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dc.contributor.authorBartram, Angela
dc.contributor.authorO'Neill, Mary
dc.date.accessioned2018-11-02T15:57:24Z
dc.date.available2018-11-02T15:57:24Z
dc.date.issued2016
dc.identifier.citationBartram, A., and O'Neill, M. (2016) ‘Here and there: two works, ten countries’, Acta Academiae Artium Vilnensis, 80-81, pp. 217-219.en
dc.identifier.isbn9.78609E+12
dc.identifier.issn1392-0316
dc.identifier.urihttp://hdl.handle.net/10545/623099
dc.description.abstractThe presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. Here we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. This specifically relates to the performance using remote and scripted bodies at The Body: Out of Time and Without a Place conference in Vilnius 2016. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. 'Both works distanced the body of the performer, who was in fact ‘present’. This text offers the script for the performance, which opened up and explored the possibilities, complexities and contingencies of the dynamic of present and absent bodies and artistic agencies, thus seeking to analyse what it is to be presented as ‘live’ when geographically distant.
dc.description.sponsorshipUniversity of Lincolnen
dc.language.isoenen
dc.publisherVilnius Academy of Artsen
dc.rights.urihttp://creativecommons.org/licenses/by-nd/4.0/*
dc.subjectRemoteen
dc.subjectCollaborationen
dc.titleHere and there: two works, ten countries.en
dc.typeArticleen
dc.contributor.departmentUniversity of Lincolnen
dc.identifier.journalActa Academiae Artium Vilnensisen
dc.internal.reviewer-notePhotocopy of journal article attached. Not on SHERPA, emailed A. Bartram 26/10en
refterms.dateFOA2019-02-28T17:46:11Z


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