Alice Channer // Artists’ Lunchtime Feedback
Intimate intergalactic interpretative
(reflection as interruption)
‘internet, passion commitment’
cold corporate voice
change in voice
machinic to embodied/intimate
internal dialogue that’s not claustrophobic
finger as: language, feeling
nauman’s clowns are more singular/binary
embraces inauthenticity – YES!
small disembodied arm
layers of voices/address
who is the author?
who/what is speaking to who/what?
‘beyond my own subjectivity’
beckett’s use of language
no singular origin
props?, Joan Jonas
didn’t feel confessional; always distanced
format successfully layered video and performance
Billie Whitelaw could only feel her mouth
I do get that sense of my fingers overtaking me
laughter – is it recorded or live?
what happens when you can’t see the audience?
fleshies always limited versus CGI
so why actors?
closed fictional format
no pain, no emotion, no failure
broken glass of mirrors doesn’t threaten these bodies
jolting between different realties
Is the awkwardness intentional?
Across a table, I’m generously handed a roll of geologically hacked sellotape from a Jiffy bag
monumental sculpture, hairy, contracted into a standardised industrial form, unspooling in curves, spilling its multiple decompressing contents on a h o r i z o n t a l surface
Where are the edges? – it’s
up to the artist to set the limits (they can change)
Joëlle Tuerlinckx can teach us here
maybe metal would help?
nothing ‘natural’ here
leaves of rock
Pay attention to kinds of time
crushed cornflakes bring right up to the moment, immediacy of care, hunger, need
Nimble movements from loom to rock face, across selves, mediums, multiple demands domestic and artistic
Heavy source material handled so lightly
and now, lunch.