So the co-curators of this exhibition which is opening today here in Manchester on – what’s the day today? It’s the seventh day – no, it’s the ninth day – it’s the seventh month, it’s the eleventh year. It’s the second decade. Actually it’s the first century, and it’s the third millennium.
There are eleven rooms. Most of the rooms have even doors, so you can close them. Each room was given to an artist to conceive a piece where a human body, or several human bodies, were on display. So for the next nine days you have eleven rooms, you enter the room, and what you see is the artwork, the material is always the human body.
Yes, I mean, the idea is that one can stroll, and it’s important the kind of linearity… one is free to go in the rooms and find one’s own sequence.
When you normally walk through a museum, of course you don’t have doors, you’re not opening a door from one room to the other. So just by re-introducing doors into a sequence of rooms makes it much more private. Only already by opening the door and entering you participate much more actively than just walking into rooms where anyway there is no door. There is one room where a person is just floating on the wall. It’s a piece by Marina Obramovic. Next door a person miraculously without gravity in the room, the hair going down. Then very interactive pieces like Allora & Calzadilla the artist does a conceived human revolving door.
You speak about Laura Lima, the project that you experience a space which is only 49cm high, and the visitor basically has to crouch in order to see.
My name is Lucy Raven. My piece is called ‘What Manchester does today the rest of the world does tomorrow,’ and my piece is a player piano playing a song by the American band LCD Soundsystem called Dance yourself clear, and it has been transcribed by the jazz pianist Jason Moran in three different variations, and so there’s an operator in the room who acts as a performer doing what a machine usually does, and the machine, the player piano, is doing what the person usually does. There are a lot of different layers of performers who have gone into making the role, so there’s LCD Sound System and Jason Moran and the fellow who punched the rolls, and he is one of six remaining pianola punchers left in the world.
When you walk into Roman Ondak’s there is a person performing the piece sitting at a table, and you can basically swap an object.
Okay? Thank you.
My name is Simon Fukiwara, and my piece involves a man lying in a bed, and he is reading from a book, a book of saints. And the idea is that on one level it appears to be kind of autobiographical. It’s a history of the saints called Simon. The actors themselves are called Simon in real life. But it slowly revealed that none of these points that appear to be important are important at all – it’s a kind of absurd psychological babble. It’s a very voyeuristic experience. It’s like watching your partner or someone you maybe know well, sleeping in a bed or reading in a bed and what thoughts go through their mind when they are doing that, except here they are speaking them out loud.
It is an interesting tension that this exhibition is placing between having a gallery exhibition but then opening it up to a certain theatricality.
Today, looking at the show, we have many more ideas of rooms, and you know, already for the next venue we’ve got lots of additional rooms. So the house is growing!