I am your anti-matter (Latest version) by Li-E Chen

Li-E Chen

I am your anti-matter

li - e Chen

HTTP://WWW.LIECHEN.COM

HTTP://CLOUDCLOCKLOVE.WORDPRESS.COM

© 2012 Li-E Chen; individual contributions © 2012 the contributors. individual participants © 2012 the participants. All Right Reserved. Series name: 1212360 D ANIEL P ITT - C LOUD C LOCK L OVE - R OOF S TUDIO , SIOBHAN DAVIES STUDIOS

Special thanks to … The Arts Council England, Rob Prouse and the Siobhan Davies Studios, Movana Chen (Artist/Curator), Sarah Ng, Sally Dean (Sally E. Dean Performing Arts Company), Improbable’s Devoted & Disgruntled Satellite and Open Space communities, Phelim McDermott (Co-Artistic Director of Improbable), Chinese Arts Centre, Manchester (Whisper Artist Residency and Professional Artist Development scheme), the fellow summer Creative Space artists/dancers and Caroline Salem (Director of the Creative Space@Clarence Mews), Hamish Macpherson, Manick Govinda (Artsadmin), Young Vic Theatre (the Young Vic Directors Programme), National Theatre, Royal Opera House, BAC and Cultural Leadership programme (The ‘Step Change’ leadership programme), Leona Yu, Live Arts Development Agency, Nicholas Wood (the Central School of Speed and Drama), Professor Johnny Golding (the Research Institute for the Converging Arts & Sciences, University of Greenwich), Manu Luksch, Indigo J L, Guy Dartnell, Dr Nathan Widder (Royal Holloway University of London), Bean (director of ]performance s p a c e [, Victoria Gray, Ying-Mei Duan, Aoife Collins, Will Fung, and all the participants (co-creators) and contributors to the project Cloud Clock Love.

C LOUD C LOCK L OVE , R OOF S TUDIO ,

SIOBHAN DAVIES STUDIOS , LONDON , UK ,

3-4

SEPTEMBER

2011

Credits CLOUD CLOCK LOVE I Am Your Anti-matter Conceived, curated, designed, and produced by Li-E Chen

Foreword written by Dr Nathan Widder

Ebook contributions by Ying Mei Duan Victoria gray Bean Will Fung Indigo J L Aoife Collins

Mentored by Sally Dean D AVID T SE -K A -S HING - C LOUD C LOCK L OVE - R OOF S TUDIO , SIOBHAN DAVIES STUDIOS

I am your anti-matter (limited edition t-shirts) by

Hannah Lammin

Li-E Chen

David Marchant

(with the assistance of Sarah Ng)

John Hill Nathan Widder Victoria Gray

Project assisted by

Bean Li-E Chen

Bean Nathan Widder Live Documentation by Victoria Gray & Bean

Sarah Ng David Marchant John Stewart John Hill

Durational Live Writing online by

Movana Chen

Victoria Gray @ACTIONOTHING Bean @aplaceofaction curated by Li-E Chen @1212360

Participants (Co-creators) James Hodgson Ivor Houker

Live Streaming of the second day of the lab was arranged by

Sophie Morgan

James Hodgson

Annette Fry

Ivor Houker

Dean Soden Folveog Eva Daniel Pitt Qing Qi

Melody S. Sacco

Others who participated in the project include

David Tse-Ka-Shing

Those who participated online during the lab through the Cloud Clock Love blog.

Solveig Eva Magnusdottir Sebastien Han_Walker

Those who took part in “take-no-action” during the DandD7 event, an open

Apryl Pipe

invitation from Improbable, 25-27 February 2012

Tim Cullingford Sim Lai

Soren Evinson

Those who have helped disseminate the artwork by wearing the “I am your antimatter” t-shirts limited edition 2011 - 2012

Sally Dean Paul Whitlock

Softwares Advisers for digital publishing Kaying Cheng Andrew Whitehead

Photo Cloud Clock Love Laboratory Photo by Nathan Widder Ying Mei Duan (Chapter 4 page 41-42) Photo by Melati Suryodamo

Multimedia Video Intro Media (page 0) “I am your anti-matter” shot by Li-E Chen (2012) Interactive Map (Chapter 2 page 14) “Open Space” by Li- E Chen Video (Chapter 2 page 18) “Clock Clock Love Durational Lab on ‘Nothing’”shot by Nathan Widder, edited by Bean (2011) Blank pages (Chapter 5 page 68 - page 77) “Nothing” by Li-E Chen Video (Chapter 5 page 83) “Untitled” shot by Li-E Chen (2011) Sound (Chapter 7 page 101) “Downward social mobility” by Aoife Collins Film (Chapter 9 page 112) “Dragon Coconut and the Monster Rabbit” by Indigo J L

Supported by the National Lottery through the Arts Council England.

L I -E C HEN - A S TRUCTURE

N OTHING (2011)

I am your anti-matter is part of a research and development project, CLOUD CLOCK LOVE, an exploration of a new understanding of ‘nothing’ created by Li-E Chen and supported by the National Lottery through the Arts Council England.

This work on ‘Nothing’ emerged over several years out from Chen’s diverse experiences and projects, including: a short residency programme at the Chinese Arts Centre in Manchester (UK) in 2009; participation in the ‘Step Change’ leadership training programme, which included secondments at the Improbable, and the Live Art Development Agency; and ongoing engagements with the works of Robert Wilson, Techching Hsieh, Merce Cunningham, Tadeusz Kantor, John Cage, Harold Pinter, and Improbable (including Chen’s participation in its Devoted and Disgruntled Satellite and Open Space events).

C LOUD C LOCK L OVE , R OOF S TUDIO ,

SIOBHAN DAVIES STUDIOS , LONDON , UK ,

3-4

SEPTEMBER

2011

Foreword

Nothing is frequently treated as an absence or deficiency. To say, ‘nothing is in the room’ indicates that it is empty; to say ‘nothing has happened’ means there has been no change, be it developmental change or decay; to say ‘you mean nothing to me’ communicates that I take you to be of little or no worth. Yet these everyday uses and meanings are not as straightforward as they may seem. To say ‘nothing is here’ grants this nothing some existence or being. If nothing seems to have happened, it speaks more to the limitations of our perceptions than it does to our perceived reality. And you must have meant something to me, or I wouldn’t have wasted the time and energy to tell you that you didn’t.

From seminal works of philosophy to everyday life, nothing has been considered in ways that allow it to be an object of representation, something that can be comprehended and known with relative ease. We make things easy in this regard by setting nothing against its opposite, taking this opposite to be a thing of worth. What we represent to ourselves and others is a matter of things, even if this is the representation of the opposite of a thing, a no-thing.

But we need not think along these terms. We might instead press beyond the

sought to bring about conditions under which something creative could come

limitations of this representative thought by treating ‘nothing’ not as a

to participants in this sort of way. In a space constructed with the minimum of

representation of a ‘no-thing’, but as a name given to that which can be

rules, and with no more than suggestions for starting points, participants were

presented but never re-presented, precisely because it is not and cannot be

invited simply to take what was there and to do or make something with it,

made into a (representable) thing. In the terms on which this thinking proceeds,

independently or collaboratively and in accordance with what felt right to them

‘nothing’ is what can be cognized but never re-cognized, meaning it also

at the time. It was an extremely simple arrangement, but one that was all the

cannot be conceptualized, remembered or organized in relation to other

more powerful insofar as it cut against the pressures we all face in daily life to

objects and things. We would be able to experience this ‘nothing’ in any

follow plans and achieve predetermined goals. These are the very pressures

number of ways. But we would never be able finally to grasp it.

that encourage us to see an absence of something when that structure of goals and purposes is removed. In removing those pressures, Cloud Clock Love hoped to create an environment in which a different kind of ‘nothing’ could

Such a ‘nothing’ may seem to be meaningless, but even if it cannot have an

emerge and be felt.

everyday meaning, it would be wrong to think that it could not have a sense. Or, perhaps better, while it may have no sense itself, while it may only be ‘nonsense’, it might still play a role in allowing us to ‘make sense’ of the things

This new environment could in no way be construed in terms of absence.

that are normally the objects of our thinking, the things in whose absence we

Indeed, while Cloud Clock Love eschewed the kinds of representative

speak of nothing. Considered in this way, ‘nothing’ would at bottom be a

structures in which we are usually asked to create (and those requests are not

foundation for creativity, insofar as creativity is taken to be more than putting

so much requests to create, but rather to manage or manufacture or repeat),

together or manufacturing an object based on a prior representation (a model,

the space it opened up was not in fact unstructured. Again, this ‘nothing’ is not

an idea, etc.). To create in this respect would be to bring into being something

an absence, nor is it a lack. Instead, it engendered another sort of structure,

that was not there before. We have long been told that only God could create

one constituted through the relationships of participants with one another and

ex nihilo. But perhaps all things, as things, are created from ‘nothing’.

with the things around them. It was something plural, something rhizomatic. This is what made the experiment and the results it produced unique, and indeed, the experiment is one that can never be repeated: a similarly open

Cloud Clock Love was a remarkable two day experiment in the creativity of this

structure can certainly be set up, but the contingent connections that develop

‘nothing’. There is an experience of creativity that is difficult to pin down even if

in this new structure will not be the same. Cloud Clock Love was not a model

in some respects it is commonplace, an experience that brings the person who

that others could or should repeat. The experimentation was not one to confirm

has created something, when asked how he or she came up with the creation,

a scientific hypothesis but one to present an idea. It is not to be verified by

to answer, ‘I don’t know where it came from; it came to me’. Cloud Clock Love

repeating the experiment in order to reach the same results. The appropriate response to it is to present something new - that is to say, to create. Through ‘nothing’ we create, and what we create, sometimes, amounts to nothing at all. Creativity is in no way obligated to give itself a goal to achieve. At the same time, however, the structured organization of things around us, the goals and plans set out for us and towards which we work, are all creations too, since they did not come about on their own but had to be invented. In this respect, even our most ‘uncreative’ structures are products of creativity. And this is the case too even with our everyday understanding of nothing as an absence or deficiency, as the opposite of something, as an object that we represent to ourselves. This nothing too is created, and as such it is the product of an unrepeatable experiment. Of course, the idea of nothing as an absence is certainly created and re-created - otherwise it would not be with us all the time. But every time it is re-created, the process is something new. Nathan Widder

Nathan Widder Dr Nathan Widder is a Reader in Political Theory at Royal Holloway, University of London. His work explores concepts of identity, difference, power, and representation, carried out through engagements with ideas in the history of Western thought, contemporary Continental philosophy, and psychoanalysis. He is author of Genealogies of Difference (University of Illinois Press, 2002), Reflections on Time and Politics (Penn State University Press, 2008) and Political Theory after Deleuze (Continuum Press, 2012).

Introduction "Most speeches are full of ideas. This one doesn't have to have any. But at any moment an idea may come along. Then we may enjoy it. Structure without life is dead. But Life without structure is un-seen." John Cage

I am your anti-matter is the final phase of a research and development project, Cloud Clock Love, supported by the National Lottery through the Arts Council England. The project has sought to explore a conception of ‘nothing’ that lies beyond the functional, political, traditional, historical, and representational, and that makes no reference to self, memory, identity, or meaning. It also tried to tap into the creative power of this ‘nothing’ through a process of independent collaboration set out through a two-day durational laboratory that took place on 3-4 September 2011 at the Siobhan Davies Studios in London. I cannot thank enough all those who participated and contributed to the event. And, of course, I am grateful to all the support, which went beyond simply financial support, provided by the Arts Council England and the National Lottery.

At the heart of the Cloud Clock Love project was the two-day durational lab. An open invitation went out for artists and non-artists of any and all backgrounds. They were free to enter and leave the space

as they wished. They were provided with minimal ‘starting points’ that included

organized at ]performance s p a c e [ in Hackney, London, which is scheduled

action scores, performance scores, sound scores, short texts, and t-shirts.

to begin in May, 2012. Information can be found at the end of the e-book.

These starting points served only as invitations, and beyond this the participants were simply left with nothing - no instructions, no overarching structure for the event, no time constraints except insofar as the lab was

This project began with a concept of ‘nothing’ that came to me through

eventually to end. Participants were free to respond as they wished, to create

previous artistic experiences and research. One of the important lessons I

individually or collaboratively, to take up the work left by those who came

learned came from the way that, in the course of planning, holding, and later

earlier, or to leave behind work for others to take up. Two artists also added

reflecting on the lab, the concept I began with also changed a great deal. This

durational live documentation, including live Twitter and Facebook updates,

was unexpected, but it should not have been a surprise, I think, because the

which also fed back into the creative process. Over the course of the lab, the

concept of nothing is always and must always be changing. It is impossible to

studio space itself, as well as the live documentation, became works of art.

know it fully, and so our experiences must always change what we know it to

This was not in any way a goal of the lab; it was simply a result of a process of

be. This is one more reason for I must thank all the participants, contributors,

emergence that the loose conditions of the lab made possible.

and others who have helped me take this journey.

As part of the Cloud Clock Love project, this e-book has been produced to

Li-E Chen

disseminate information about the laboratory and the ideas that inspired it. However, I very much hope that it can also serve as a piece of artwork itself, one that has been inspired by the project about which it also reports. The principles the underpin the project are those of Open Space Technology, which promotes horizontal and collaborative engagement and exchange towards a goal that always remains open and incomplete. The book is therefore includes interactive content and is composed in a way that connects it to the outside, offering readers the opportunity to add content, if not to the book itself, than to the tweets, web pages, and blogs that are embedded as hyperlinks in the text. It also includes contributions from artists and non-artists who did not participate in the original laboratory but whose work has been inspired by it or relates to its principles in some way. Finally, the creative process developed in this project will be carried forward with a 12-month durational laboratory,

C HAPTER 2

durational laboratory on nothing

C LOUD CL OCK L OVE - R OOF S TUDIO ,

SIOBHAN DAVIES STUDIOS , LONDON , UK ,

3-4

SEPTEMBER

2011

Ceiling

Sound score

Space

Fan & Numbers Preparation has reached____, _______.

Plain envelopes Color envelopes (invitation) I am your anti-matter

The interactive map contains a series of performance scores as a starting point of the lab.

Available on iPad only

Durational Live Writing

Floor

A structure of 3 on ‘nothing’ Nothing Political

1 of 13 INTERACTIVE MAP: CLOUD CLOCK LOVE durational laboratory on ‘nothing’ by Li-E Chen, Roof Studio, Siobhan Davies Studios, London 3-4 september 2011

L I -E C HEN - F AN

AND

N UMBERS (2011) - A NIMATION

Click on screen to watch video or click here for web link

VIDEO: CLOUD CLOCK LOVE durational laboratory on ‘nothing’ by Li-E Chen. Shot by Nathan Widder. Edited by Bean Roof Studio, Siobhan Davies Studios, London, UK, 3-4 september 2011

Li-E Chen's nothing manifesto

BEFORE NOTHING HAPPENS Nothing to interpret Nothing to discuss Nothing to analyse Nothing to talk Nothing to explain Nothing to curate Only in the condition of preparation for something or for a situation to take place...

J AMES H ODGSON AND I VOR H OUKER C LOUD C LOCK L OVE - R OOF S TUDIO , S IOBHAN D AVIES S TUDIOS , L ONDON , UK

AFTER NOTHING HAPPENS Nothing to lead Nothing to facilitate Nothing to direct Nothing to choreograph Nothing to act Nothing to show Nothing to exhibit We only become invisible in this space... so that we can be free...

J AMES H ODGSON C LOUD C LOCK L OVE - R OOF S TUDIO , S IOBHAN D AVIES S TUDIOS , L ONDON , UK

“Nothing will come of nothing.” “Nothing can be made out of nothing.” (King Lear, Act 1.1 and Act 1.4)

preparation has reached___, _______.

Li-E Chen (陈丽娥) 1212360@ a 2 Day Durational Lab on ‘Nothing’ with artists Victoria Gray and Bean | Unedited documentation via twitter by Li-E Chen | 28 Aug - 4 Sept 2011 | London (UK)

C l o u d C l o c k L o v e  3 - 4 S e p t e m b e r 2 0 1 1 .  Siobhan Davies Studios, London, UK.

Written by Li-E Chen, in preparation the open durational laboratory on ‘Nothing’, following by her statement of “Preparation has reached_______, ______________. Action of ‘not-knowing’”

AN EVENT WAS HAPPENING UNDER THE STATE OF PREPARATION

4 Sep

CONDITION TO REACH THE STATE OF ‘0’ or ‘NOTHING’ AS POSSIBLE

Victoria Gray @ACTIONOTHING 1 Reply Retweet Favorite · Open #CloudClockLove A DUET FOR DANIEL & IVOR Retweeted by Li-E Chen (陈丽娥) Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Are you measuring your intelligence? #CloudClockLove @1212360

4 Sep

Li-E Chen (陈丽娥) 1212360@

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Are you waiting for an idea to come along? Don't wait - it will be too late. #CloudClockLove

1 Reply Retweet Favorite · Open @daniel_pitt @aplaceofaction Prep has reached 51: No records match this set of find requests. #CloudClockLove #fb @1212360 @ACTIONOTHING In reply to Daniel Pitt 4 Sep

4 Sep Li-E Chen (陈丽娥) 1212360@ Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open What is your expectation of at the start of the lab?

1 Reply Retweet Favorite · Open @Hamish_says had ni light morning conversation @ACTIONOTHING @aplaceofaction about action #CloudClockLove #fb @ACTIONOTHING @aplaceofaction In reply to @HamishMacP

4 Sep

Li-E Chen (陈丽娥) 1212360@

Hamish MacPherson @HamishMacP 1 Reply Retweet Favorite · Open @1212360 I am not present (0) but I have moments of engagement (1) with what though? #CloudClockLove Retweeted by Li-E Chen (陈丽娥)

1 Reply Retweet Favorite · Open @Hamish_says @daniel_pitt @aplaceofaction Preparation has reached 50: +Nothing. #CloudClockLove #fb @1212360 @ @ivorhoulker In reply to @HamishMacP

4 Sep J AMES H ODGSON

15 principles of Black Market International. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction ]performancespace[ @aplaceofaction 1 Reply Retweet Favorite · Open they return, pace space selecting numbers, marking no thing striped down chest 36: I m your anti matter #fb Retweeted by Li-E Chen (陈丽娥)

4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open worrying doing something wrong. #CloudClockLove #fb

4 Sep

4 Sep Victoria Gray @ACTIONOTHING 1 Reply Retweet Favorite · Open #CloudClockLove RESEARCH PHASE Retweeted by Li-E Chen (陈丽娥) 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Negotiation, not verbal #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open really nice light conversation about action, art, performance, etc. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Noticing it is happening, doesn't have to judge yourself or others. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open preoaration has reached: 36 I am your anti-matter. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Negotiation - yourself with the others, individual. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1

Reply Retweet Favorite · Open

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open just noticing it is happening #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction 4 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open @iambsebastian thanks for coming yesterday!! Great to have you here! hope to see you again #CloudClockLove In reply to Benjamin Sebastian

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open your body has history/memory already, it is already there. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

3 Sep

4 Sep

Benjamin Sebastian @iambsebastian 1 Reply Retweet Favorite · Open @aplaceofaction @1212360 got ya. X Retweeted by Li-E Chen (陈丽娥)

Li-E Chen (陈丽娥) 1212360@

In reply to ]performancespace[

1 Reply Retweet Favorite · Open not choreography or planning, action only #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep

4 Sep Li-E Chen (陈丽娥) 1212360@

Li-E Chen (陈丽娥) 1212360@

1 Reply Retweet Favorite · Open @Hamish_says Set up Live Stream for Cloud Clock Love - LAB, watch site www.liechen.com, it will be live stream there, exact time2follow.

1 Reply Retweet Favorite · Open Action: TASK to yourself, TASH you create for yourself. #CloudClockLove #fb 4 Sep Li-E Chen (陈丽娥) 1212360@ Li-E Chen (陈丽娥) 1212360@

1 Reply Retweet Favorite · Open Preparation has reached: 38 I am an individual. #CloudClockLove #fb

1 Reply Retweet Favorite · Open action of not expressing anything #CloudClockLove #fb 4 Sep Li-E Chen (陈丽娥) 1212360@ 1

Preparation has reached: 45 No records match this set of find requests. The tshirt is so small. #CloudClockLove #fb 12:01 PM - 3 Sep 11 via web · Details 1 Reply Retweet Favorite

Victoria Gray @ACTIONOTHING 1 Reply Retweet Favorite · Open Preparation for #CloudClockLove has reached @ACTIONOTHING, Keep going @1212360..... Retweeted by Li-E Chen (陈丽娥)

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 6 I am your anti-matter. #CloudClockLove #fb

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 6 I am your anti-matter. #CloudClockLove eepurl.com/ fnALk

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 43 Hold on a second. #CloudClockLove #fb

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open #fb looking forward to seeing you tomorrow @aplaceofaction! around 30 people coming for the weekend lab. eepurl.com/fnALk 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 13 I must actually perform this experiment. #CloudClockLove #fb

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 24 I am your anti-matter. #CloudClockLove eepurl.com/ fnALk 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 43 I am an individual. #CloudClockLove #fb Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 12 I am your anti-matter. #CloudClockLove #fb eepurl.com/fnALk

2 Sep

Li-E Chen (陈丽娥) 1212360@

1 Reply Retweet Favorite · Open Preparation has reached: 24 I am your anti-matter. #CloudClockLove #fb eepurl.com/fnALk

1 Reply Retweet Favorite · Open Preparation has reached: 40 I am your anti-matter. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb eepurl.com/fnALk

2 Sep

Li-E Chen (陈丽娥) 1212360@

1 Reply Retweet Favorite · Open Preparation has reached: 24 I am your anti-matter. 2 Sep

1 Reply Retweet Favorite · Open Preparation has reached: 37 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 24 I am your anti-matter. #fb

Li-E Chen (陈丽娥) 1212360@

2 Sep

1 Reply Retweet Favorite · Open Preparation has reached: 37 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 24 I am your anti-matter. #CloudClockLove @aplaceofaction @ACTIONOTHING eepurl.com/fnALk 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 21 I am an individual. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 40 I am your anti-matter. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING eepurl.com/fnALk

Li-E Chen (陈丽娥) 1212360@ 1

Reply Retweet Favorite · Open

Preparation has reached: 21 I am an individual. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 28 + Nothing

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 33 Let me think. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitation here: eepurl.com/fnALk 2 Sep

2 Sep Li-E Chen (陈丽娥) 1212360@ Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 28 + Nothing #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING

1 Reply Retweet Favorite · Open Preparation has reached: 51 No records match this set of find requests. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction 2 Sep

2 Sep Li-E Chen (陈丽娥) 1212360@ Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 29 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitat: eepurl.com/fnALk

1 Reply Retweet Favorite · Open Durational Live Writing of the lab on 'Nothing' will be documented live by artists Victoria Gray and Bean. Watch... fb.me/YjjjgTQr 2 Sep

1 Reply Retweet Favorite · Open Reminder!! this weekend a durational lab on 'Nothing' at Siobhan Davies Studios / London SE1 6ER (SAT) 3 Sept... fb.me/17gGdilAo 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1

Reply Retweet Favorite · Open

Preparation has reached: 49 I am your anti-matter. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Preparation has reached: 49 I am your anti-matter. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction #fb 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open 35 objects are being processed under the iron, preparing #CloudClockLove lab for 3-4Sept at Siobhan Davies Studios. #fb goo.gl/7mjsY 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open 46 I must actually perform this experiment. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open 39 No reco d ma h t is se o fi d equests #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction #fb 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open 46 I must actually perform this experiment. #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open 46 I must actually perform this experiment. #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction #fb 1 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Finished printing 15 of 35 t-shirts in the last 6 hours. Go to bed now.

Li-E Chen (陈丽娥) 1212360@

30 Aug

1 Reply Retweet Favorite · Open 46 I must actually perform this experiment. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction #fb 2 Sep

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Time and matrix #CloudClockLove wp.me/pWz4M-wM

29 Aug

That's great!! @1212360 is very looking forward to 19 hours durational lab on 'Nothing' @ACTIONOTHING & @aplaceofaction #CloudClockLove #fb In reply to Victoria Gray

Li-E Chen (陈丽娥) 1212360@

28 Aug

1 Reply Retweet Favorite · Open @1212360 @ACTIONOTHING @aplaceofaction less than 6 days, a lab on Nothing - Going from or to "0" #CloudClockLove #fb liechen.com 29 Aug

Victoria Gray @ACTIONOTHING 1 Reply Retweet Favorite · Open #CloudClockLove ACTIONOTHING TESTING NOTHING, looking forward Li & Bean Retweeted by Li-E Chen (陈丽娥)

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open An email will be sent out to all participants later this evening!! Meanwhile, you can visit www.liechen.com home... fb.me/uaYN15fT 29 Aug

28 Aug

Victoria Gray @ACTIONOTHING 1 Reply Retweet Favorite · Open #CloudClockLove 19 hour Lab Retweeted by Li-E Chen (陈丽娥)

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Get ready now #CloudClockLove wp.me/pWz4M-wz

28 Aug

29 Aug Li-E Chen (陈丽娥) 1212360@ Li-E Chen (陈丽娥) 1212360@

1 Reply Retweet Favorite · Open It is really exciting the online duration platform on "nothing" is set up now. #CloudClockLove

1 Reply Retweet Favorite · Open FOLLOW US on twitter #CloudClockLove 19 hours durational lab on 'Nothing' 3-4 Sept 2011 @ACTIONOTHING -... fb.me/u8CyIFek

28 Aug

29 Aug Li-E Chen (陈丽娥) 1212360@ Li-E Chen (陈丽娥) 1212360@ 1

Reply Retweet Favorite · Open

1 Reply Retweet Favorite · Open This is a test of the emergency broadcast system #CloudClockLove #fb: wp.me/ pWz4M-wf

4:27 PM - 28 Aug 11 via WordPress.com · Details 1 Reply Retweet Favorite 28 Aug

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open a week to go wp.me/pWz4M-w1 28 Aug

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open Cloud Clock Love 2011: wp.me/pWz4M-vS

C HAPTER 3

victoria gray

on the condition

Victoria Gray - On The Condition

Performance demands the presence and attention of the body. 'On The Condition' re-focuses on what is 'invisible' and therefore often subject to 'exclusion' in our articulation and experience of live performance and more particularly 'the body'. It challenges dominant modes of producing, experiencing and writing about performance that rest on what is sayable, legible and visible in favour of the un-sayable, illegible and invisible. It suggests that political, social and cultural factors have, with intent, desensitised our ability to be open to bodily sense perceptions cultivating a 'blind spot' in our experience. The conditions of this text are that there is a reading and a writing of 'something' where there first appears to be 'nothing'.

'Appearance is our condition, and memory our truth.'

(Brandt, in Bal, 1999, 44)

Read [the body] close in order to see [the body] or all have lost [the body]

What remains to be [un]seen is [still] of the body. Porous bodies, porous materials, porous texts; each reciprocates the other. Bodies, materials, texts implicate each other, are changed [charged] by each other. A [non]sense emerges, even if it seems the eyes were closed when writing. Thin [skin] fibres are made to be unpicked slowly and carefully from seams that seem to unravel a formlessness. A body, a material, a text with no edges; unravelling carelessly [but still carefully]. Disappearing if only to remain, to be [un]seen as [bodily] remains.

Light makes shadows [reveals the dark]

Throwing light on a subject object but [still] left in the dark. The more we see the less we know, the more we know the less we see; less inclined to look. Feeling [in the] dark, things make themselves [un]known and the [un]known appears in the shadows. Here, in this contrast between light and shade an inbetween form forms a constructive tension that reveals itself to be formless [and therefore a bit shady].

Presence said [to Absence], ‘I need you in order to be seen at all’

Absence touches Presence, Presence touches Absence. Absence reciprocates this feeling but neither feel the same. Absence, the unrequited lover of Presence, is always seen as moving [on its way out of the door]. The way we feel we are often touched by Absence but find it difficult to touch ‘it’ for ‘it’ is not an ‘it’. But we do sense absent things. Hairs on the back of the neck stand to attention when Absence enters the room [through the side door] softly in stocking feet. The soft touch of both caresses us as we find ourselves a soft touch in the Presence of Absence.

Contact [is touching]

Skin, the sensor [censor] of sweat, blood, spit; tightens as we try to control those we absorb and swallow. Hard skin; to keep the 'outside', the 'other' at bay. Soft [political] systems [are bound to] fail yet we must [still] trust and perform a [politics of] soft logic.

A slow death [still] moves us What a way to go [to cause a 'seen'] Subtlety asks for a difficult way of [un]seeing. Forfeit the need to fulfil need and the needy eyes feeding on the [performance] happening. Happening to notice the invisible [performance] walk into [and out of] the room. Post-spectacle, in [living] memory; Subtlety shows itself to be chaos in disguise.

Going unnoticed, not even noticed going, makes going noticeable. I watched nothing leave the room and it was really something.

Stillness [is moving]

There is friction in Stillness, in its always being 'between'. It is this static that makes Stillness moving. It is often moving to watch and to be watched when so often you [dis]appear to 'Be' not here. Yet, should 'Being' in the [privileged] realm of the 'visible' qualify presence.

durational live writing

Victoria Gray @ACTIONOTHING a 2 Day Durational Lab on ‘Nothing’ with artist Bean | Online event curated by Li-E Chen | 3-4 September | London

C l o u d C l o c k L o v e  3 - 4 S e p t e m b e r 2 0 1 1 .  Siobhan Davies Studios, London, UK. Written by Victoria Gray on the occasion of Cloud Clock Love, A Two-day Durational Lab on ‘Nothing’. This text is embedded with links and therefore references outside of itself.

1 10:20  10:28  10:28  COMPLICATED  10:32  BREAK UP  10:36  REMOVE FROM YESTERDAY  RIGHT SIDE RECORD  10:40  DURATION DAYS  PEOPLE MIGHT  LAB  ALL OF YOU  IN THE MIDDLE IS THE ENVELOPE  SCHOOLING CHOOSING  CHOOSING SCHOOLING  GOOD GIRL(S)  GOOD BOYS(S)  10:44  CONSTANT  10:45  TRANSCRIBING  10:52  10:56  LINK  POLITICAL SIDESTEPPING  11:06  WATER STRUCTURE  11:10  LINK  11:12  REMEMBERING FROM THE FLOOR  STRUCTURE IS BROKEN  EXTRANEOUS INVERT  11:19  LI T  11:37  THIS EQUATES TO NOTHING  11:46  SEED PENS  12:03  ZEROES AND ONES PLANT AN IDEA  12:13  12:25

ON THE PAGE  TRY THIS  AND  12:39  HERMETIC  12:51  SEED PENS  SEED PENS  12:54  SOUND FINALLY  LISTENMONK  BREAKFASE  13:08  A NEW STARTER  13:13  I AM HER ANTI-MATTER  PEOPLE ARE RESTING AND THIS IS NICE  SLOWING DOWN ‘DENSE SLOW MOVING SENSORIUM ‘ (HEATHFIELD, A)  13:33  uncanny 28  13:34  13:43  WHERE IS LI?  BINARY CHOICES GOING ON THERE AND IT IS NICE, WHAT SHE IS DOING  SKETCHING  WHAT SHE IS DOING IS SKETCHING  28:  LLR2R112LLRRL22111LLRL2R112L211121LLRRRRR211LR2112LLRRL2111LLR L2R12LR1121LRR2R112LLR2211112LR2R112LLRLL211LLRL2L112R2R1R1121L LRRRL2R12L22111L112R1121L11112RRLR2R11211LLRL2R12LRLLRR2R12LLR RLL22R2112…1121LRLRL211…  .. … ..  .. .. .. .. .. .. ………. … … …. … … … … … … … … ..  .  . . .. … … … ..  . … .. … . . … …. ……..  .  .. . .  … …..  13:56  HOLD ON A SECOND  THINKING ABOUT PHASING  BLACK MARKET  14:00  FASING  LIVE FEED NOW  14:19

SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSSS  sLi

SEBASTIAN ARRIVES FROM THE WATCHTOWER  BERLIN  MELTING HONEY ON LIGHTBULBS AS THEY BURN, CARAMEL LIKE

14:37  14:42  BRAILLE TALKING  ……………………………………………………………………………………………… ……………………….  T-SHIRT LIKE A NUN KNEELING WAVING THE NUMBER 39 T-SHIRT SKIRT DRESS CHATTERING HOLDING CABLE OPENING LEGS SLIGHTLY LYING  ANCHOR  GET INTO YOUR SKIRT LIKE IT WERE A PAIR OF TROUSERS  WEAR YOUR SKIRT LIKE IT WERE A PAIR OF TROUSERS  STOP PERFORMING  15:03  15:04

. .  .————-.  LEVITATE

Z LI E CHEN (THOSE TESSELATED SHAPES)  15:07  15:09  AFTERNOON SLUMBER STRONGER CASE PUSH DURATION AWAY  15:14  LET THEM THINK  15:15  I WISH WE COULD HAVE SOME SOUND ON  GIVE ME VIOLINS, SOMETHING EPIC  REALLY LONG CABLES LIABLE BECOMES ROPE FOR SKIPPING / PUTTING ‘THINGS’ OFF  USE  SHE’S FINDING THE (SO CALLED) NEGATIVE SPACE  33 REMOVES HERSELF @15:25  HOW TO GET OUT OF THIS FORMULA  THIS FUCKING FORMULA  EXCESS IS  15:29  COME BACK BOY  12  15:37 – WALKER RESPITE  BECOMES AN ABSTRACT CONCEPT  MUSE  BY THE WINDOW HAS PRESENCE GUY  15:48  WHAT WOULD IT BE LIKE IF THERE WERE NO TASKS / NO SCORES LI?  @1212360@APLACEOFACTION@ACTIONOTHING  15:42  16:18  16:39

16:46 12345678910  OK  123456789101234567891012345678910  OK OK  I DONT KNOW  1234567891012345678910  OK I DONT KNOW  123456789101234567891012345678910  OK  I DONT KNOW  12345678910123456789101234567891012345678910  OK  16:53 END BAD MIC 16:55 18:15 BACK  LONGER THAN EXPECTED LI READING @PLACEOFACTION READING @APLACEOFACTION ONTHEWALLS 18:19  JUST LESS THAN 3 HOURS MM 11 11 11 18:26 11 33 44 22

18:28  GRAPE BOWL GINGER ALE STOMACH EMPTIER ROOM WATER BOWL HURT 18:30  RIGHT IN ITS PLACE

1 + 0 IS STILL 1  19:42  RECORDING ‘AFTER’ TOMORROW  19:44

( IS ALSO 0 )

46 – ‘PEOPLE ARE RESPONSIBLE FOR THEMSELVES WHEN THEY ENTER THE SPACE’

18:38  AND THEN THERE WERE FIVE ENGINES MARKING PONDS; STRETCHING OUT; BANQUETING; NUTS & CHEESE & BREAD; COFFEE & WATER; CLOSER

19:48  LIKE GLUE

AEROGEL

18:46  18:46  18:47  AND COUNTING  SMALLER NOW 18:52  CREDIT NW 18:54  CIRCULATING  B STAYING IN POWER I AM NOT SURE I UNDERSTAND THE EQUATIONS BUT I WOULD LIKE TO  WRITING TO PRODUCE SOMETHING – ATTEMPT GUILTY  5  NO 0.50 WHISKY  19:03 19:19  SECOND  19:22 THAT ONE MAN AGAIN LEFT OUT 19:29

SHOW YOUR WORKING  1 HOUR LEFT OF DAY 1 1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  1 HOUR LEFT OF DAY 1  NOTHING  ONE  O O = OIN WEBDINGS FONT O  O AND O IN WINGDINGS FONT O

EAR  + FLAG  CALL ATTENTION  WITH  O O  MOUTH “ “  20:15  20”16  WAITING WILD @1212360  EXPLAINING CREATING A STRUCTURE ON OF NOTHING AND TRYING TO FIND A WAY TO FIND AN EQUIVALENT FIND IT I THINK AH A STRUCTURE OF NOTHING IT DOESN’T IT BECOME 1 AND 2 DOT  WITH NOTHING IN BETWEEN  EYES A DRAWN TO THE WINDOW / OUTSIDE SPACE / OUTSIDE FRAME / PUNCTUM PUNCTUM  PUNCTUM  PUNCTUM  STUDIUM  STUDIUM  STUDIUM 20:26  363 HOME  20:28  46 DISCUSSION  88 MSGS  1ST TIME ON MUSIC  MUSIC  MUSIC  MUSIC  RICH  RICH VERONIQUE THE MOST SONG  THE SMALL DANCE

THE STAND  THE TAKING OF PHOTOGRAPHS  THE TAKING OFF  THE STRANGER DANCING  THE CINEMATIC  THE WAITING ENDING  THE 11 HOURS CLOSING  THE PARTICIPATING  THE INHIBITIONS LOST; CURTAILED  THE OPERA  THE SCREAMING  THE CIRCLING OF THE WRIST  THE SOFTLY WALKING ACROSS LINO  THE WINDOW WANTING NOTHING MORE  THE 46 HANDS OF EARS MUMBLING  THE SHOPPER RESTED GENTLY  THE EPIC  THE BAROQUE  THE OIL PAINTING  THE RODIN  THE PARIS  THE DARK NIGHTS  THE SHAME  THE RUBBER BALL BOUNCING  THE PLASTER SHOWERS  THE DOUBLE  THE CURE  THE RECORDING  THE ANTI-MATTER  THE 11TH HOUR  THE LAST 15  THE WOMEN AND CHILDREN  THE INDIVIDUAL  THE SOLO SHE SENT ME  THE PERFORM  THE REACHED  THE REQUESTS  THE TAPE  THE ROME  THE I AM  THE SECOND DOUBLE  THE INDIVIDUAL  THE PLUS  THE SECOND  THE ACTUALLY EXPERIMENT  THE RECORDED MATTER

THE LAST TEN MINUTES / 1 – 0 ARE LIKE PERMISSIONS  ARE LIKE DISCREET BAGS  ARE LIKE GOODBYES  ARE LIKE CORNERS GO ON THEN @APLACEOFACTION EXPLAIN ANTIMATTER TO ME Day 2. 1st post @10 & I am the only 1  PINTER NO MAN’S LAND  10:14  ACTION WHAT  WORK OUTSIDE  10:55  I AM NOT WORKING HARD ENOUGH  12:09  35 ANTI MATTER MAN ARRIVES  12:09  RESEARCH PHASE  12:10  12:23  HE BECOMES SEBASTIAN  A DUET FOR DANIEL AND IVOR  50 + 51  12:36  SOMETHING IN SPITE OF ONES SELF  ADMIN 100 @ 12:37 D2  STILL A DUET TAKING SHAPE  LESS TODAY IN TIME BUT IN ENTRY ALSO LINKING OUT  PRODUCING  14:25  BACK FEELING BAD PERMISSIONS  BEING THOROUGH DUET PLANNING IT OUT MORE ROOTED THAN YESTERDAY SETTLED GROUNDED IN A COUPLE OF HOURS THEY MADE THIS SPACE  14:30  TABLET LIGHT LIKE SCHOLASTIC FUTURE CHECKING AGAINST PAPER TECHNOLOGY FOR SIGNS POINTERS ROOTS LEADS NEXTS POSTS  14:33  HAS REACHED 36  14:52  50 READING WALL TEXTS  AND 36  ALSO  15:01

36 IS WALKING WITH A BENCH ON HIS SHOULDERS  36 IS RUNNING WITH A BENCH ON HIS SHOULDERS  AND IS LOWERING IN A VERY CONSIDERED WAY  AND LOWERING IN A VERY CONSIDERED WAY TO ANONYMOUS SOUNDS  15:10  DENY  ONES SELF WHAT IS TRANSFERRABLE WHAT IS  WHAT IS NEW IS INTRODUCING ONES SELF  15:21  NOTICING MYSELF LOOKING NOTING THE TIME THAT IS NUMBERS  SUITS BACK  KNEE PLAYS 5  15:38  PUT YOURSELF ASIDE VOID () TRUE ‘BEING’ OF ANOTHER  SHARING  16:09  SHARING AS WE GO ALONG  because IT IS FUNCTIONAL LESS DUPLICATION TODAY 16:42  LISTENING TO YESTERDAY THROUGH SOMEONE ELSE AND THEIR RECORDING  16:45  PETERING OUT Verb  to peter out (third-person singular simple present peters out, present participle petering out, simple past and past participle petered out)  1. (idiomatic) To dwindle; to tail off; to diminish to nothing.  2. What started as a great effort ended up petering out to nothing. 16:49  11 LEFT A GREAT EFFORT  17:01

bio

Victoria Gray Victoria Gray is a performance artist and writer based in York, UK. Her performance and textual work explores the politics of movement and ways in which sociocultural factors inscribe and exert control over the body. Through performance actions and writing, her work considers how the body might be antagonistic and resistant to dominant techniques of corporeal inscription, silencing and subordination. Victoria has developed solo performance work nationally and internationally and has had critical and art writing published in academic books and online. Victoria is co-founder of O U I Performance, York with artist Nathan Walker. O U I Performance, is a not-for-profit, artist-led organization curating live timebased performance art with a national and international profile.

C HAPTER 4

yingmei duan

P HOTO

M EL ATI S URYODARMO

Yingmei Duan, 2015 at the Future Imagination Art Center in Singapore

Good evening, everybody! Today I will bring you Yingmei Duanâ&#x20AC;&#x2122;s solo exhibition in Singapore.

Yingmei has had previous solo shows were in Chengdu, Chongqing, Shanghai, Beijing and Bangkok in Asia. For each exhibition she writes different concepts.

In Chengdu at the Bei chun Modern Art Centre it had the concept "Dream."

In Chongqing at the Modern Art Centre the concept was "Melancholy." In Shanghai at the Fei Modern Art Center the concept was "search" In Beijing at the Rain Modern Art Center the concept was "wish". In Bangkok at the Modern Art Center the concept was "love".

P HOTO

M EL ATI S URYODARMO

Ladies and gentlemen, please imagine we are in the year 2015. Now we are in

The art centre in Singapore published a book for her solo show. It is about 180

the capital of Singapore and we are at the Future imagination Modern Art

pages, and you can buy her catalogue in the art centre shop. The exhibition of

Center in Singapore. For this solo show Yingmei writes about the concept

Yingmei Duan runs for 14 days.

"fear". The Arts Center is reformed from a small church. Please follow me now. Before we begin our tour, we must be very quiet and please switch off all your mobile phones.

Please imagine we are at the Future Imagination Modern Art centre in Singapore in 2015, we are visiting Yingmei Duan’s solo exhibition. Now we are in the foyer of the Art center. There are many people from different countries around the world who are visiting Yingmei’s exhibition. The Art centre directors Lee Wen and Jason Lim are here. The people who are sitting in the cafeteria are yingmei’s past teachers Marina Abramović and Christoph Schlingensief.

The first exhibition space This space is darkly lit.   We see a very simple scene on the left hand side we see a photo - this photo is square. And the size of the picture is about one meter. There are 4 kids, two of them are sitting on a small bench, and the other two kids are standing. They are all laughing.

In the background of the picture is a fireplace which keeps you warm in winter. There are layers of quilts on the bed. There are two windows at the back of the fireplace.

The two standing kids are older than the other two sitting kids. The brother’s hair is very short, and his three sisters have longer hair. They all wear winter clothes. One of the little girls looks very curious and her face is very sweet. She is holding a doll. Her doll looks almost the same size as her.

Now as we go around the room we can see in the corner there is a video projection on the floor. On the screen the little girl hugs the doll and is sitting on the floor with her back to us, She is drawing, and at the same time she is talking to herself. What she is saying is not clear, and we can’t really understand anything.

Please take your time to go around the space and then we meet in the second space.

The second exhibition space

In this space we see a different situation. Now in front of us is a very confusing and very chaotic scene family scene.

We see 4 totally broken windows. One bookshelf is laid on the floor and another one has fallen on a chair, many books are thrown all over the floor. The door of the closet is half open and many clothes were on the floor. The fallen TV on the floor is still smoking. The broken bowls were swept on the floor everywhere from the dining table.     Now we hear a very loud voice from a woman, and the sound of breaking objects. She is singing, and we have a feeling she is dancing, too. At the same time, she is yelling and hitting the wall with a hammer.

When we go inside this space, there are lots of medicine bottles and pills on the floor. We can hear a man lying on the ground and groaning. There is also a family picture. From the picture we can tell the man is husband of the woman, and they have 4 kids that we have already seen.

The girl is hiding under the table, she looks very frightened. If we stand there for a longer time, we can see the girl continues to grow up in this chaotic environment.

Ladies and gentlemen, in this work, the artist Yingmei Duan combines new computer technology to make this interactive sound video installation.

Please take your time to go around the space and then we meet in the next space.

The third exhibition space

Please follow me. Now a surprising scene appears in front of our eyes, a very spectacular scene, everything is covered in white. Small white hills, a table lamp, and a slanted chair from the ground ... They are all white. There are little white boats everywhere.

We can also see a winding road. Along the road, we can see three televisions.

The girl hugs her two dogs, and she is talking to them. â&#x20AC;¨

We can see a very beautiful landscape. We see a large green field. And we can hear the sound of birds and sometimes the wind. There is a naked man, he is looking ahead. A girl appears in the distance and approaches the man. She is wearing a pink dress and big glasses. She is looking for something with a magnifying glass and goes quietly towards the man. She is curious about his penis and checks it thoroughly through the magnifying glass. After she has finished her intensive study of the penis, she leaves thoughtfully. â&#x20AC;¨ We see a big white double bed. In bed we also see a TV screen. On TV the girl

hugging a pair of shoes, She is dreaming happily in the white world.

Please take your time to go around the space, then we meet in the next space.

The fourth exhibition space

Ladies and gentlemen, please imagine we are in the year 2015. Now we are in the capital of Singapore and we are at the Future imagination Modern Art Center in Singapore. We are visiting Yingmei Duanâ&#x20AC;&#x2122;s Solo show.

Now we are in the forth exhibition space - please imagine we hear very terrible sounds and we see a horror scene. â&#x20AC;¨ We see raw meat everywhere. They give us the impression that they are moving slowly. On the four walls there are big sculpture from Buddha, Jesus, Kuan Yin and Mohammad. Meat is hanging from the roof, some are crawling in from the windows, some from the mouth of Jesus, some from the shoulder of Buddha, some moving towards Mohammad.

There are televisions are placed in a circle, from them we can see and hear different terrible voices.

In this TV monitor, we see a polluted scene. We hear the noisiness from motorcycles, cars and trains. It gives us a feeling that we\re always on the road like there is no final destination.

On another TV we see many high-rise buildings, they are all shaking from one side to another. Yingmei worked again with the computer technology.   On this TV we can see a lot of people who are in the stock market, They are anxiously watching the numbers.

Here, we can see and hear a promiscuous sex scene. Please think about what you might be seeing - there is a naked woman who shows us her bottom, then she lays on the floor and opens her legs.

There is a philosopher, a thinker, an astronomer, a scientist, and a physicist in the video. They all look like they have mental illnesses. They have all thrown out their own research, and instead they are all studying human love.

We see the girl in the middle, her eyes closed, hands covering her ears. She feels that it is the end of the world. Please take your time to go around the space and then we meet in the next space.

“Since 2003 she has developed experimentally, many different projects. For example in 2003 she realized a one month performance in the solo exhibition “26 days in OK”. In 2005 she connected performance and installation in the solo exhibition “Playing with 14 rooms”; In 2006 she created performances that communicated with the other exhibited works of the group exhibition “Excellent” in dialogue with other artists. In 2007 she researched media performance and painting in the solo exhibition “Performance-Painting”, where she interprets performance pieces into painted canvasses. “

The fifth exhibition space

We see artist Yingmei Duan is doing performance, and this time the performance is combined with literature and music. In the following 14 days, every day she writes a short story and all stories are about fear. We can see her performance now. â&#x20AC;&#x153;A week ago, I called two doctors in a hospital, one a woman and the other a man. I told them that I would like to leave this world and disappear forever. Both of them agreed to help me. According to the agreed time I arrived at the hospital. There were no official papers. After I changed into clean clothes, I quietly lay on the bed my mind was completely empty. The female doctor came towards me with a long needle, and gave me a shot. Afterwards I asked her what the injection was. She said a few words, but I did not understand. I could tell that she and the other male doctor were prepared to give me another important shot, the final needle. I looked at them, and suddenly I started thinking. "If I leave, what about my husband? He will be so very sad and lonely."

"And my family? My mother won’t let me just die like that. She will ask the

Because of the injection I became very sad and regretted it. If that shot does

Doctor to take all my organs out of my body one by one, my heart, liver and

not bring me any harm, then I will certainly live well from now on.

lungs and so on, to find out the cause of my death. "

"Life is so beautiful! I still have so many things I have not done, why would I

Then I asked the female doctor again what she injected me with. She repeated again, but I still did not understand. I began to ask myself. "What happened? Why do I not want to live? “

want to die?"

I regret it, but what can I do? Sadly I open my eyes, and wake up, I realize it was just a dream.”

I still have so many things to do, why would I want to leave this world?"

And at the end of the performance Yingmei is singing a song –

"My mother would take my dead body back to my hometown, and then have it cremated. I would be very sad because my dream is to have a tomb after I die." While the two doctors were still preparing the last needle, suddenly I told them that I did not want to have it! Still unconscious，I was very surprised to see their faces, particularly the woman. She looked very unhappy. I gently

一天, 我变成了一个会飞的鸽子飞呀，飞呀我飞到了蓝色的天空，看到了几

白云

他们象我招手，他们向我微笑

repeated: 我躺在白云上自由地梦想着 "I have changed my mind!" I asked her again about the first needle. She repeated the same response. Strangely, I still could not understand her. Gradually, the two doctors in front of me began to blur.

啊啊啊，啊啊啊…

一天, 我变成了一个很小的隐形人走哇，走哇

I slowly stood up, staggering out of the room and moved towards the hospital gate. The gate became so short and small, that I had to crawl through. After I

我走到了一个又一个的家庭

got out I ran very quickly back home.

我经历和看到了人世间各

My husband opened the door as usual, with his arms stretched out. He smiled,

啊啊啊，啊啊啊…

各样的事情

and hugged me.

我飞呀，飞呀我走哇，走哇 …

Description

Duration: Approx. 40 min. International Performance Art Event, Singapore, 2008 Live performance of Yingmei Duan

In the performance, which took place in Singapore in 2008, Yingmei Duan adopted the role of a museum guide and took spectators on a guided tour through her fictitious upcoming solo exhibition in the year 2015. The spectators were interactively involved in the fiction as they were taken into Yingmeiâ&#x20AC;&#x2122;s fantasy world. They were able to imagine the artworks and exhibition spaces as she narrated. The performances were conceived site-specifically and related to the characteristics of the particular environment and culture of each location. The six performances were a development from a previous performative lecture she gave at Kunstverein Kassel in 2007.

bio

Ying-Mei Duan Born in China, Yingmei Duan is part of the Chinese avant-garde. She worked as

Much of Yingmei’s performance art explores human instincts such as fear and

a painter for many years, living in the legendary art district of Beijing’s East

desires. Various different themes inspire Yingmei and are reflected in her work,

Village. In 1995 she participated in the performance, ‘To add one meter to an

including examining society and questioning its conventions and human

anonymous mountain’, which is considered one of the classics of Chinese

behaviour.

modern art. She became a pure performance artist under the influence of Marina Abramović, with whom she studied at the HBK Braunschweig in Germany from 2000 to 2004. There, she also worked for one year with the filmmaker and action artist, Christoph Schlingensief. Yingmei Duan has made her name in numerous national and international exhibitions, festivals, residencies, lectures and workshops through her performance art. Yingmei Duan is a curious observer who questions all facets of life in order to

Within her performances she crosses mediums and often incorporates sound, video and installation. She often spontaneously develops performances as situational experiments. On the other hand, she can also plan her performances with intense attention being paid to the last detail. Besides her solo projects, Yingmei loves to work with people from different cultures, ages and areas of life, and has realized over 50 collaborative performances. Her artworks, frequently in progress, can stretch over long periods of time.

continuously learn and develop. For the past twelve years she has concentrated her energy and creativity on making performance art and researching the medium.

C HAPTER 5

li-e chen

a structure of 3 on ‘nothing’

123456789101112131415161718192021222324252627282930313233343

ASTRUCTUREOF3ISNORECORDSMATCHTHISSETOFFINDREQUESTS

__________________________________________________________________

“A structure of 3 on ‘nothing’” was created during the process of thinking about a formula that offered the possibility to create works on and with ‘nothing’. This formula is the formula of the next section, “Nothing Political.” A S TRUCTURE

‘N OTHING ’ (2011) L I -E C HEN

“A structure of 3 on ‘nothing’” is trying to conceive a formula for a creativity that has no reference to self, identify, memory or meaning.

I started to ask myself about what is pure movement. 1 Movement is no longer pure when choreographers reference movement 2 with identity, story, historical context, memory or meaning. 1 However, pure movement can exist and can be given through mechanical units 1 (i.e. numbers/numbering). 2 The human body/mind functions as a mechanical system, 1 2 as a binary operation and as something beyond our understanding. 1

What if I replace the number of “3” with “FEAR” in the formula that is “a structure of 3 on ‘nothing’”, the formula that is “Nothing Political”? Then the formula of nothing will become a condition of uncertainty, where the “FEAR” is not knowing what will happen. Would this not also be the formula for “pure movement”? 1 2

A S TRUCTURE

‘N OTHING ’ (2011) L I -E C HEN

What if someone asks me what void means?

Void isn’t about emptiness; void is about ‘nothing’. Void is about not knowing, because we do not know what it is. Therefore, it is nothing: nothing to be explained; nothing to be discussed; nothing to be analyzed; nothing to talk about. I am here. I, I, I, actually... there is no existence of ‘I’; sorry, ‘I’ should not exist. ‘Nothing’ is not nothing, we just ignore the existence, even ‘nothing’ should be counted as existence. Well, I am going to die now.

nothing political

Conversations about a formula on ‘nothing political’ Li-E Chen (LC) Ivor Houker (IH) Will Fung (WF)

Since “Nothing” is negative to “Everything”, we may then get:  NP = 3EP + 2(-EP)  NP = 3EP – 2EP  NP = EP  Nothing Political = Everything Political.

In conclusion, it seems that political issues cannot be avoid in this modern (IH/LC)

world at the very moment. It just depends on one’s point of view…

If we replace Nothing with n, we may then get: NP + n = 3 (EP + n)

In further simplification,

NP + n = 3EP +3n

NP = EP

n = 3EP + 3n – NP

NP/P = EP/P

NP = 3EP + 3n– n

N = E

NP = 3EP + 2n

Which means “Nothing” is “Everything”!

Nothing Political = 3 x Everything Political + 2 x Nothing

There is nothing – no such thing – as “Everything” existing in the world…

Nothing = 3 x Everything Political + 3 x Nothing – Nothing Political .: n = 3 x Everything Political + 3 x n – Nothing Political

(LC) (WF/LC) if we we replace the number of “3” with “FEAR”, then we can get the result of If we substitute “Nothing Political” for “Nothing,” we will get:

“Nothing Political” as:

NP = 3EP + 2NP

Nothing Political + Nothing = FEAR (Everything Political + Nothing) Nothing Political + Nothing = FEAR (Everything Political) + FEAR (Nothing) Nothing = FEAR (Everything Political) + FEAR (Nothing) - Nothing Political Nothing Political = FEAR (Everything Political) + FEAR (Nothing) - Nothing

What is your take on this formula? Reply via twitter #nothingpolitical

n+1, n+1, n+1, n+1, etc.

W HAT IS YOUR NAME ? N = U (2009) L I -E C HEN A RTIST R ESIDENCY AT THE C HINESE A RTS C ENTRE | M ANCHESTER (UK)

THE CONDITION OF PREPARATION

Preparation has reached: 53, I must actually perform this experiment Preparation has reached: 43, I am an individual

It Was Recorded While I Was Recording the Records (2012) Li-E Chen

Preparation has reached: 6, I am your anti-matter Preparation has reached: 31, let me think

Preparation has reached: 46, I must actually perform this experiment

Preparation has reached: 4, I am your anti-matter

Preparation has reached: 36, I am here

Preparation has reached: 41, I am your anti-matter

Preparation has reached: 31, +nothing

Preparation has reached: 18, I am an individual

Preparation has reached: 42, hold on a second

Preparation has reached: 23, I must actually perform this experiment

Preparation has reached: 39, No reco d ma h t is se o fi d equests

Preparation has reached: 27, I am your anti-matter

Preparation has reached: 46, I must actually perform this experiment Preparation has reached: 26, I am your anti-matter Preparation has reached: 13, I must actually perform this experiment

There are two types of repeatable loops. One is a linear close system, which

Preparation has reached: 2, I am your anti-matter

involves “accepting head-on a particular death sentence” (Golding, 1999: 34);

Preparation has reached: 50, +nothing

and the other is a non-linear system as a ‘wave’ pattern, such as fragments of

Preparation has reached: 28, +nothing

unspeakable or non-structured words/sentences.

Preparation has reached: 36, I am your anti-matter Preparation has reached: 49, I am your anti-matter

Preparation has reached: 35, I am here

The above repeatable action was a preparation process for a situation in which

Preparation has reached: 34, I am your anti-matter Preparation has reached: 51, I must actually perform this experiment Preparation has reached: 33, Hold on a second Preparation has reached: 40, I am your anti-matter Preparation has reached: 32, I am your anti-matter

we do not know what it is going to happen. Instead of feeling fear of having nothing to do or happen, the preparation process allow an un-known event and un-knowable situation to be undertaken control. 1n 2n 3n 4

Preparation has reached: 47, No record match this set of find requests Preparation has reached: 38, I am an individual Preparation has reached: 30, I must actually perform this experiment Preparation has reached: 29, Hold on a second Preparation has reached: 45, No record match this set of find requests

1n 2n 3n 4 1n 2n 3n 4 1 2 3 4 5n 6 7 8 9 10

Preparation has reached: 1, I am your anti-matter Preparation has reached: 24, I am your anti-matter

In the diagrams below, the gap between 1 and 2, “O”/“n+1”, contains

loop and repeats itself within a fixed system, it will become a manufacturing/

something meaningless, not rationally justifiable. In between the signs, from 1

reproduction type – one that only knows either “on” or “off” like an automaton.

to 2, 2 to 3, 3 to 4, and so on, is a sign of “(n+1)th” type, while a single sign, 1,

The other pattern is in the ‘wave’, where repetition patterns overlap and the

2, 3, ... is of the “nth” type. This is the undecidable quality in the formal system

details cannot be defined as finite edges, where it has some ‘living

of natural numbers.

tissue’ (energy) / ‘genome’ (life). As an open-system is flexible, open-minded, and quick; it requires a logic of thinking appropriate to a dangerous situation: if someone is going to be killed by a car in the next two seconds, in order to save the person’s life, someone must be able to think fast enough before being killed, and so must use his/her senses rather than the reason. Often, giving the reason involves hesitation and delay, which is dangerous when it comes to making a saving move.

Each class of basic signs is never the same as the other class of basic signs,

THINKING ABOUT AN OPEN STRUCTURE WITH NUMBERING

e.g. (Diagram 2) in between “1 to 2”, and “2 to 3”, and so on are all different cells of operation. The studies of the complexity of feedback loops and recursive patterns show that they are created from open systems of process.

The processes of overlapping, interacting, adding, deleting, passing, etc., are predicted by unpredictable nervous system operations. Thus, “1, 2, 3, 4, 5, 6, 7,

23456789101234567891012345678910123456789101234567891012

... and so on” involves interacting, adding, deleting, and overlapping.

1 2 3 4 5 6 7 8 9 4 1 0 1 2 3 4 5 6 7 8 9 1 0  When it is non-linear, it can also be described as a ‘wave’ pattern. This may or

may not be right, but the condition of preparation is in a recursive operation

where there is never completeness. If the recursive pattern is in a mechanical

1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0

1 2 3 4 5 6 7 8 9 1 0

1 2

1 2 3 4 5 6 7 8 9 1 0

1234567891012345678910123456789101

23456

1  1  2

1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0 1 2 3 4 5 6 7 8 9 1 0  1  1  1  1  12345678

12345678

1 2 3 4 5 6 7 8 9 1 0  1 2 3 4 5 6 7 8 9 1 0  1  1 2 3 4 5 6 7 8 9 1 0  1

Nothing to interpret Nothing to discuss Nothing to analyze Nothing to explain

take-no-action

“The foundation of visual geometry is the surface, not the point.” Jorge Luis Borges

What if there are no lines, no connection points, what would we do with the surfaces? The surface (environment/air/space/volume)

Visual geometry is not about the point or line, but the surface… Look at the surface. What are the surface?

non-thingness

“Preparation has reached 41, I am your anti-matter.”

VIDEO “Untitled” (2011) Li-E Chen “Action on Nothing and Not Knowing - Preparation has reached 41, I am your anti-matter.” Conceived at the Improbable DandD Satellite: What are we going to do about IMPRO? Council Chamber, Battersea Arts Centre, London. Filmed after the DandD Satellite in September, 2011.

Click on image to watch video or click here for web link

bio

Li-E Chen

Chen’s artistic practice is interdisciplinary, and over the last ten years her work has examined forms, disciplines and concepts from across the fine, performing

Li-E Chen was born in Chaozhou, part of the Guangdong province of China,

and media arts. She aims to create arts and performance that lie beyond the

and lived in Hong Kong before moving to London (UK) in 1997. She has a BA in

functional, political, traditional, historical, and representational, and that make

Alternative Theatre Practice from the Central School of Speech and Drama, and

no reference to self, memory, identity, or meaning. Her work uses a diverse

an MA in Media Arts Philosophy and Practice from the University of Greenwich

array of experimental approaches, including: numerical art; print and digital

(supervised by Professor Johnny Golding), receiving distinctions for both

archives; installations; gesture and movement; dance; sound art; durational

degrees.

laboratory; interactive media, video and online artwork; scientific, mathematical

In 2004, Chen took part in “Teamworks,” a three-year new media theatre project supported by the National Endowment for Science, Technology and the

and relational art forms; and performance in written, spoken and performed text.

Arts as part of the National Theatre’s “Art of Regeneration” programme. In

Chen has always been fascinated by arts and performance that express

2008-2009 she participated in a creative leadership programme, “Step

independence, openness and incompleteness, and she has inspired by the

Change,” supported by National Theatre, Royal Opera House, Battersea Arts

works of Robert Wilson, Techching Hsieh, Merce Cunningham, John Cage, Kurt

Centre, Young Vic and Cultural Leadership Programme. Recently, she has been

Godel, Tadeusz Kantor, Harold Pinter and Improbable. In 2011 she returned to

selected for the “21st Century Leadership” programme run by Battersea Arts

her early influences of interdisciplinary arts practice, working to create the

Centre and in collaboration with Watershed and The Sage Gateshead (UK).

durational laboratory on “nothing” at the Siobhan Davies Studios, London, where she collaborated with artists Victoria Gray and Bean.

C HAPTER 6

Bean

durational live writing

]performancespace[ @aplaceofaction Written by artist Bean @aplaceofaction on the occasion of Cloud Clock Love, a Two-day Durational Lab on ‘Nothing’, online event curated by Li-E Chen. (19 hours Unedited-documentation, including live Twitter and Facebook updates)

C l o u d C l o c k L o v e  3 - 4 S e p t e m b e r 2 0 1 1 .  Siobhan Davies Studios, London, UK.

Preperation has reached: 50

Green

9 X Preperation ANTI ANTI ANTI ANTI ANTI ANTI ANTI ANTI ANTI

Blue

Cutting + Reading

Red

1 Ss sun opens pausing at pens pushing these flat footing.

Green

Flat footing. Flat. Flat. 0. 0.

Yellow 33 wants to think.

11.

People are choosing envelopes that match their clothes.

Retrun to grey.

I don’t understand your voice or your trousers.

Air 0

56 performs the experiment. 56 over Ss.

Folding T-shits Unfolding cables.

12345678910. 12345678910.12345678910. 12345678910. Bodies pressed. Ok. 12345678910. 12345678910. Ok. I don’t know either. 12345678910. 12345678910. Ok. Ok. I don’t know either. 12345678910. 12345678910.

Returning to 0. Start 0. 11 22 33 44 11 – 22 = – 22 – 33 = -55 – 44 = – 99 (almost nothing. this is not perfect, not complete, not nothing)

12345678910. Ok. Ok. 12345678910. 12345678910. 12345678910. Ok. I don’t know either. The t-shirt is too small 43. Prep reaches 13. I must perform.

it is not empty enough

Nothing Political. Nothing Political. (with police sirens).

man with one sock up, tries to draw 0

33 is stamping nothing political

Prep 24. Prep 40. Prep 37. (Prep 21) Prep 28. Prep 29. Prep 49. Prep 46. Prep 39.

small steps are nothing political

Li E circles nothing speaking nothing tongues of nothing not nothing reels of not nothing triping not nothing stumbles not nothing sounds not nothing

masking tape is nothing political tearing tape/ folding body into 0.

left LEFT.

0 political.

ADD AND +

Mutterings of nothing. The only word I know.

ADD AND +

Did you say M14?

ADD AND +

5/6/7/8

+7 = nothing

||||||| ||||||||| ||||||||||| Head

(letting the outside in will not lead to nothing)

| || David

Prep 42. hold.

|||| ||||| Opening

Structure of whole numbers. Structures within structures.

|||||||| ||||||||| Around

The structure of 3 is a collection of random numbers.

||||||||| ||||||||||| Booty

I wish I could here you.

| || David

The structure of 2 is simple whole numbers.

I am lost.

The structure of one is nothing.

| || David

|||| ||||| Le

sound over bodies

||||||| ||||||| Around

sound divided by bodies

||||||||||| ||||||||| Booty

sound devides bodies

1003! THIS MAN IS HERE HEAR.

0 white

I like this man and his sounds.

0 grey

Back resting. Pushing to find what is nothing. To highlight the gap or the non gap to make the gap visible. To make nothing visible.

0 = nothing nothing = grey

All the bodies move super slow. The fan is violent.

Why is a circle nothing. what is zero. Why is a circle whole. Why is complete nothing. What is empty. Is nothing everything.

Masking tape sticks to nothing of the air.

Air is nothing.

Everying is going in circles and echoing of each other. Sounds circling. The body is so full.

breath. Amplified air. Amplify the nothing. take it away and there is nothing. Prep 53. PERFORM! | || David

14 15 28 9 7 -7 looking (3 HOURS = CHANGE)

“3 is a collection of random numbers.”

Some thing like the radio times.

Do less.

I always hear 33.

(Prep 13. Sounds like found bound grow)

You must stop now When is nothing how

take take take take take take take take take take take take take take take

you must stop now can you reference

take take take take take take take take take take take take take take take

you must stop now anything

take take take take take take take take take take take take take take take

to the page

take take take take take take take take take take take take take take take

there is nothing you

walking aggressively into nothing. Turn up(s) testosterone. Shouting with marker pens.

can reference to refer to structure the structure of 3 the structure of 1. structure within the structure bodies on structure construct Braille note: Looking at each other. Looking for nothing. The act (ion) of 0 Does it always take 2? How to dissolve How do you make something from nothing. How do you get from something to nothing. (Prep 6. I am your anti-matter.) Do less. You are attracted to the unknown but as soon as it is known to you you are not attracted to it.

Number 6 scares me. Gray has one arm in the air (again) she sushes us. turning into nothing. inside and outside. clothed air enclosed in nothing dancing with the ether. 4 2 floor 1 tocking on the microphone 1 wait 1 point 1 voice angular and awkward and large – forever. Take/Grow/ 11 22 33 44 like big brother. Staring context. Nothing political / Everything Politcial. Take 13. Take forever. Take time. Take my heart wondering nothing. Take bounds to grow. Take it all. Take all of this. Take soul. Take my. Take hand/foot. Take my. Take her. Take some of this. Take the outside in. Take that 1995 greatest hits. (give give give) feet on womb throat murmers reaching to tap for something hairy fans – staring at leafs – cabled fingers – sun lines – one line – uncrumpled

the mic stand extends her body and the music swings them on 12341223456 12345678123412234561234567812341234562345678123412345623456781234 23456123456781234234561234567823412345612345678234123456123456782 341234562345678234123456234567812345678123412345612342341234234 preparation has reached 34 and we are anti matter 2345623455678123423456

(clock stop cock still) amassed over grey is pushing the excess out the window. She loves Gray. Gray has one arm in the air (again) she sushes us.

chaos.

Tearing paper microphones (again) and the fan is perpetual. Perpetually fanning nothing. I think the fan is clever. She blows nothing with her legs open and rocking. Staring at 0. 0 = nothing. Her voice so small and sharp I can’t understand it. Knees together step away from the microphone. Mega.

paired paper ripping through and on chaos.

11 22 33 44 blue circle chases pink circle in circles led by the suffocated grey.

1 2 slam 1 2 slam 1 2 slam 1 2 slam 1 2 nothing drum rolls. empty.

11 22 33 44 2 arms like 2

empty

11 22 33 44 2 flirting and talking

at last

11 22 33 44 2 join (1 + 1 = 2)

(THIS GAP IS SO BIG)

note: this is making more not nothing

The 2nd of life

The death

slapping patterns 360 whole turns everywhere turning nothing in something

The minutes The time

grey (covered by 28 now) tracing steps muttering numbers in mad repetition feet leading voice/ voice leading feet. take lead into nothing. left and right/ one and two/ in every way she does this. Alone in madness. This is grey. Grey = 0.

Rolled up 0 t-shirt revealing gray. Gray = 0

26 but cheeks.

(THIS GAP IS SO BIG)

Screwing numbers.

I am the number 26: I am your anti matter. It does not matter.

Brake.

0 = focus

And it has changed.

Prep reached 28 + nothing: I have just received a silly number.

she is writing on the floor – I am not writing

He gangles.

the structure of 3. 12345678910 12345678910 12345

She unfolds and stacks the on her body, massing over grey. A massed.

(ding ding) 12345678910 OK OK I don’t know

They don’t want a new number.

its humid and still. pushing through this nothing.

Prep reached 37: hold on 1 second.

(ding) nothing political is separation

and I am confused.

(ding) nothing political is preparation condition

Prepartion 29: (she cant help herself) this is not boat

dragging numbers wrapped in clothes like a cats arse – emptiness itches.

They have to make noise to know they’re alive

searching for 0

49 wears it as a mask. He is a line (1) but the most 0

thousands and thousand of bumps like molecules inside body numbers like a map inside body like mushroom touch the texture spots rough rough soft sandpaper its nice thumb me my cracks into language of some kind understanding just nice turning again again again like my mumble this repetition we’re not going anywhere going somewhere because going nowhere I like bumps bumps bumps share the bumps a tiny world of bumps single me out the bumps shaking out the numbers wrapped in clothes this bump bump of nothing talks of something maybe nothing maybe maybe papered bumps cut a story t-shirt on head down cover number place this bump place turning bumps the number stack turning and turning and turning it it becomes becoming nothing becoming something something becoming nothing is the microphone tired of been spoken to its not just an announcer it is it is it is body say body speak the microphone its own body own molecules

Prep 33: think. This is not a boat. This is not a boat. Beyond life the life beyond beyond life the life beyond beyond life the life beyond. 33 the grey one is not living up to her name. must try harder. Or less. Grey = 0 mic cable lapping and slapping in circles to contain or release or be nothing 0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0–0 0|0|0|0|0|0|0|0|0|0|0|0|0|0|0|0|0|0|0|0| hand traces obsession

stretching out 39 with feet 39 bounds legs 39 is up 39 is ready

Crouching in the corner they are hiding and making nothing 53 actually 43 13 experiment 43 individual 48 individual 35 talking now of nothing

this is a playground of anonymous numbered bodies

nothing is difficult

preparing with hands over ears – you

nothing is difficult

i can t hear you

nothing is difficult

she is wearing the numbers as trousers - 49 is defiant

nothing is difficult

everything is always about circles

nothing is difficult

0 = nothing 0 = everything

nothing is difficult

0 the projection – the fan – the felt tip 0

nothing is difficult

(i feel we are getting closer to nothing)

nothing is difficult

we keep trying to do nothing and it keeps becoming something

nothing is difficult

this grey body of 0 circling the microphone catching the fan. So slowly moving cant help the moving. Reverbs cut through fans stream of nothing.

nothing is difficult nothing is difficult

nothing is difficult

nothing is difficult nothing is difficult

this perpetual 11 22 33 44 staring down at us pointing out what we know pointing out what we cant do pointing out failure pointing at us pointing at nothing

nothing is difficult

I will print to point out our failings.

nothing is difficult nothing is difficult

12345678910 OK I DON’T KNOW NOTHING POLITICAL NOTHING POLITICAL N O T H I N G P O L I T I C A L MMMM MMMM M M M M M M M M M M M M M

nothing is difficult

15 one the boy in the sun half in half out stiring trees stuck in the nothing 32 the nothing speaks more than the microphone 40 15 such intent 4 thought 40 30 thought. he is joined and left and joined again. recording nothing. no 15. 15 on. Waving and smiling at outside with microphone fist. I am poised. 15 40. Give it to me. 15 40. You tease. 8. I want something. 4/thought 15 a 15 o 15 30 15 40. Begging. 30 40. The longest. duce (2) advantage. me (you)

nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult nothing is difficult

cracking the mic again the fan again the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan the fan i t i s f i l l i n g u s u p t h e s p a c e u p s o f u l l i n e m p t y Brake.

MM tells me about zero 0 in the sand

make something. cartwheeling to cut time. back to circles.

On return

circles of nothing. circles to make something. cartwheeling to

cut time. back to circles. circles of nothing. circles to make something.

. .

FAIL

at peace

The

what is madness

numbers

automatic takes over levitating in humidity pencil shades the body. REPEAT.

are

to rest.

ordered

I’m mesmerized by the pencil I wish I could type its pattern and sound. how do you say a pencil colouring in. its reaching fingers.

folded

Again a lot of looking. The structure of 3. This repetition of numbers. Its counting, recording moments of nothing. penetrating empty. braking or making. It commands our attention and compels action. numeric mantras. penetrating empty numeric mantras The sum of zero and zero is zero. 1 he has completed himself.

as a line numbers are lineal | is

0 is complete. 0 is nothing. 0 (nothing) is complete. 0 (nothing) is everything. everything is nothing (0). 0 (nothing) is everything.

straight

cartwheeling to cut time. back to circles.

THIS IS WHY WE DREW THE CIRCLE IN THE SAND

circles of nothing. circles to make something.

cartwheeling to cut time. back to circles. circles

negative and complete whole and empty

of nothing. circles to make something. cartwheeling

just 31 the fan the paper fan the number fan 11 22 33 44

to cut time. back to circles. circles of nothing. circles to

folding and (un)folding each other. Repetition is key.

Prep 50. 9 + and 9 and 9 and 9 and time and time and night and nigh and night. Back written back. 11 off return to off. – 32 -55 -19 almost nothing this is not working not nothing. 4 zero. 27.1 .49 46 breath circles nothing speaking not nothing tripling not nothing sounds nothing left left at at plus at at plus at bring through bring yellow people don’t understand there trousers 56 over 122345678910 123245678910 12345678910 audience pressed . OK 12345678910 12345678910 OK. I don’t know either 12345678910 12345678910 OK OK I don’t know either 12345678910 123455678910 12345678910 OK OK 12345678910 123456789010 12345678910 OK I don’t know either to small cant reach I must nothing political 33 is stamping nothing political nothing political tearing tape folding into zero zero political did you say m14 5 678 + 7 lets outside in create 42 holes structure structure of 3 is a collection of random numbers the structure 2 is 1 is nothing 0 same same bodies 0 bodies 0whiote nothing nothing all bodies nothing must number air nothing breath nothing taking too way take it heads heads opening arrive david im lost 1 0 0 3 here hear I like this moon and sun invisible invisible why is it political invisible political invisible political voice not touching microphone passing over if I eat a biscuit it goes round inside my head now I hear you take take take take take walking turn up sushing the fan is over take world 11 22 33 44 staring tip time tip it all tip 10 tip 9 tip 1 tip 4 tip tip tip feet on wall hairy string cable fingers the volume 123456 123456789 12341233567123456781234123456234568781378123456235678135334561234 56781234523456212345678234123456123456782341234561234567823451234 5623456782341234562345678123456781234123456123423412342341 population has reached 34 and we are at a maximum 234556234556712342345678nothing complete forest paired paper rhythmic 12 sound 12sound 12 sound 12 18 at last this gap is now so big the 2nd of lif the death the t-shirt opposite the 0 the number traces it does not want to the 0 nothing a have just received a silly number on the phone a bobbin i don’t want a new number we reached 37 hold on a second clock stop grey is pushing acid up she loves the way shhh ass do you have more paper factory staring at 0 at 0 at 0 the world is so small I cant understand it

is zero just being. is that possible? How will we know and if we realize will it not be 0 anymore? Is it a collective effort? Does everyone have to be just being for us to be nothing. Why do we want to be nothing. Is this possible? What is zero? Why does it matter? 31 moves away from the fan and folds-up. BackBlackBack. There is no one here – is this nothing? http://en.wikipedia.org/wiki/Nothing 46 = nothing nothing but what is left. Readings of actions. The act of reading. Reading is active. Reading is productive. Reading a product or produce. Reading is words. Words were symbols. The first symbol was 0. 1st 0. 1 0. 0 before |. Focus lost. But 1 remains. 1 man. 1. 24 anti matter 37 all honesty 21 I am 29 hold on 49 I am anti matter 46 I am a fawn 47 automatic binary long flat feet bone pokes on floor. bone contact. |0 un-nerves-memory the difference between speaking to each other and amplified without you MAN = 1 individual binary requests anti matter

the problem is what is useful.

perform

just being.

18 16

perform

18 16

individual

20 18

hold on

20 18

anti matter

I am your anti matter

44 22

hold on

33 11

individual

44 22

hold on to seconds

I m yours

44 22

perform

experiment

request binary

44 22

EXPECTATIONS

SOLO FELT-TIP SOUNDS OUT THE SPACE

11 44

44 22

33 22

44 66

88 12

44 22

16 14

17 it doesn’t work 14

44 22

For everything

For nothing

copy & paste.

You cant describe nothing/ inscribe is something

rhythm. Number sequence – pattern/ nature/ biologic/ logic.

One, 1, dances circles of 11 22 33 44

commanding clock/ commanding feet/ commanding keys.

1 dancing with 0

dakness drawing outside/ drawing together/ drawing circles all day/ drawing nothing

it is a story of love

moon 0 sun 0 nothing 0 mouth 0 sticking nothing to nothing. we are all compelled. 46 marks time. (Gray “ 4+6 = 10, 1+0 = 1) now there is 1 + 0 solitary 1 + 0 together 10 collections of nothing still the fan reminds us there is not nothing here. is nothing the end – it started with 0

10 cloud – clock – love inescapable INESCAPABLE NUMBERS ARE EVERYTHING SHE DANCES THE BEGINNING OF THIS LOVE ANNIHILATES http://en.wikipedia.org/wiki/Antimatter 0–0|0–0|0–0|0–0|0–0|0–0|0–0|0–0|0–0|0–0|0–0 http://en.wikipedia.org/wiki/File:PositronDiscovery.jpg DAY TWO: START

is 0 the end – it started with nothing

from the breakfast table. By bringing and consuming have I reduced our chances of returning to zero; must we be empty.

sound

zero functioned as a mere placeholder wombs of nothing

we go into it | || ||| ||||

Bitting lips towards 0

disolve

body is zero

I should do less

placeholder

Do nothing

they return, pace space selecting numbers, marking no thing

striped down chest 36: I m your anti matter Preperation: 1. The action of making ready or being made ready for use. 2. Something done to get ready for an event or undertaking.

Draw, delineate one figure (1) within another 0 the inner lies within the boundaries of the other, touching it at as many points as possible. They are nothing with no records, yet attempt to score something of nothing. 51 under his shadow.

Use:

His shadow of yesterday: I’m mesmerized by the pencil I wish I could type its pattern and sound. how do you say a pencil colouring in. its reaching fingers.

1. Employ for some purpose; put into service; make use of nothing

2. To avail oneself of; apply to one’s own purposes nothing

Text message from Michael Mayhew: The Nothing that is – a natural history of zero – Robert Kaplan.

3. To expend or consume nothing 4. To treat or behave towards nothing 5. To take unfair advantage of nothing 36 + man 36 +1 = 37

The synchronicity continues. HELLO HELLO IT IS VERY GREY NOW. GREY = 0

3 + 7 = 10

ACTION 26: I’m your anti matter/ soft/ honest/ 1 0 baryogenesis / diagonally collided/ is this it.

10 = two bodies, 1 0

Asymmetric in everyway.

Action 51: no records match this request

36 shadow 50

Action 50 + nothing

NUMBER

51 + 50 = 101

NUMBER

1 0 1 = two men and Li E chen

NUMBER

Man Li Man

NUMBER

Their fingers can’t help but mark. Inscribe, addressing with dedication.

NUMBER

Fingering hair. Trying to un-do/ not-do, nothing.

NUMBER

Informally two persons, note in and on.

NUMBER

Beyond surfaces, words, characters.

NUMBER

change moments.

NUMBER

(in) direct (un) direct.

NUMBER

RED arrives does not take on number. Remains RED. Small RED dot. Small RED 0. Small RED .

NUMBER NUMBER NUMBER NUMBER NUMBER NUMBER BLACK

small . sm . s . black 0 window out-in in-on on-out on to there their they’re three free 3 interference – the energy the mass of my body would interefer. Braking. Distance. Paraminters. Boundaries. Critical mass. The tipping point. The typing. Weight.

NUMBER

BLACK DOT WEIGHT

NUMBER

BLACK DOT WEIGHT

1 1 1

BLACK DOT WEIGHT

1 rain rods/ rain drops/ rain puddle 1 into 0 looking for/ at 0 is impossible surely? looking is (un)doing what has been done in nothing

speak of volume in silence 11 mutterings 1,1 RED 0 SOMETHING respect less. They’re forming numbers 11 (1, 1) (36+50) with shadow rules: ORDERING NOTHING, COMMAND NOTHING, GENTLY NOTHING. So grey melt into grey into floor grey grey nothing dissolve feet into brain numbers lost logic logically numbering thoughts into still actions bodies like 1 1 1 1 1 1 1 1 which is nothing which is what they are 1 how can 2 1 ones get to be nothing what about zero 0. 0. its all about the 1 1. Red dot does not engage

engage is bad frictions reaction relation kinesthetic energy masses ammmes to more make more make more make more must be making less destruction destruction Metzger.

(14:42)

deny oneself everything.

METZGER

deny

http://en.wikipedia.org/wiki/Gustav_Metzger

one

22 64 83 49 02 42 4 002

self

Brake: Recording Recordings:

every

thing

the authority to make noicse tonmside sileience is not tnothing 0 is tnot a sosunfd wabev the authority to make noise sounc silience is not nothing notihgint 0 iis anot authoruaty toiiis myw does it alwatys come back to authorutyuy thje the suthority to to do nothing to sdo less who owns nothing the sero the sero can have now nouewnertshitp beciause it has no avalue thewother than the vbalue than tislicence and avolucment and auautiority and zero is nothing zero 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 is everything thie has the most value no one a can own that it is the most valuable so thwne say zero is nothing 0 is nothing it is ac tual everything it is fso FULL FULL FULL FULL FULL FULL FULL how to dget tfrom FUL FILLL FULL to mnothing to empty what is empty haow mempty thoughts it sit posiubbble allways thoughts all blodd lomivoement all ways asmenergy a cccant no enerygyg.

one

the authority to make noise to make silence silence is not nothing 0 is not a sound wave the authority to make noise sound silence is not nothing nothing 0 is not authority to my does it always come back to authority the the authority to to do nothing to do less who owns nothing the zero the zero can have now ownership because it has no value the other than the value than it is silence and movement and authority and zero is nothing zero 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 is everything the has the most value no one a can own that it is the most valuable so they say zero is nothing 0 is nothing it is actually everything it is so FULL FULL FULL FULL FULL FULL FULL how to get from FULL FULL FULL to nothing to empty what is empty how empty thoughts it is possible all ways thoughts all blood movement all ways asymmetry a cant no energy.

RETURN:

independently doing nothing/ you do nothing together. He has become 32. Recording nothing with beaky camera suit. 36 bangs I am here into shadow. Pushing heads. I keep returning to heads pushing on surfaces.

Singing under his shadow, this 1 is good at 0 Obsessed with recording incase nothing happened and we missed it. Walking circles into 0 0 is circle return 0 is circle return your closeness now draws a line 1 of what is between us and you. Numbers. Champions of nothing. humming and walking circles. Canâ&#x20AC;&#x2122;t escape movement. Is nothing an act or thought. Coding Codepending a flock of numbers hair repeat hair repeat this doesnâ&#x20AC;&#x2122;t mean anything flock half of total 1/2 my voice is banging round the room SHOUTING NOTHING AND FAILING. us all. END

bio

Bean Bean is an artist of nomadic nature. Currently based in London, Bean is

poles of violence/meditation, power/control and movement/home, it revels in

founder of ]performance s p a c e [, a newly established studio and project

the feral actions, inscriptions and fringe existence of the nomadic body.

space in Hackney Wick. As director of ]performance s p a c e [ she has curated work by emergent and established artists with a wide spectrum of live practices. ]performance s p a c e [ aims to cultivate live work that critically and physically pushes the boundaries of body and space. It is a place where work can unfold without restraints of curation, duration or space, and it is committed to supporting challenging and difficult work that embraces performance art as an ever-evolving medium. Bean’s artistic practice stems from obsessive, paranoid, scientific and

Currently focused on the inscription of her flesh, as an act of both reclaiming and disowning her body as material. The marking of the tattoo acts as the work and its documentation; questioning notions of performance as a bracketed event, the lines between art and life, the durational and the temporary. Bean has presented work in Europe, Australia and Asia including Performer Stammtish (Berlin), Red Ape (Plymouth), New Zero Art Space (Myanmar), OUI performance (York), Epipiderme (Lisbon), ArtOn (Madrid), Performance Matters: Trashing Performance Symposium (London), 11 11 11 (Manchester), Bone Festival (Bern)

anthropological research. Her work has been described as deliberately “accidental, scattered, scuffed, blurry and incomplete.” Oscillating between the

100

C HAPTER 7

aoife collins

Mangetout (01) giclee print, 63 cm x 76 cm/24.8 in x 29.9 in

102

Mangetout (02) giclee print, 63 cm x 76 cm/24.8 in x 29.9 in

103

Mangetout (03) giclee print, 63 cm x 76 cm/24.8 in x 29.9 in

104

Mangetout (04) giclee print, 63 cm x 76 cm/24.8 in x 29.9 in

105

Mangetout (05) giclee print, 63 cm x 76 cm/24.8 in x 29.9 in

106

Downward Social Mobility

Downward social mobility (excerpt), audio cut onto vinyl played on auto repeat record player, dimensions variable

107

bio

Aoife Collins Aoife Collins’s work uses appropriated commonplace mass-produced

Collins received a BA from the National College of Art and Design, Dublin,

objects and images that have been altered, manipulated or copied. The

followed by an MA from Chelsea College of Art and Design, London. Selected

works focus on fragmentation and destruction, the to-ing and fro-ing

residencies include Location One, New York; Skowhegan, USA, and Scottish

between the definite and infinite. Close attention is given to the ability of

Sculpture Workshop, Scotland. Selected exhibitions include There is No

objects to role-play. This use of role-play or mutability, away from

Release My Darling, The Process Room at the Irish Museum of Modern Art,

intended functionality, is an attempt to open up the realm of possibility or

Dublin;

potentiality of the objects and materials explored. A great deal of the work consists of re-assemblage; form and function are not considered final but rather can be altered and are open to the suggestion of permutations. Much of the work looks towards a form of breakdown or collapse, with the images or associated meanings melting away. Notions

With Words Like Smoke, Chelsea Space, London; Altered

Sequence, E:vent, London; Lost in your eyes,Form Content, London; Wet eye, Location One, New York;Culture clash, Working Rooms, London; Comfort burn, Artspace, Buffalo; Phoenix park, Kerlin Gallery, Dublin;

+a, Limerick; Prelapsarian/here-and-now/postlapsarian, Goethe Institute, Dublin; Perspective, Ormeau Baths Gallery, Belfast, and Permaculture, Project Gallery, Dublin.

of background and foreground or an exploration of the dominant and submissive image on a simultaneous picture plane are themes which are approached in the works. 108

C HAPTER 8

will fung

A NNETTE F RY - C LOUD C LOCK L OVE - R OOF S TUDIO ,

SIOBHAN DAVIES STUDIOS , LONDON , UK ,

3-4

SEPTEMBER

2011

nothing , something must have happened

Nothing, not a thing… From the beginning, there was nothing. Not only in the

The most amazing mystery above all of the “everything” is “Love.” It begins

Bible’s point of view, but also from the Buddhist religion, Chinese Martial Art Tai

from “nothing” since our first collision. After a long chain of reactions, under

Chi, Western Philosophy, academical Physics, even advanced Astronomy! As

the chemicals of love it started to grow. Love is so great! It has no boundary. It

there was “nothing”, “something” must be happened in order to let the

has no limit to eternity. If you ask me what is love, I’ll tell you: “LOVE” is “Lots

“everything” appears as what we have today.

Of Volunteering on Everything!” Willing to do anything and sacrifice everything is the way to love. It is the most valuable thing that grows from “nothing!” And it is also the destination of the whole life! It is the only solution to prevent the

Everything has an opposite: Advantages versus Disadvantages, South versus

entire universe from going back to “nothing” from the “everything” we share

North, West versus East, Matter versus Antimatter, Female versus Male,

nowadays…

Delighted versus Upset, Yin versus Yang, and so on… The two sides are always fighting for their territories in order to maintain an equilibrium.

110

bio

Will Fung

Will Fung was born in Hong Kong, and graduated with a degree in Pharmaceutical Technology. He is an art and music lover, but not an artist, dreamed to be special but nothing special at all... Life is like this, anyway. But a happy ordinary life is precious too.

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C HAPTER 9

indigo j l

Dragon Coconut and the Monster Rabbit by Indigo J L

Click screen to watch the animation or click here for web link

Indigoâ&#x20AC;&#x2122;s first animation film takes you on an adventure with Dragon Coconut and his friends ... (6 mins)

113

bio

Indigo J L

Indigo J L is a five and half year old film maker from Vienna/London.

114

What is next...

1 year lab - september 2012 to september 2013 An open durational laboratory for anyone who is interested in taking part...

for more information, please visit http://aspaceonnothing.tumblr.com

1 year lab - september 2012 to september 2013 An open laboratory . .

What is it

WE DO NOT KNOW WHAT IT IS, WE DO NOT KNOW WHAT IS GOING TO HAPPEN I WANT TO DO THE KIND OF WORKS THAT NO-ONE UNDERSTANDS WHAT I AM DOING

116

1 year lab - september 2012 to september 2013 An open laboratory . .

Who

BY Li-E Chen & WHOEVER PARTICIPATES IN IT

117

1 year lab - september 2012 to september 2013

Where

An open laboratory . .

]performance s p a c e [ Unit 6 Hamlet Industrial Estate White Post Lane London E9 5EN   Google Map

118

1 year lab - september 2012 to september 2013

When

An open laboratory . .

. . 1 year laboratory on ‘nothing’ TAKING PLACE ON THE LAST SATURDAY of EVERY MONTH - SEPTEMBER 2012 to SEPTEMBER 2013 With details and dates to follow: Sign up a reminder email

119

1 year lab - september 2012 to september 2013

An open laboratory . .

The one-year laboratory is free for everyone If you are interested in taking part, please register here.

120

Contact

Li-E Chen | London-based Independent Chinese Artist | UK Transdisciplinary - Art - Performance - New Media For more any enquires, please email info@liechen.com, or call +44 (0) 7946 420 467 or twitter @1212360

SUBMIT YOUR COMMENT

121

C LOUD C LOCK L OVE , R OOF S TUDIO ,

SIOBHAN DAVIES STUDIOS , LONDON , UK ,

3-4

SEPTEMBER

2011