a big part of the workload this week!
Integrative Project Student Pre-review Submission Material:
Call Your Mom’s A House
A House is a collaborative gallery show that employs live art, video, audio, and sculpture to question structures of home and family. Emma Bergman, Sophie Goldberg, Mia Massimino, and Eliza Cadoux are “playing house,” creating works in our studios and in an Ann Arbor house that reveal flaws in mythologies of home. The gallery show will come from this experimentation as we reflect on the the history of the house and our personal histories to create a tense but familiar feeling of home.
Chicago, Judy, and Miriam Schapiro. Womanhouse. 1972. Print.
This performance helped us frame a clearer picture of how audience members will move through the installation. It gave us a precedent of other critical women’s work about domestic femininity.
Smith, Anna Deavere. Twilight: Los Angeles, 1992. New York City: Doubleday, 1994. Print.
This performer’s interview based research and one woman, monologue style informed our practice.
Tiravanija, Rirkrit. Untitled (Free). 1992. Food. MoMa, 303 Gallery.
We want to work off this artist’s impulse to transform an artistic space into a feeding space to illustrate the artistry of cooking and communal eating.
Too Much Light Makes The Baby Go Blind. Dir. The Neo-Futurists. Chicago. Performance.
The Neofuturist’s episodic style and audience interaction techniques inspired the personalized entrance to the installation and the brevity of the pieces within the live performance element.
Bachelard, Gaston. The Poetics of Space. Boston, MA: Beacon, 1994. Print.
Bachelard’s philosophies on partially enclosed, inward facing spaces, like nooks, forts, and corners, influenced the accessibility and personal nature of the installation.
Bechdel, Alison. Fun Home: A Family Tragicomic. Boston: Houghton Mifflin, 2006. Print.
Bechdel’s multifaceted approach to perspective in family storytelling have an influence on the way we will portray our family history. Her techniques taught us that no story is one sided and she showed us creative ways to get out of our own heads.
Botton, Alain De. The Architecture of Happiness. New York: Pantheon, 2006. Print.
Botton discusses architecture through the lens of a non-architect. He muses on the feelings spaces create in ways that are accessible to those who have not studied architecture. We are inspired by his explanation of spaces having control over human emotions.
Schechner, Richard. Performance Studies: An Introduction. New York: Routledge, 2006. Print.
Schechner describes the balance between art and life and clearly states that that balance can be achieved and highlighted in immersive theatre performance.
Zumthor, Peter, Maureen Oberli-Turner,and Catherine Schelbert. Thinking Architecture. Basel: BirkhaÌ user, 2006. Print.
Zumthor discusses how all architectural understanding comes from past memories and experiences within architectural spaces. For example when he thinks of a kitchen he cannot help but think of his grandmother’s kitchen and his experiences there. We are inspired by Zumthor’s ideas of recalling past experiences with space and how that can be applied to how people interact with A House both in its experimentation and gallery forms.
Schweder, Alex. "Performance Architecture." Penny W. Stamps Distinguished Speaker Series. The Michigan Theater, Ann Arbor. 22 Sept. 2016. Lecture.
Schweder discussed the ways in which architecture is performative and examined the intersection between these two seemingly separate disciplines. As performers creating an immersive installation, we are drawing from his idea that spatial relationships can invite action.
Jenkins, Amy. Ebb. 1996. Amy Jenkins. Web.
Jenkins’ projection work and focus on domestic spaces inspired our desire to use projection in smaller, more intimate ways.
Neto, Ernesto. O Bicho Suspenso Na Paisajem. 2011. 2011. Faena Arts Center. Universes in Universe. Web. 6 Dec. 2016.
Neto’s large scale fibers installations inspired us to incorporate a playful, inviting nature into our sculptures.
Satrapi, Marjane, and Taina Aarne. Persepolis Marjane Satrapi. Helsinki: Like., 2007. Print. This graphic novel’s distinct style inspired us to work with bold and graphic techniques for the series of postcard prints.
This project is part of a continued collaboration called Call Your Mom. Call Your Mom is a performance family founded in an ethic of compassion. For the past three years, we have collaborated to create multi-media performances that combine visual art and performing arts to test the boundaries of relationships. Because this is a continued collaboration, we already have a distinct practice and making style. We spend our studio time meeting as a group based on self-driven objectives. A typical Call Your Mom meeting has five parts: “life update/show update,” adjustment, “making time,” logistics, and assignments. We structure our meetings this way to get emotionally and artistically in tune with each other. Our familiarity with each others modes helps us determine what we will be able to accomplish. We also make sure to update each other on what we are excited about, new things we have encountered that have inspired us since we last met, and ways we are thinking about different elements of the project. From there we move into our agenda for that day. The tasks on our to do list range from solidifying choreography to doing a timed writing prompt to applying for a grant. Based on the life and show updates, we determine whether we are all mentally prepared to work on what we scheduled and whether it is still our top priority. Then we adjust and move to “making time,” time we allot ourselves to actually complete the items on our agenda. This is the meat of the meeting. After we make, we move into logistics. We discuss our next meeting time and what becomes our next priority. Did we get as far as we wanted to get on this task? Is there another opportunity or deadline that we need to address? Do we need some time to simply move around, improvise, and create next meeting or is it crunch time for something? Once we plan our next meeting, we address things we each need to do outside of our allotted rehearsal time. Does someone need to buy materials? Do we need to assign a collective writing prompt on a topic we are working on in our next meeting? We leave the meeting trusting, from experience, that each person will uphold their commitment to the collaboration and come prepared to our next meeting.
In the next 3 and a half months we will be solidifying the installation and performance experiments in the house. We will perform in the experimentation space and document the audience’s interactions with the space. From here we will combine our vision of the gallery space with the information we gather from the performance and install our temporary home into the gallery.
Do our positions on home transcend our personal perspectives?
How can we best communicate the value of our collaboration in order to receive funding and other opportunities?
What is the best way get maximum documentation of the house from our initial iteration without interrupting the audience’s experience?
What elements of home are incompatible with a gallery space? How can we creatively remedy these incompatibilities?
How can we make each audience member’s experience unique to their upbringing while maintaining a sense of universality and autobiography?
How do we compartmentalize the gallery in a way that references the rooms in a house?
How can we combine the political history of the family that owns the house to best illustrate that familial relationships are inherently political?
How can we find cohesion between the pieces that have been inspired by separate rooms in the house, once they move into an open gallery space?
How do we invite people into our assigned gallery spaces as hosts?
How do we bring to life the interactive elements of the experimentation in the gallery space?