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dc.contributor.authorStitt, Andre
dc.date.accessioned2012-06-08T13:23:38Z
dc.date.available2012-06-08T13:23:38Z
dc.date.issued2011-10
dc.identifier.isbn1906998043
dc.identifier.urihttp://hdl.handle.net/10369/3277
dc.descriptionThis was a collective group of artists working at various locations at different times. They included Heike Roms, Lee Hassall, Phil Babot, Eddie Ladd, Roddy Hunter, Tudor Dylan, Mike Pearson and Tony Schwenson. Performances/installations took place at National Review of Live Art, Glasgow, 2008; National Eisteddfod of Wales, 2008; Coed Hills Rural Artspace, Wales 2009; Artspace, Sydney, Australia 2009.en_GB
dc.descriptionPublication available from publisher's website: http://www.parthianbooks.com/content/trace-displaced
dc.description.abstractThis was a series of commissioned and interconnected performance/installations produced with the intention of documenting them collectively in a single book, where the documentation process was to be integral to the performance/installations. The project was a development of the Cardiff-based Trace Installaction Artspace, an artist-led venue which explored the relation between performance art, installation and archiving from 2000 to 2008. The idea here was to displace physically the Trace 'artspace', and to some degree 'reconstruct' it at each new location, in order to allow invited collaborators from other locations to explore how new settings affect the performance-installation-archiving relationship. For example in Sydney, Australia, the artists lived in residence at Artspace for eight weeks creating continuous performance that included building and dismantling the 1:1 replica house installation in the Artspace galleries. The project involved a core team of collaborator artists and academic theoreticians from Cardiff who travelled to locations in Wales, Scotland and Australia to work with guest collaborators at those locations. The ultimate displacement would be the documentation of the various events as a sequence in a book, where the differences between each event, e.g. the differences that come from collaborators and places, would emerge from section to section, from page to page. When combined, central concerns which emerged were issues of recall, location and displacement by integrating observations, documents and memories of performance art into a 'live' scenario creating what I then termed as the practice of 'act-archiving' whereby an archive is produced during 'live' performance. Commissioning and partnership funding was supported by Arts Council of Wales, Wales Arts International, Arts Council of Scotland, British Council, Australian Arts Council and Arts Council of New South Wales.en_GB
dc.publisherParthian Booksen_GB
dc.subjectFine Arten_GB
dc.subjectPerformanceen_GB
dc.titleTRACE:displaceden_GB
dc.typeBooken_GB


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