20:42

18+30= 48

2 windows

He must be dirty, they must “be” Red Duchamp?- ribbons, for inks…

Pours or lathers in hands on muddy back.

“des

The V on the back, but in mud.

Someone is in need of a beer (bear)

“high five”

I am in need of time

20:33- 57

DMR

1 LB 1 L’B

A piss in every corner.

My perspective is only one.

Leaf it alone

The handcream is beside the mud

WAA

WAA

WAA

without (the) aid (of)

Something about a new orthodoxy

Loading calculus

He passes through his own brithday

A guest in plimsolls. Followed by cardigan girl holding pink pamphlet.

“Potentially we see ourselves”

20:24

106-66 DMR

Cappe

Gingh

500

Zijn

There are people reading here,

FEMINIST LIBRARY

perfectly, talented

Timidity unseen

No gasps

Thinking of language. “Rustles”

What rustles-

something for the archive?

“Sometimes int he forest”

Ich habe

Some Latin vertical

Memory of drinking champagne in mud.

80 DMR

20:16- 44 + 36

74

protectors of the canon disembark forthwith

Obsessions/strings pinchers, frogspawn vitality- apology “What carries us.” (Question, incorrect exclamation, possibly)

20:10

50

30

80

DMR

7

Four windows of time with clean glass

20:03

57+30 87 DMR

Somewhere, music

Fluid art forms. He appeared with blood, + others, backdated. ‘red wine’ drips underwraps.

Fluid art forms. He appeared with blood, + others, backdated. ‘red wine’ drips underwraps.

19.55

20:55

21:30

60 35/ 95 DMR

What can I say about a performance I did not attend? Well, firstly I find it interesting that you chose not to document it in any way other than through the a written account of the audience. From the performer to spectator to the non-live audience, there are inevitably details which will be forgotten, misinterpreted, and distorted as various individuals give their unique account of the live event. I feel this is really fertile ground and opens up a lot of questions regarding the mythologisation of live art.

How much detail do we reveal about a performance after it has taken place? Why do we choose particular mediums to document the work and to what extent do they distort the reality of the live event? What role does the audience play in furthering this mythology?

In order to stimulate a secondary, non-live, audience for durational performance, Lock In is running this wordpress where written accounts of people’s perception of the events can be accessed. This is all open for debate and anyone who didn’t see it is more than welcome to write about what they know of it or ask any questions to those who saw. Please contact: lock.inbrighton@gmail.com

TOP 5 EXHIBITIONS

FABRICA– The Blue Route by Kaarina Kaikkonen exhibition continues until 6 April – 27 May www.fabrica.org.uk

HAYWARD GALLERY-Light Show until 28 April 2013
www.haywardlightshow.co.uk/exhibition/

CAMDEN ARTS CENTRE–Serena Korda
Aping the Beast-8 March 2013 – 5 May 2013 http://www.camdenartscentre.org/whats-on/view/exh-27

COMMUNITY ARTS CENTRE–A Live Exploration into the Social, Psychological and Physical Boundaries of the Body
19 April – OLD TRICKS by Duncan Ward
20 April – SALTY MILK Violation of Expectation by Julieann O’Mally
21 April – JIGSAW OF THE QUEEN Part One by Paula Davy
To attend please email: Date of Performance(s) you wish to be LOCKED IN with & your name to lock.inbrighton@gmail.com
Lower Ground Floor, 31 Queens Road, Brighton BN1 3XA

MAUREEN PALEY-Anne Hardy-exhibition continues — 26 May 2013 http://www.maureenpaley.com/exhibitions

The final durational piece of the series entitled Jigsaw of the Queen Part.1 by Paula Davy displays the artist’s take on the more physical side of confinement. As a hearing impaired artist, she requires her audience to also experience a sense of physical limitation as they are not allowed to leave her side as she undertakes an inane task as her persona Paula The Disappointment.

Paula Davy has worked in Live Performance since 2003. Her work is often focused on her own personal histories along with her continuing research into female deviance, hysteria and the confessional as a form of art. Displaying here one of her three constructed personas, she celebrates the negative aspects of her own personal history through a journey toward its ultimate deconstruction.

To reserve your space, email your name and date (21st April) to lock.inbrighton@gmail.com

Paula Davy will be the third artist to showcase her piece “Jigsaw of the Queen Part.1” at the first in the series of Lock In at Community Art Centre (BN1 3XA)

Date: 21st April

Time: 7pm-9pm

RSVP: your name and the date (21st for Paula) to lock.inbrighton@gmail.com

Saturday 20^th, audiences will be locked in Julieann O’Malley who will be performing, arguably, the most controversial and challenging piece in the series. Salty Milk: Violation of Expectation plays out the timeless exploration of personal and social constructions through an intensely symbolic environment, a scene navigated by a seventies housewife, who slowly consumes the contents of the containers that litter her floor. The head of a pig and a glowing fetus imply the more sinister nature of socially constructed confinement, as the artist really tests the physical and psychological limits of her own body.

Julieann O’Malley is an interdisciplinary artist based in Liverpool. She has been creating performance art since 2009 and specialises in durational work. She has been nominated for the Liverpool Art Prize in 2012 and shortlisted 2013 and performs regularly across the UK.

Julieann O’Malley will be the second artist to showcase her piece “Salty Milk: Violation of Expectation” at the first in the series of Lock In at Community Art Centre (BN1 3XA)

Date: 20th April

Time: 7pm-9pm

RSVP: your name and the date (20th for Julieann) to lock.inbrighton@gmail.com

On Friday 19^th, Duncan Ward will perform his piece Old Tricks, a series of small actions, the residual materials of which will gradually fill the whole room creating a total environment stretching from wall to wall that will ultimately envelope the audience, transforming the space into a world to be inhabited, joyfully, for a spell.

Duncan’s take on Lock In is to provide an environment that isn’t grueling or punishing as for him, confinement means nothing more than the opportunity to build within that constricted space an ideal world of his own, which he sees as an easier and more effective option than trying to plant ideals directly into the real world.

Duncan Ward has being using performance as a medium in his art since 2006 and is the founder of independent publishing house Young Mountains. He has shown his performance art across the UK and Europe and has been part of After Midnight We Don’t Remember Anything and The Living Swamp at The Hague in the Netherlands.

REMEMBER: RSVP essential! Please send your name and the date you would like to attend (19th/20th/21st) to lock.inbrighton@gmail.com

Duncan Ward will be the first artist to showcase his piece “Old Tricks” at the first in the series of Lock In at Community Art Centre (BN1 3XA)

Date: 19th April

Time: 7pm-9pm

RSVP: your name and the date (19th for Duncan) to lock.inbrighton@gmail.com

Deadline for submissions is now closed…

Don’t forget to join the debate!