1/4 · Carved painted wooden bombs, carved painted wooden bones, wooden drums with plastic skins,...

4
12/09/2019 Shipsides and Beggs - L'Atelier, Collectif R www.danshipsides.com/DshipsidesWeb/Nantes17.html 1/4 Shipsides and Beggs Projects - L'Atelier, Collectif R Home CV & contact Texts Bibliography Projects Shipsides and Beggs Projects Collectif R, L’Atelier, Nantes. France Nottanum This show began with an invitation to show as part of a 10th year celebration of the Collectif R project in Nantes. We began with a basic premise to take existing works such as the wooden bombs and bones, (which began through an initiation between Collectif R and Neal for a work called How The West Was Won, 2011) and develop new works from there for an installation and performance in the large atrium space of the gallery. We had already been working on ideas around mixing popular and folk songs into soundscapes (many of which originate from topographical data around borders, boundaries, mountains and summits) and combining these with drawings and imagery from popular culture, current affairs and mythology – much of it connecting with ideas around political, spiritual and physical partitions, fences and the metaphor of the ‘wire’. Much of the material draws from previous works, for example, the idea of a summit cross and a weaponised summit connects with the work YUPA STAR, 2012 which draws upon a mountaineering trip to an WW1 exploded summit in the Italian Dolomites – where now on the blasted summit plateau stands a cross. The summit cross, of course, also echoes the romantic summit cross paintings of Casper Friedrich and others. The cross has been substituted by a barbed wire carved wooden stake topped with the globe. The barbed-wire and banjo links to other works (e.g. Bivacco, 2011) where a collision is made between the idea of fences or barriers and the principle of stringed popular music. Here the wire acts as both an agent of emancipation and an agent of oppression. Set into the base of the mound are a set of six playable handmade drums, making the whole sculpture a percussive soundwork. A crankie (an early device of moving image storytelling) is also set into the base of the summit arsenal. It features a hand drawn narrative of threat, strife, crisis, werewolves, zombies and drone strikes. It is cartoon-like and playful but also dark and ridiculous – a child’s fantasy of life, death and destruction. A video constructed from the crankie and re- edited with kaleidescopic footage of the crankie re-tells the story with special effects on a small screen in the door in the back of the mount of bombs and bones. The whole work, Mass of The World, has a strange voodoo-ness to it. Another aspect that we introduced was the device of the wolf. A discovery of the exisitence of 'wolf catching gardens' fuelled this direction. After the Hundred Year War the hinterlands became wilder and the wolf population grew so that

Transcript of 1/4 · Carved painted wooden bombs, carved painted wooden bones, wooden drums with plastic skins,...

  • 12/09/2019 Shipsides and Beggs - L'Atelier, Collectif R

    www.danshipsides.com/DshipsidesWeb/Nantes17.html 1/4

    ShipsidesandBeggsProjects-L'Atelier,CollectifR

    Home

    CV&contact

    Texts

    Bibliography

    Projects

    ShipsidesandBeggsProjectsCollectifR,L’Atelier,Nantes.France

    Nottanum

    Thisshowbeganwithaninvitationtoshowaspartofa10thyearcelebrationoftheCollectifRprojectinNantes.

    Webeganwithabasicpremisetotakeexistingworkssuchasthewoodenbombsandbones,(whichbeganthroughaninitiationbetweenCollectifRandNealforaworkcalledHowTheWestWasWon,2011)anddevelopnewworksfromthereforaninstallationandperformanceinthelargeatriumspaceofthegallery.

    Wehadalreadybeenworkingonideasaroundmixingpopularandfolksongsintosoundscapes(manyofwhichoriginatefromtopographicaldataaroundborders,boundaries,mountainsandsummits)andcombiningthesewithdrawingsandimageryfrompopularculture,currentaffairsandmythology–muchofitconnectingwithideasaroundpolitical,spiritualandphysicalpartitions,fencesandthemetaphorofthe‘wire’.Muchofthematerialdrawsfrompreviousworks,forexample,theideaofasummitcrossandaweaponisedsummitconnectswiththeworkYUPASTAR,2012whichdrawsuponamountaineeringtriptoanWW1explodedsummitintheItalianDolomites–wherenowontheblastedsummitplateaustandsacross.

    Thesummitcross,ofcourse,alsoechoestheromanticsummitcrosspaintingsofCasperFriedrichandothers.Thecrosshasbeensubstitutedbyabarbedwirecarvedwoodenstaketoppedwiththeglobe.Thebarbed-wireandbanjolinkstootherworks(e.g.Bivacco,2011)whereacollisionismadebetweentheideaoffencesorbarriersandtheprincipleofstringedpopularmusic.Herethewireactsasbothanagentofemancipationandanagentofoppression.Setintothebaseofthemoundareasetofsixplayablehandmadedrums,makingthewholesculptureapercussivesoundwork.

    Acrankie(anearlydeviceofmovingimagestorytelling)isalsosetintothebaseofthesummitarsenal.Itfeaturesahanddrawnnarrativeofthreat,strife,crisis,werewolves,zombiesanddronestrikes.Itiscartoon-likeandplayfulbutalsodarkandridiculous–achild’sfantasyoflife,deathanddestruction.Avideoconstructedfromthecrankieandre-editedwithkaleidescopicfootageofthecrankiere-tellsthestorywithspecialeffectsonasmallscreeninthedoorinthebackofthemountofbombsandbones.Thewholework,MassofTheWorld,hasastrangevoodoo-nesstoit.

    Anotheraspectthatweintroducedwasthedeviceofthewolf.Adiscoveryoftheexisitenceof'wolfcatchinggardens'fuelledthisdirection.AftertheHundredYearWarthehinterlandsbecamewilderandthewolfpopulationgrewsothat

    http://www.danshipsides.com/DshipsidesWeb/home.htmlhttp://www.danshipsides.com/DshipsidesWeb/cv.htmlhttp://www.danshipsides.com/DshipsidesWeb/statement.htmlhttp://www.danshipsides.com/DshipsidesWeb/biog.htmlhttp://www.danshipsides.com/DshipsidesWeb/projects.htmlhttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrank1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrank5.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSLoup8.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSLoup10.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSpigs2.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSsun3.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassdrumsR1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassbanjo1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSLoup7.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR9.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSsun2.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSpigs1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassglobe1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassL5.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassL6.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSKill-Kill.jpg

  • 12/09/2019 Shipsides and Beggs - L'Atelier, Collectif R

    www.danshipsides.com/DshipsidesWeb/Nantes17.html 2/4

    townspeoplebuiltgardenstoprotectfromthewolves.Thefencesofthesegardensweredesignedtoallowwolvesinandcruciallyalsotopreventthemleaving–sothatthewolfcouldbeeasilykilledbyarrowandtherebydiminishingthewolfthreat.LumieredeLoupisessentiallyaplayfulmobilewhichbalancesimagesofchildlikedrawingsofwolvesprojectedontoscreensbalancedonthetipofanarrow-pointonthetipofawoodenbomb.Thescreengentlyrotates,dipsandrisesasthebranchmovesonthetipofthearrow.Thewolfhereisatleastdoublecoded;Ononehand,asawildcreature,anaturalforcethatbringsgreatbiodiversity,acreatureofaweandbeauty–thenontheotherhandananthropomorphizingoffear,ametaphorforfascismandaconstructionofthreatorevil.Thedeviceofthelightprojectinganimageontoscreenlocatesthescreenandimagesaskeytoconstructinganenemy,athreatoran‘other’separatedfromourselves.

    Thethirdaspectoftheinstallationisasculpturalsoundworkbasedonusingatractortyreinner-tubeasthelungsorbellowsfortwomelodicas(windoperatedreedorgans).Themelodicasonlyoperatewhenthekeysareplayed–sothatwhenplayedtheyreleasethelossofairfromtheinflatedtube.Theoriginofthisideacamefromtheideaofprecariousfloatationdevices,madenotoriousinthetragicoccurrencesofMediteraneanseamigrationswherepeoplefleeingwarandeconomicdeprivationtakeincredibleriskstoenterEurope.Theworkimaginesthesongsoffreedomsuchfloatationdevicesmightoffer–butalsocountenancesthetragicpotentialofthetuneoflife'slastbreath.

    ApedestalrecordplayerartworkKillKillForPeace(2011)carvedfromatreetrunk–featuringthelyricsofthe1966song,KillforPeacebytheFugs-resonateswithmuchcontemporarygeopoliticalrhetoricandstandswithandconnectswiththemusicalcounter-cultureofpoliticalprotestandcommentaryofthe1960's.

    AfinalelementoftheshowwasaperformancewhichwovetogetheratopographicalelevationsoundscapeworkbasedonthedescentfromMontBlanc(Europe’shighestsummit)withthepopularsongs;Dylan’sMastersofWar,BlackSabbath’sWarPigsandthetraditionfolksongNottamunTown(thesongwhichDylan’sMastersofWarisbasedon).NottamunTownrelatestofestivalperiodswheresocialpower,normsandimpunitiesareupturned–suchastheFeastofFoolsfestivalsandMummersPlays.Inthisthereisakindofplayfulcarnivalesquesensetomuchoftheworkinthisinstallation–wewerekeentounderstandandworkwithquitedarkanddifficultideasfromtheperspectiveandpotentialofallowingourchildrentoencounterit.

    Theworkoverallofferslotsofrichreadingsorencounters.Weprefertheideaof'encounters'to'readings'–astheworkisveryactual,itispresentandmadeofthingswith'thinglyness'.Therewasnocleanfixedideafromthestartsohopefullyithasallowedaveryrichandcomplexsetofthingsandencounterstohappen.Playfulbutdark.

    Massoftheworld,2017Carvedpaintedwoodenbombs,carvedpaintedwoodenbones,woodendrumswithplasticskins,timber,carvedwoodenpost.

    LumieredeLoup,2017Carvedpaintedwoodenbomb,woodencrate,treebranch,woodentwigframeswithgeotex,LEDtorches,arrowandwolfstencils.

    http://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassL6.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassbanjobones1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassRside1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSLoup3.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSLoup4.jpg

  • 12/09/2019 Shipsides and Beggs - L'Atelier, Collectif R

    www.danshipsides.com/DshipsidesWeb/Nantes17.html 3/4

    Nottanum–pata-pataphysicaledit,2017Woodencrankiebox,paperrollwithacrylicpaint.

    https://vimeo.com/358286764

    Nottanum–pata-perceptualedit,2017HDvideowithanimationandcrankiefootage.3.18min

    Theoriginalcrankie(anearlydeviceofmovingimagestorytelling),includedwithinthesculpturalinstallation,featuresahanddrawnnarrativeofthreat,strife,crisis,werewolves,zombiesanddronestrikes.Itiscartoon-likeandplayfulbutalsodarkandridiculous–achild’sfantasyoflife,deathanddestruction.Thispataphysicaleditisconstructedfromthecrankieversionandre-editedwithkaleidoscopicfootageofthecrankieitselfandre-tellsthestorywithspecialeffectsandasoundtrackofWarPigsperformedliveattheopeningoftheexhibitioninNantesHDvideo

    03:18

    http://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR5.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR6.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR14.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR8.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR12.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassback1.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSCrankSCR16.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSMassdoor1.jpghttps://vimeo.com/358286764

  • 12/09/2019 Shipsides and Beggs - L'Atelier, Collectif R

    www.danshipsides.com/DshipsidesWeb/Nantes17.html 4/4

    MigrantSwanSong,2017Innertube,pipes,wood,melodicas,tubingandcompressor.

    KillKillForPeace,2011Treetrunkandacrylicpaint.

    http://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSsun2.jpghttp://www.danshipsides.com/DshipsidesWeb/Low%20image/NTSweb/NTSKill-Kill.jpg