozen languages splitting meaning and capturing new realities.”

— Anuka Ramischwili-Schaefer

Anna Celeste Edmonds / Listen, Don’t Touch

Pole dance is considered a predominantly tactile and visual performance, known for it’s dark
stage, smoke and mirrors. The solo dancer captivates you and for the duration of the
performance, you are allowed to escape into their personal space.
Listen Don’t Touch is a sound recording of a pole dance performance, with no background
music and no visuals other than an accompanying graphic score. It was recorded with two
microphones – one ‘audience level’ condenser microphone, and a homemade contact
microphone attached to the base of the pole where it meets the stage.
The purpose of the work is to expose the reality of a seemingly sensual performance, to
uncloak the dance and show it for what it truly is – a long and hardworking series of
movements that require strength, power and focus. But whether the sensuality is lost, or has
found a new and different form, is in the hands of the listener.

Tomoko Hojo / Making Documentation of That Moment

How can artists document the past performance vividly, moreover, how can documents be used to represent that performance clearly? This question is based on the fact that a performance’s document is not an artwork itself, but always regarded in a secondary position. Making Documentation of That Moment is a project that explores this inescapable issue through documenting a performance and the unrelated occurrences of that moment. In this process eight performers left ephemera such as a video, sound file, objects, photographs, and diaries, and as a result, these uncompleted documents show the “real” happens in different phases, not only in the past event.

どのようにしてアーティストは過去のパフォーマンスを「そのまま」記録することができるのか。そして、その記録は過去のパフォーマンスをクリアーに表象するためにどのようにして使われうるのか。これらの疑問はパフォーマンスの記録はアート作品それ自体ではなく、常に二次的な位置づけに置かれるという事実に基づいている。Making Documentation of That Moment は、パフォーマンスとそれをとりまく出来事——直接的に関係しないかもしれない出来事も含める——をさまざまな方法で記録することを通じて、この避けられない問題を探求する。プロジェクトの中で行われたパフォーマンス（公園の池でボートに乗ってアリソン・ノールズのPiece for any number of vocalistsを演奏する）では、4 人が歌い、後の3 人はそれぞれ写真、音、ヴィデオの記録をおこない、1 人（アーティスト）だけが観客として参加した。
会場で展示されるものは、パフォーマンスそのものではなく、参加者の勘違いや言い間違いなどいくつかの食い違いを含む、不完全な記録物である。この不完全さは過去の出来事を完璧に記録することの不可能性を逆説的に証明する。Making Documentation of That Moment は、記録の過程で起こった間違いも一つの事実＝出来事として捉えることで、複数の事実を創出し、過去の出来事と記録がもつパフォーマティブな関係性を可視化させる。