History
The
involvement of the Transvoyeur artists and events, tp
the core group or collaboratve, are immensely diverse.
Please select below from the Archives to research the
history of activities:
2006
- Year (3): Research, Events and Liverpool Biennial 2006
New
Transvoyeur Programme to be announced in January for 2007
... Keep a check on this page for upcoming events ...
_________________________________________________________________________________________________________________
(Please
click to go to ...)
Yuletide
greetings and
a
Fortuitous 2007
from
Transvoyeur
_________________________________________________________________________________________________________________
Christmas
Soiree at the Slaughterhouse by Alex Corina and Paraphernalia
Exhibition of Ian Taylor.
Written by Gaynor Evelyn Sweeney, 23 December 2006.
Alex
Corina had kindly invited Transvoyeur artists and many
others from the art community in Liverpool and the Northwest
of England to attend a Christmas soiree at the Slaughterhouse
Gallery in Garston Village (Liverpool, England) on Friday
22 December 2006. An array of artists, curators, and different
professionals turned up and a pleasant and amicable time
was had by everyone.
It
was also the last opportunity to view the unique and thought
provoking art of Ian Taylor in the ‘Paraphernalia’
Exhibition. The collection was a series of sculptures
and framed work, but with a three dimensional content.
Each piece was derived from ‘found objects’,
but so cleverly done, you knew what each piece was sourced
from, but the reconstruction into these amazing art objects
played with ones mind and shared in the vivid and surreal
imagination of the artist.
Alex
Corina, who is a strong activist in contemporary arts
and culture, curated the exhibition. His drive and passion
currently lies with his many projects and initiatives
managed in the Garston district already. However, his
vision has many more plans in store and he is historically
and culturally changing the face of Garston with his immense
contributions made to this area.
There
was the infamous ‘Camel’ too, which was recently
vandalised, but since repaired. This was unveiled in a
switching on ceremony and party at the Slaughterhouse
on Friday 17 November. A 25 feet neon light formed into
the shape of a camel. This was researched and produced
by the international artist, Ron Haseldon, who invited
pupils to make drawings on the subject of an animal. One
was chosen and transformed into a large scale, freestanding
neon light. This project was originally one for the Liverpool
Biennial in association with the Garston Cultural Village.
It will be interesting to see what other strange and wonderful
art is presented in Garston Village. I recommend a journey
on the 82 Bus to St Mary’s Road (Garston Village).
It is worth a visit to view and experience upcoming events
there to be announced in 2007, as each one has been diverse
and fascinating.
It
was an enjoyable evening with good art and a chance to
catch up with many before the Christmas season and since
the hype and mania of the Biennial. Time to reflect now
and plan for 2007 for everyone.
Information
on future events at the Slaughterhouse and Garston Cultural
Village can be viewed at: www.culturalvillage.co.uk
or www.alexcorina.com.
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Funkadelic
Chicken Donned at Oxford but Nearly Skinned and Plucked
Thursday 21 December 2006
Written by George Lund (on his Alter Ego of the Funkadelic
Chicken)
Fifty
staff (Directors, managers etc) from the Innovation Factory,
Jet Jobs Employment Training Centre, Yanwath Community
Centre, andother communinty organisations held a Christmas
Party at the Oxford on Wednesday 20 December 2006.
The
Funkadekic Chicken was invited to perform and gave a chicken
lip smacking, grease lightening floor cabaret act. The
party poops mainly women were stunned by the Chickens
capers. The Funkadelic Chicken had it's cheeks felt and
pinched. The chickens' trews' fell down and a Full Monty
Chicken nearly evolved and had a standing ovation (metaphorically
of course!)
The
Funkadelic Chicken said: 'I my beak was bent and have
bruisers on my bottom and legs to prove it from the frenzy
of the dance (CLUCK!). I have been asked by many of the
women (CLUCK!) when and where I will perform again (CLUCK!
CLUCK!). I will consider taking the Chico-gram up next
year!"
The
Funkadelic Chicken Roocked the Oxford, but escapes with
life from attention of hored of women, now avid fans.
Stuffing fell out everwhere and some ladies were trying
to stuff it back in. He added: "I was telling them
to get stuffed (CLUCK!)".
To
learn more of the Funkadelic Chickens moves ...
Chicken Dance's of Life.
Funky Chicken: Peace Happiness Love, Tranquillity.
Beak Dancing.
Communication, Language, Dialogue, Diplomacy.
Mooning Walk.
Cheekiness, Cosmic (full moon,half moon) Comfort Posture.
Straw Dance.
Sleep, Harvest,.Warmth, Food.
Chicken Salsa.
Culture, passion. rhythm, hotness, Latin.
Chicken Vin DE Loo.
Curry favours, Hotness, healthy food.
Chicken Robo.t
Technology, Innovation, Futuristic.
Chicken Lake.
Classical, Culture, Ballet.
More
information can be found at www.lundart.co.uk.
_________________________________________________________________________________________________________________
Transvoyeur
Artist, Gary Sollars with Chapman Brothers and another
Dollman Disco, New Years Eve 2006, The Vines Ballroom,
Liverpool, England, 31 December 2006 (An independents
production, conceived and directed by Sollars).
Chapman
Brothers love Dollman and Dollman loves Disco
(Image by Tony Knox) |
Dollman
with Chapman Brothers at the Tate (Liverpool) private
view, Thursday 14 December 2006.
Next Dollman event 'Sherry Trifle', New Years Eve,
at the Vines Ballroom (next to Adelphi Hotel, Lime
Street, Liverpool, England). 8.00 pm until 2.30
pm.
Tickets £9.99 (in advance), £14.99 on
the door.
To
reserve your ticket please contact Dollman at dollmandisco@hotmail.com
Further
information on Dollman and the Art of Sollars can
be viewed www.garysollars.co.uk. |
Acknowledgement:
With appreciation to Sean Kenny (Graphic Designer) for
his professional support of Dollman Events. For further
information on Sean Kenny (Graphic Designer) seankennygraphics@hotmail.co.uk.
_________________________________________________________________________________________________________________
INDEPENDENTS
LIVERPOOL BIENNIAL 2006 AND TRANSVOYEUR PROGRAMME 2006
NOW FINISHED.
-
CLICK HERE -
REVIEWS
on all parts of TRANSVOYEUR PROGRAMME 2006 in the Independents
Biennial 2006, including performance, exhibitions, events,
etc..
Transvoyeur
Programme 2006.
Independents Liverpool Biennial 2006.
September - November 2006.
_________________________________________________________________________________________________________________
Changes
in Transvoyeur Artists
12
December 2006
The
following artists leave Transvoyeur to focus on their
new career paths. We wish them continued success with
their future objectives (>> to view artists profiles):
Gianni
Bianchini (>>)
Bianchini
is an established photographer and founding members of
the Arts Group in Casaterra. He was a member of Transvoyeur
in the research and development of the programme for the
Independents Liverpool Biennial 2006. He is now focusing
on his research in multi media in his professional practice
in a new series of art he is developing..
Sumer
Erek (>>)
Erek
is an distinct visual artist, who is both innovative and
inspirational. He has formerly worked with several of
the Transvoyeur artists. His role was brief with the current
programme, but he now concentrates on his professional
career in London, as an international renowned artist.
Dorrie
Halliday (>>)
Halliday
is an artist of diverse talents. Her main interest lies
in digital media, but recent developments in her art have
shown a new found interest in performance. She is a founding
member of the recent collective 'The Gang' (Liverpool,
England). She has worked with several of the Transvoyeur
artists on independent projects in her practice and although
only by association her creativity and shared insight
has been exceptional experience for others.
Elizabeth
Heritage (>>)
Heritage
has contributed and collaborated to many Transvoyeur projects
since its inauguration in 2003. She was a highly active
artist in many of the live art and performance projects.
She is currently preparing for independent research and
development in her practice.
_________________________________________________________________________________________________________________
Transvoyeur
Update ... Collaboration of Performance and Poetry: Gaynor
Evelyn Sweeney (Artist) and Andrew Taylor (Poet), 27 November
2006.
Gaynor
Evelyn Sweeney (Visual/Performance Artist) and Andrew
Taylor (Poet/Writer) are collaborating on a new series
artwork. The objective of the research is on a mutual
subject, which both artists in conjunction will produce
performance images from Sweeney and prose from Taylor.
There is proposed a secondary stage to the development
of art and that is to enable audience members to contribute
in a similar mode of expression. The live art collaboration
is one set on the multi-disciplinary creativity of the
two artists to present a hybridised art form.
Sweeney
is a performance artist and graduate of Liverpool John
Moores University, England, in 2002. She is currently
on her doctorate and researching the body within contemporary
arts, science and culture. Her art explores the temporality
and spatiality of body politics within the postmodern
environment and institutional structures.
|
Sweeney,
Between Elysium and Hades (Live performance), 2004.
The Brandenburg Gates, Berlin, Germany. |
She
has performed and exhibited in an array of international
events, such as the Liverpool Biennial, Venice Biennial,
Performance Art Festival (US), Hong Kong Biennial and
Berlin Kunst Salon. Her art is strongly founded on the
canon and philosophy within the context of live performance
interventions, as well as considering new and innovative
modes of expression modified through digital technology
and optical engineering. Other projects and commissions
have been in London, New York, Paris, Copenhagen and many
other places.
Although
she pursues her independent practice in performance art,
she is a strong advocate of contemporary art practice,
creating projects for exchange and dialogue in the concepts
and philosophies of postmodern art and society. To collaborate
and share to realise new and diverse modes of thinking
and creative expression in the international arts market.
She
is also founder and Projects Co-ordinator of Gesquoi and
TransVoyeur UK, both research and management programmes
in arts and culture within the international market. She
was also one of the original founders of the Whores of
Babylon Arts Collective (UK).
Taylor
is a poet and writer. His work published in many independent
publications in England and abroad, such as Turn for Home,
The Brodie Press, August 2003, Poetry and Skin Cream erbacce
Press, December 2004 and Cathedral Poems Paula Brown Publishing,
August 2005.
|
Taylor:
Poetry installation at Egg Space Gallery, Liverpool,
England. Part of the Gesquoi Arts and Research Programme
in 2004. |
His
creative writing is not only explored in text, but presented
at many live readings. He further explores the concepts
of spatiality of text and written word in a visual art
installation, which becomes interaction with audience
members where they can contribute to work.
He
has been featured in many publications and participated
in large-scale poetry events nationally and internationally.
His writing style is one abstract form, at times autobiographical,
but these are residues of experience and memory deconstructed
and reconstructed. He is currently finalising his PhD.
The
current collaboration with Sweeney and Taylor is proposed
to be exhibited early next year and further information
will be available on this at www.transvoyeur.co.uk.
Gaynor
Evelyn Sweeney (Artist)
E-mail: artist@gaynorevelynsweeney.co.uk
Website: www.gaynorevelynsweeney.co.uk
Andrew
Taylor (Poet/Writer)
E-mail: andy@andrewtaylorpoetry.com
Website: www.andrewtaylorpoetry.com
_________________________________________________________________________________________________________________
Review
of Transvoyeur Artists Agata Alcaniz and George Lund Part
of Salon Exhibition, Curated by Grizedale, A Foundation,
Blade Factory, Greenland Street, Liverpool, England, 01-15
November 2006. Reviewed by Gaynor Evelyn Sweeney and Tony
Knox, Date of Review 16 November 2006.
Grizedale
Arts, were invited by the A Foundation to take up residency
during the Independents Liverpool Biennial 2006. The have
produced a series of exhibitions and art initiatives of
exceptional curiosity on the concepts of art and space,
society, culture and commodity. As part of this, a final
stage was extended to Liverpool based artists to submit
and participate in a Grizedale exhibition, titled Salon
Exhibition.
The
Salon exhibition was eclectic collection of diverse art
and curated not in the preconceived style of pristine
white walls and the usual curatorial spatiality on aesthetics,
each with it own locale and leading theoretically and
visually into the the next. Here is an miscellaneous and
chaotic collection of art, each placed in seemingly no
specific order, but the interest is the actual testing
of boundaries by this mixed expanse of art. This is in
effect a fusion, hybridisation of art in England, from
Grizedale and Liverpool. Albeit the disorder, what we
enter is a journey, somewhat disjointed, but enticed and
guided through the space and itself the viewer to enquire
and explore this layout.
There
were some interesting pieces, recognisable by established
Liverpool and Merseyside practitioners, such as Amanda
Oliphant, Becca Bachouse, Claire Chambers, Birgit R Deubner
and many more. All exceptional artists in their practice.
The
environmental performance by Alcaniz on digital video.
Lund's colourful
expressions titled 'Transvoyeur'.
I
noticed the art intriguing of Agata Alcaniz and George
Lund. Alcaniz had a digital video piece, which related
to series of environmental performances she has explored
over the past few years. Lund exhibited a piece titled
‘Transvoyeur’. A recognition of his involvement
with the Transvoyeur Arts Group. The painting itself is
set on his earlier research of urban culture of Liverpool
and New York and formulated in his naïve style of
painting. Both artists have formerly exhibited their art
in the Transvoyeur Liverpool and New York exhibition at
the View Two Gallery, Mathew Street, Liverpool, England,
which will then tour to New York in Spring 2007.
The
formula of Grizedale’s curatorial and creative precepts
imbue as sense of the organic in manifesting the constructs
and ideologies in post modern society and culture. I am
curious to know their next stage in development, as the
ethos seems to be one reciprocal to the space they reside
and forms an intrinsic relationship between them and were
they migrate.
_________________________________________________________________________________________________________________
New
Website for Transvoyeur Artist ... Tony Knox ... www.tonyknox.org.uk,
26 November 2006, Written by Gaynor Evelyn Sweeney.
Tony Knox, a visual
artist and one of the founding members of Transvoyeur,
has a new website released to provide insight into his
creative professional and acadmic practice. The website
centralises to himself as an artist and as he stated 'it
is my objective to focus more on my practice and the new
website will provide a platform of information and images
people can access'.
For
further information, please do to www.tonyknox.org.uk.
_________________________________________________________________________________________________________________
Review
of Transvoyeur Artist in Field Fund Project, Tony Knox
Artist in Residence, Sunday 26 November 2006, Written
by Gaynor Evelyn Sweeney.
Tony
Knox was the Artist in Residence for the Field Fund Project
at De La Salle School in St Helens, England. This programme
was funded by the Gormley Trust and in association with
St Helens Borough Council and Liverpool Biennial Education
Programme. Support artist, Lisa Barry, worked along side
Knox with the teachers and students.
Over
the course of several months, Knox worked with the students
and the teachers on the subject of the hero in contemporary
life. This theme forms a core element of much of his work
and synonymous with Moth Man guise. The students researched
and developed a series of characters and scenarios which
they filmed and edited under the erudition and guidance
of Knox. A collection of three digital short movies were
produced by the students of bewildering, amusing and entertaining
content.
The
digital short movies have since been screened on the BBC
Big Screen in Clayton Square, Liverpool, England, from
Friday 10 November 2006 to Thursday 23 November 2006 so
members of the general public can share in the creative
explorations of the students.
The
art produced by the students was exhibited at the 5agallery
in St Helens from Wednesday 01 November 2006 to Saturday
25 November 2006. This included masks and characters created
by the students, photographs and digital video media.
It provided an insight to how the work came to fruition
and the exceptional creativity of these young people.
Support
was provided by St Helens Borough Council Arts Development
Unit by Cath Shea and Sean Durney. The project was par
of the Independents Liverpool Biennial 2006.
Further
information on this project can be viewed at www.fieldproject.co.uk.
_________________________________________________________________________________________________________________
Transvoyeur
Performance Art Platform 2006, Potting Shed Goes Psychic,
Walk the Plank Theatre Production Boat, In association
with the Bluecoats, Part of Independents Liverpool Biennial
2006, 10 November 2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney.
Saturday 12 November 2006.
(From
left to right and down) Jo Derbyshire's 'Seasons - When
the City Speaks';
Gaynor Evelyn Sweeney's 'Boudicca's PMT in the 21st Century';
Tony Knox's 'Hero'.
Transvoyeur
artists performed at the ‘Cosmic Cabaret’
on Walk the Plank Theatre Production Boat, Liverpool,
England on Friday 10 November 2006. This live art programme
was managed in collaboration with Walk the Plank and Bluecoat
Art Centre (Liverpool, England), as part of the Independents
Liverpool Biennial 2006 and in association with the performance
programme of the Liverpool Biennial 2006. It was presented
as ‘… a Cosmic Cabaret featuring paranormal
activity of a musical, magical, dancical, theatrical,
and mystical nature...’.
The
artists from Transvoyeur included Agata Alcaniz, Jo Derbyshire,
George Lund, Tony Knox and Gaynor Evelyn Sweeney, as well
as guest artists participating, such as June Rose, Andrew
Hodge and many others.
Sweeney
presented a performance called ‘Boudicca’s
PMT in the 21st Century’. This has previously been
in Berlin, London and Liverpool, 2005-2006. This live
art is one that has evolved with each rendition, reciprocal
to the context of the spatiality and urban culture. This
opened with artist dressed in white medical coat and a
white mask reversed to the back of her head. This produced
a dual profile. Sweeney walked into the audience and conscripted
a male and female volunteers. She guided each to sit either
side of her on the stage and passed them sheet of text.
She introduced the text as ‘Athena Review Vol. 1,
No. 1 from The Annals by Tacitus (AD110-120) Book X1V,
which describes the Rebellion of Boudicca (AD 60-61).
This was a translation from Latin to English describing
the rise and fall of Boudicca.
She
instructed the two volunteers to commence reading the
ancient text and to continue until the last page. The
male and female started to recite, at times in unison
and others a cacophony of words that conflicted when out
of synchronisation. She draped over the two figures a
mass of gold chiffon. She then stood reversed, with the
white mask on the back of her head peering towards the
audience.
Dressed
in white medical coat, she stood arms outstretched while
the rendition of the historical events of Boudicca was
imparted to the audience. She then turned and knelt to
the ground. She collected a mass of paper on the floor
in front of her. On these were printed biological diagram
studies of the female’s reproduction system. The
artist folded layer by layer each sheet to form paper
aeroplanes, which she threw with vigour into in to the
air and audience. To reside back, composed and calmly
fold another.
She
then on the adjacent side took from her side a palette
and pot of blue paint. She emptied the contents to the
palette. She disrobed from the medical coat and with two
hands pressed to the palette covered her palms in paint.
She then applied this to her whole body, working up the
arms, across the breasts and down her abdomen, stretching
precariously to cover her back and finally her legs.
During
these actions, the male and female continued to read the
ancient text. Sweeney curled into a ball, stretched her
arms forward, head still down she clawed at the ground.
As her hands draw close to her body, she released a piercing
and merciful scream. Several times the shrilling lament
was released from her lowered body. The force of the energy
expelled the affliction, grief and anguish expressed in
the text by the male and female read.
A
woman, Boudicca, who is remembered in the canons of history
who led the Iceni rebellion against the Romans, after
her husband, Prasutagus, as king of the Iceni, died. The
Romans went against their word and Nero was ruling in
Rome and the Britons were forced to endure huge taxes,
conscription and inhumane treatment at the hands of Roman
authorities. The peaceful treaty after Prasutagus death
was forgotten and for more wealth, the Romans invaded
the lands of the Iceni. Boudicca was flogged her daughters
were raped. The essence of a females strength is re-represented
in the ideologies in this text of 21st century constructs
of gender politics. Sweeney presented a captivating and
poignant performance, as the female, as the lover, the
matriarch and femme fatale to avenge what was lost. Her
body painted blue similar to the Ancient Britons preparing
for war. George Lund, an associate artist of Transvoyeur,
was the male who volunteered in this live art by Sweeney
and the female was Sharlene Squires, a Play Writer.
Derbyshire conceived and directed a production with a
group of artists titled ‘Seasons – When the
City Speaks’. The performance opened with digital
photographic stills projected as a backdrop. These images
are created by Andrew Hodge, a photographer, whose collection
of images are iconic of the city of Liverpool.
A performer, Sweeney seated on a chair. She commenced
reading a monologue. A text written by Derbyshire of her
experiences of the city of Liverpool combined with historical
and popular culture references. These structured into
the ‘Seasons’ and titled ‘When the City
Speaks’. Some moments later Derbyshire enters the
scene carrying art materials, which she spreads across
the floor. A collection of paints, brushes and so forth.
She departs at each the orator states a seasons to return
with a canvas representative of each term and another
artist enters the scene adjacent to the placement of the
canvas. These canvases a combination of mixed media, painting
and collage. Photographs and text mixed with abstract
and figurative representations.
These
form the foundation of a visual dialogue cognitive to
the subject being read aloud. On conclusion of the monologue,
Derbyshire disappears from the scene and the four artists
sat next to her canvases start modifying the surface of
each.
The
reader invites members of the audience to come forward
and contribute to the seasons on the canvases. The artist,
Derbyshire, compares the seasons within the structure
and semiotics of her art formed by her experiences and
lineage against the urban spatiality. The idea of time
and space is explored and as something has a natural progression
in evolution of a place, so too is that of the human creatures
intervention. The invitation for the audience to contribute
continues with this innate sequence by modifying the spatiality
of the canvas. An intervention of historical and natural
cause and effect and the linear concept of time by human
experience. The performance finalised with each member
of the audience interacting with the art and becoming
part of the creative seasons of each canvas. This piece
was intrigued the audience and the live art became a type
of ‘happening’ in the creative process.
This
production is an organic piece that has evolved from previous
performances in Liverpool and London. The first explored
at the View Two Gallery, Liverpool, England, and then
re-examination in he socio-urban and cultural context
of London. The project evolved from Derbyshire examining
Liverpool as a World in one City through the seasons with
a historical, personal and social perspective. Through
collage and performance, with an interior monologue narrated
by Sweeney, the audience were invited to participate and
add to the four collaged canvases Derbyshire had prepared
for the performance. Each canvas represented a season
in the City, with Derbyshire as the social historian examining
Liverpool from a personal perspective. The canvases themselves
originally looked like an enlarged page from a journal
or a scrapbook where Derbyshire references and archives
what has happened over the last year. Through each progressive
stage the audience become part of the visual dialogue
in the series of canvases.
Knox
and Alcaniz presented a new twist on the performance conceived
by Knox. The piece had evolved to include the collaboration
of Alcaniz to sing in Spanish the theme tune to the 1960s
series of Spider Man. The scene was set with Alcaniz,
as the orator/singer and projected on either side a digital
short movie by Knox showing asserted demise of ‘Moth
Man’, a guise created by Knox in earlier projects
on the concept of the super hero in post modern life.
The Moth Man character moves through some woodland, digs
a whole and then disrobes to reveal the person underneath.
The items of the costume are then buried in this film.
Knox
entered the scene through a back door from a shed between
the two projections. Alcaniz sat to the right towards
the audience. The performance involved Knox in normal
attire, but the reverse to the film transpires. He is
in his normal clothing, but undresses to show underneath
not Moth Man, but a poorly made costume of Spider Man.
The unkempt nature of the Spider Man costume is something
reflective of this comic book hero in a child’s
perceptions. Knox posed in iconic super hero stance, synonymous
with those produced in comic books and through to the
male gender form in the canons of ancient sculpture. He
then moved through the space, mingled with the audience,
and resided with in them to watch the digital film of
the interment of the Moth Man costume. During these transitions
in the performance by Knox, Alcaniz continues to sing
the theme tune in Spanish of Spiderman. Knox returns to
the stage from the audience and Alcaniz then changes her
tone and starts to insult this dishevelled Spider Man
in Spanish with explications of disbelief, “Ooh!
La! La!”.
She
stands from her chair and points to his stomach and genitals,
shaking her head in disapproval. The vilification of the
character departs the scene and the final stages of the
digital video projection conclude. During the performance,
the audience exploded into a rapture of whistles and applause
at the undressing on the onset of the performance to change
taunts and jeers at Alcaniz’s derogatory insinuations.
The modifications in Knox’s performance change the
constructs of the female inclusion and considers the roles
of gender and sexual politics to the societal precepts
and conventions of masculinity imbued in the hero.
The
evening of events and performance at the Cosmic Cabaret
of the Potting Shed was a fusion of conceptual performances
through to theatrical, dramatized and musical recitals.
It was an eclectic mix of different forms of live art.
Other artists to this event included Mandy LaRomero, Jo
Docherty, The Gang with Dorrie Halliday, Lisa Wrigley
and many others.
The
platform presented the artists of Transvoyeur and others
the opportunity to present art of an alternative nature
and expand on the philosophies of the Transvoyeur artists
in their practice to examine and explore socio-cultural
parameters and cognative in ethos of ‘Cabaret Voltaire’
(The Cabaret exhibited radically experimental artists,
many of whom went on to change the face of their artistic
disciplines; featured artists included Kandinsky, Klee,
de Chirico and Ernst … Cabaret Voltaire. Under this
name a group of young artists and writers has been formed
whose aim is to create a centre for artistic entertainment
… The idea of the cabaret will be that guest artists
will come and give musical performances and readings at
the daily meetings. The young artists of Zurich, whatever
their orientation, are invited to come along with suggestions
and contributions of all kinds. -Zurich, February 2, 1916).
Further
information can be viewed at:
Transvoyeur:
www.transvoyeur.co.uk
Walk the Plank Theatre Boat: www.walktheplank.co.k
Bluecoat Art Centre:
www.bluecoatartcentre.com
Affiliations
to:
Independents Liverpool Biennial: www.independentsbiennial.co.uk
Liverpool Biennial: www.biennial.com
_________________________________________________________________________________________________________________
Transvoyeur
Artist Jo Derbyshire and Review of Development of When
the City Speaks: Seasons: London, 07 November 2006.
| There
was only one person for this whole event who wasn't
sure what it was all about. People often view Londoners
as being in their own private universe, not noticing
what goes by, but the response for this Transvoyeur
project generated much interest.
When
the City Speaks: Seasons: London continues a previous
performance which was originally performed at the
View Two Gallery, Liverpool for the Liverpool Biennial
Independents 2006. The project evolved from Derbyshire
examining Liverpool as a World in one City through
the seasons with a historical, personal and social
perspective. Through collage and performance, with
an interior monologue narrated by Sweeney, the audience
were invited to participate and add to the four
collaged canvases Derbyshire had prepared for the
performance. Each canvas represented a season in
the City, with Derbyshire as the social historian
examining Liverpool from a personal perspective.
The canvases themselves originally looked like an
enlarged page from a journal or a scrapbook where
Derbyshire references and archives what has happened
over the last year.
The
London performance of 'City' takes these four canvases
to central London where passers by contributed to
the work with another cities perspective on the
seasons, contributors in London were targeted through
the locations of London Bridge, Euston, Bayswater
and Covent Garden. |
|
One
contributor wrote Liverpool Hello over the canvases, most
of the others used the underground sign as a symbol of
the capital, whilst others used the Eros image from the
Evening Standard. The Bayswater crowd were the most enthused
spending quite a bit of time on their work, I suspect
amongst them were some of the Bayswater Road Artists,
who show their work every Sunday in the Capital. Interestingly
enough Derbyshire's World in One City was changed by the
London crowd with one contributor writing London next
to the caption, another commenting that the image looks
like and orange and that the best oranges come from South
Africa!
The
next performance is scheduled in Liverpool on 10th November
on Walk the Plank's cabaret performance, the Potting Shed
Goes Psychic.
_________________________________________________________________________________________________________________
Transvoyeur
Performance Art Platform 2006, "The Spatiality of
the Post Modern Female", Independents Liverpool Biennial
2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney.
Saturday 28 October 2006
(From left to right
and down) Audience at performance of View Two Gallery.
Gaynor Evelyn Sweeney in Boudicca's PMT in the 21st Century,
Jo Derbyshire's Seasons - When the City Speans collaboration,
Jeimy Marisol Martínez
Galavíz explores the concepts of sound with
the piano. Last, Ken Martin (Director of View Two Gallery)
and Jeimy Marisol
Martínez Galavíz.
On
Friday 27 October 2006, the final Transvoyeur Performance
Art Platform 2006 at the View Two Gallery (Liverpool,
England) was presented. Researched and managed by the
Gaynor Evelyn Sweeney, UK Projects Co-ordinator of Transvoyeur,
there was a selection of artists from the city and internationally.
The artists included Jeimy Marisol Martínez Galavíz,
Seasons - When the City Speaks (Alison Bazely, Laura Baxter,
June Hobson, Peter Worthington, and Gaynor Evelyn Sweeney,
conceived and directed by Jo Derbyshire) and Gaynor Evelyn
Sweeney.
The
first performance art piece was by Gaynor Evelyn Sweeney.
This was titled ‘Boudicca’s PMT in the 21st
Century’. Firstly performed in Berlin and then London,
2005-2006. This live art is one that has evolved with
each rendition, reciprocal to the context of the spatiality
and urban culture. This opened with artist dressed in
white medical coat and a white mask reversed to the back
of her head. This produced a dual profile. Sweeney walked
to one side of the room and whispered in to an audience
members ear. She requested this message to be passed through
the audience members as in the game of ‘Chinese
Whispers’. When the chain was concluded on the other
side of the room, she requested the male to speak aloud
what was said. Sweeney then asked the first member of
the audience, who was female to stand, and the last, who
was male, to join her at the front. She guided each to
sit either side of her and passed them sheet of text.
She introduced the text as ‘Athena Review Vol. 1,
No. 1 from The Annals by Tacitus (AD110-120) Book X1V,
which describes the Rebellion of Boudicca (AD 60-61).
This was a translation from Latin to English describing
the rise and fall of Boudicca. She instructed the two
volunteers to commence reading the ancient text and to
continue until the last page. The male and female commence
recitation, at times in unison and others a cacophony
of words that conflicted when out of synchronisation.
She draped over the two figures a mass of gold chiffon.
She then stood reversed, with the white mask on the back
of her head peering towards the audience.
Dressed
in white medical overall and trousers, she stood arms
outstretched while the rendition of the historical events
of Boudicca was imparted to the audience. She then turned
and knelt to the ground. She collected a mass of paper
on the floor in front of her. On these were printed biological
diagram studies of the female’s reproduction system.
The artist folded layer by layer each sheet to form paper
aeroplanes, which she threw with vigour into in to the
air and audience. To reside back, composed and calmly
fold another. After some time and the pile of printed
biological studies expired, she curled tightly into a
ball. During these actions, the male and female continued
to read the ancient text. Sweeney curled into a ball,
stretched her arms forward, head still down she clawed
at the ground. As her hands draw close to her body, she
released a merciful scream. Several times the shrilling
lament was released from her lowered body. The force of
the energy expelled the affliction, grief and anguish
expressed in the text by the male and female read.
A
woman, Boudicca, who is remembered in the canons of history
who led the Iceni rebellion against the Romans, after
her husband, Prasutagus, as king of the Iceni, died. The
Romans went against their word and Nero was ruling in
Rome and the Britons were forced to endure huge taxes,
conscription and inhumane treatment at the hands of Roman
authorities. The peaceful treaty after Prasutagus death
was forgotten and for more wealth, the Romans invaded
the lands of the Iceni. Boudicca was flogged her daughters
were raped. The essence of a females strength is re-represented
in the ideologies in this text of 21st century constructs
of gender politics. Sweeney presented a captivating and
poignant performance, as the female, as the lover, the
matriarch and femme fatale to avenge what was lost. As
Shakespeare captured in his writings ‘Hell has no
fury like a woman scorned’ and Boudicca epitomized
this.
The
next performance to follow was Jeimy Marisol Martínez
Galavíz a visual, performance and sound works artist
from Mexico. She walked over to the piano in the View
Gallery and raised the lid to the strings. She bent with
poise into the piano, her head lowered to the strings.
The audience looked on curiously. Then she intoned a musical
note, not a choral or recognisable song, but tones emanated,
scaled and alternating in no rhythm. There were interludes
of silence, but during these moments it was realised the
reverberations of her own voice on the inner strings of
the piano resonated.
Intonations
of a duet between instrument and artist, reciprocal sounds
forming a duality in this intervention. The disjointed
tempo of the process crescendo from the soprano inflections
to hysterical screams and equally the strings echoed back.
She moved across the scale of the piano strings and each
responding by chord and note against he energy of her
voice. The audience sat bewildered and entranced by this
strange interaction with our notions of artist, musical
instrument and structured sound. She rose from the piano,
faced the audience, and left the performance platform.
The
final performance was conceived by Jo Derbyshire with
other artists and audience members participating. The
performance opened with a performer, Sweeney seated on
a chair. She commenced reading a monologue. A text written
by Derbyshire of her experiences of the city of Liverpool
combined with historical and popular culture references.
These structured into the ‘Seasons’ and titled
‘When the City Speaks’. Some moments later
Derbyshire enters the scene carrying art materials, which
she spreads across the floor. A collection of paints,
brushes and so forth. She departs at each the orator states
a seasons to return with a canvas representative of each
term and another artist enters the scene adjacent to the
placement of the canvas. These canvases a combination
of mixed media, painting and collage. Photographs and
text mixed with abstract and figurative representations.
These form the foundation of a visual dialogue cognitive
to the subject being read aloud. On conclusion of the
monologue, Derbyshire disappears from the scene and the
four artists sat next to her canvases commence adding
to the surface.
The
reader invites members of the audience to come forward
and contribute to the seasons on the canvases. The artist,
Derbyshire, compares the seasons within the structure
and semiotics of her art formed by her experiences and
lineage against the urban spatiality. The idea of time
and space is explored and as something has a natural progression
in evolution of a place, so too is that of the human creatures
intervention. The invitation for the audience to contribute
continues with this innate sequence by modifying the spatiality
of the canvas. An intervention of historical and natural
cause and effect and the linear concept of time by human
experience. The performance finalised with each member
of the audience interacting with the art and becoming
part of the creative seasons of each canvas. This piece
intrigued the audience and the live art became a type
of ‘happening’ in the creative process.
It
is interesting in this series of three performances by
the artists there is a consideration of the female role
in post-modern society and culture contrasted to the canons
of history and inherited concepts. There is a recognisable
universality to these notions and regardless of time separating
the historical figure to the contemporary female artist
the fundamentals remains the same of the passion and zeal
of the female in her many guises, as lover, matriarch,
leader, professional and so forth. This does not remove
the female from her status in contemporary life; rather
it recognises the essence of her strengths and weaknesses
in time and space, all which are integral to both genders,
male and female, in her relationships of everyday existence
and life. Indeed the ancient text on the subject of Boudicca,
a canonised female figure, is recorded, inscribed and
explicated by a male, Tacitus. Whether the war cry of
an ancient female embodied in Sweeney’s personification
to the screams from Galavíz, by tonality, function
and rationale, we are presented by two woman who similarly
test the preconceptions of spatiality in sounds and visual
dialogue. Again, parallel to the fundamentals of Derbyshire’s
monologue of shared experiences and understanding as a
female living in the urban space of Liverpool.
The
Transvoyeur Performance Art Programme 2006 was realised
with the support of the Ken Martin (Director/Curator)
and Sam Skinner (Exhibitions Co-ordinator) of the View
Two Gallery, Liverpool, England.
Contact
details:
Transvoyeur
UK
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
View
Two Gallery
Ken Martin (Director/Curator)
Tel. No.: Tel: 0151 236 9444
Email: info@viewtwogallery.co.uk
Website: www.viewtwogallery.co.uk
_________________________________________________________________________________________________________________
Transvoyeur
Performance Art Platform 2006, " ... powerful and
entertaining ...", Independents Liverpool Biennial
2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney
(Edited by Gaynor Evelyn Sweeney).
Saturday 21 October 2006
(From
top left to right and down) George Lunds Funkadelic Chicken
dance, Suzy Walker's Jacques Brel is Alive and Well and
Living in Paris group, Lisa Wrigley's rendition of Playwrites
work by Sharlene Squire, Emma Sweeny and Jo Gough sing
a collection of songs and images of the audience.
The third Transvoyeur Performance Art Platform 2006 was
held at the View Two Gallery, Liverpool, England on Friday
20 October 2006. The artists an inspirational collection
of performances from George Lund, Suzy Walker’s
Jacques Brel is Alive and Well and Living in Paris, Jo
Gough, Emma Sweeney and Lisa Jane Wrigley.
The
first artist was George Lund in his synonymous guise as
the ‘Funkadelic Chicken’. He danced and paraded
to a selection of mixed alternative and electronic Funk
music fused with abstracted annotations of animal sounds
in particular that of a chicken. The age range of the
audience this evening included a broader spectrum of young
and older generations. All cried with laughter at the
antics of the juggling and jiving alter ego of Lund, especially
when he provocatively raised the upper garment of the
chicken costume to reveal an artificial human bottom.
His dancing he describes as “… a hybrid of
Rudolph Nureyev meets James Brown’ (Lund). In Lund’s
performance art there is the apparent satire of the jester,
an element of Norman Wisdom, but from the aspirations
of the alter ego and what appears as the asinine frolics
of his character, it can be recognised from crescendo
of mutual laughter in the audience there central relevance
of his art is that idealised and that for quintessence
of harmony and contentment. The philosophies he carries
through in his utopian ideals in his paintings and other
artwork are embodied further in his performances.
The next performance followed onto Wrigley. In collaboration,
Wrigley performed a piece from the Play Writer, Sharlene
Squire. This is a work in progress and interesting in
concept that it takes from theatrical constructs of writer
and performer, but the status of development places it
in a live art context of one where it is evolving and
comparable to the parameters of intervention, but here
determined by the creative insight and direction of the
writer. Wrigley presents a performance that is of a narrative
nature and opens with a scene of a female patient and
a psychiatrist. The performance is one set on the source
of origin of creation and cosmology through matriarchal
dictates of the female gender and institutional structures
of western religion in terms of Christianity. Inferred
through the expositions and neurosis of the female patient
we are presented with a text and performance that both
deconstructs and reconstructs in an abstracted framework
of these societal precepts in the canons of philosophy
and the human creature within the universe. The performance
explodes into a personification of the assertions.
From
cosmological to the Biblical, the subjective and objective
of the philosophical intent is tested in the audiences
perceptions of the text and performance, whether interpretation
is derived by direct understanding to the cosmology, the
abstraction and inclusion of Adam and the females position
shifting in the fusion and transitions allows for miscomprehension.
A suggestive element of the Oedopus complex, the mother
and son syndrome, incest. Not intended, but this response
and interpretation one which is reflective of a postmodern
culture desensitised by intrigue of mass media and consumption
of the extreme. The performance has a universality and
empathy of insight on the subjects touched in the text,
but the conceptualisation further exposes the dispositions
of contemporary society. This was a provocative and compelling
performance by Wrigley with a profound and enlightening
text produced by Squire.
The next performance included Jo Gough and Emma Sweeney
with acoustic guitars, who performed a collection of their
own musical compositions combined with some popular music.
The selection was one noted of female experience in love
and life. The audience was captivated by the powerful
voice of Sweeney and the enchanting harmonies of Gough.
The range of vocals by the artists were exceptional and
their presence intoxicating. Sweeney and Gough have distinct
vocal ranges that are full of energy and vigour.
The last performance was the group managed by Artistic
Director by Suzy Walker (from Gambolling Arena) called
‘Jacques Brel is Alive and Well and living in Paris’.
The artists in this group are three females and a male;
Emma Spike, Clare Chandler, Megan Hughes and Nick O'Connor
respectively.
A selection of songs from the famous singer-songwriter
Jacques Brel captivated and beguiled the audience. The
songs contain poignant poetry by Brel and have been covered
from David Bowie to Nina Simone. They annotate the socio-political
environment of Europe in 1950s and 60s. The performance
represents Brel’s astonishing song writing and those
relative to war are all the more poignant in the current
global climate. The performance was a combination of physical
theatre, poetry and dance to imbue the concepts of Brel’s
relative to contemporary society. The performance was
implicit of contemporary ideologies and experiences, as
well as immensely entertaining.
The range of performances considered the theatrical and
narrative in the history of performance art within a cabaret
formula, but the concepts imbued relativity to the post
modern in culture, art and society. From the distinctions
of the gender status through history, each with a philosophical
critique. Whether the male role deconstructed and redefined
in the Lund’s alter ego of the Funkadelic Chicken
and idealised utopia of the lost masculinity in socio-economic
terms of the past decades. Wrigley and Squires analysis
of the cosmological and genderisation of institutional
constructs and ideologies. Sweeney and Gough’s compositions
of the female experience of relations. Through to the
comparative themes of Brel’s work by Suzy Walker
and her artists.
Gaynor Evelyn Sweeney, UK Projects Co-ordinator and Artist
from Transvoyeur, who researches and manages the performances
events stated: “The feedback from these performances
was exceptional. People expressed how they immensely enjoyed
each performance. Many commented on how different each
performance has been, but equally powerful and entertaining”.
The Transvoyeur Performance Art Programme 2006 has been
realised with the support of Ken Martin (Director) and
Sam Skinner (Exhibitions Co-ordinator) of the View Two
Gallery, 23 Mathew Street, Liverpool, England.
The fourth and final performance in this series at the
View Two Gallery can be seen:
View
Two Friday 27 October 2006, 5.30 pm - 7.00 pm
Jeimy Marisol Martínez Galavíz, Seasons
- When the City Speaks by (Alison Bazely, Laura Baxter,
June Hobson, Peter Worthington, and Gaynor Evelyn Sweeney,
conceived and directed by Jo Derbyshire) and Gaynor Evelyn
Sweeney.
Contact
details:
Transvoyeur
UK
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
View
Two Gallery
Ken Martin (Director/Curator)
Tel. No.: Tel: 0151 236 9444
Email: info@viewtwogallery.co.uk
Website: www.viewtwogallery.co.uk
_________________________________________________________________________________________________________________
Review
... Transvoyeur International Exhibition: Liverpool and
New York 2006, Independents Liverpool Biennial 2006, at
View Two Gallery, 23 Matthew Street, Liverpool, England,
Monday 23 October 2006 - Saturday 04 November 2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney
(and Edited by Gaynor Evelyn Sweeney).
Wednesday 25 October 2006
The
Liverpool and New York Exchange Programme of Transvoyeur
2006 was eventually launched in the Independents Liverpool
Biennial 2006 at the View Two Gallery, 23 Mathew Street,
Liverpool, England, on Tuesday 24 October 2006.
The
artists in this exhibition include:
Liverpool Collective: Agata Alcaniz, Brendan Byrne, Jo
Derbyshire, Tony Knox, George Lund, Charles Nuttall, Catherine
Shea, Gary Sollars and Gaynor Evelyn Sweeney.
New
York Collective: Lara Allen, Michael Ricardo Andreev,
Chris Borkowski, Rodney Dickson, Stephan Fowlkes, PJ Cobbs,
Aaron Miller, Raphaele Shirley and Lee Wells.
The
collection of art is a series researched and developed
by the Liverpool and New York artists over the past two
years. This was intended for the week of the Independents
Liverpool Biennial launch week, but was systematically
removed and pulled hours before the opening. The philosophy
though of Transvoyeur has always been one for positive
and constructive energy to realise projects and exhibition
of an exceptional impetus in contemporary art and practice
with mutual respect and support of each collaborative
artist in the international groups. Albeit this negative
outcome on the onset of the Independents Liverpool Biennial
2006, the artists from Liverpool and New York the most
constructive course of action was to research other outlets
and open the exhibition later during this cultural time
in the city of Liverpool.
Through
the professional support of Ken Martin (Director) and
Sam Skinner (Exhibitions Co-ordinator) of the View Two
Gallery space the exhibition was realised. The doors opened
at 6.00 pm for the private view.
Many
people from the arts community, local and international,
attended to view the art, including members of the public.
Some visiting from London, Edinburgh, Paris and Barcelona.
The comments expressed from different members from the
public and international arts community, included
‘The
best exhibition I have seen during this Biennial’
‘The
work all very strong and immensely diverse, but it works
cohesively. Excellent show’.
‘I
remember seeing the work of Transvoyeur artists in the
Independents Liverpool Biennial 2004 and it was provocative
and thought provoking work then. This new work is again
strong”.
The
Transvoyeur artists are elated with the positive feedback,
due to the difficulties encountered at the onset of the
previous exhibition being pulled by ulterior means, but
collectively they endeavoured to realise an exhibition
of worth.
Each
artist from Liverpool and New York researched and produced
new art for this exhibition, as one of the inaugural concepts
of the Biennial and Independents in 1999 was that during
the international platform of the different arts and cultural
events it should be contemporary and innovative art presented.
This ethos all the Transvoyeur artists have believed in
too and significantly, with those members who have a history
with previous Biennials.
The
exhibition of Transvoyeur is on the first floor of the
View Two Gallery. You enter the space from a flight of
stairs at the main entrance and immediately presented
with a projection a projection of a series of images that
show strange and surreal architectural structures. These
are a collection of images produced by Raphaele Shirley
and documentation of architectural maquettes, constructed
and deconstructed to explore ideas of time and space.
These images references the primary source of her own
creative insight in the temporality and spatiality of
virtual urban structures, as well as an element contributed
to PAM (Perpetual Art Machine), which is a database of
digital materials of which she is a co-founder with Aaron
Miller, Chris Borkowski and Lee Wells.
Slide
projections in entrance of gallery by Raphaele Shirley.
Adjacent
to this New York artist piece is a large-scale photographic
portrait of veiled gold face with menacing eyes peering
through. This is by Tony Knox and part of the recent developments
of his Moth Man character, an alter ego of wrestling character.
From this entrance area, the space bends around into a
larger area where two further large-scale photographs
by Know are exhi
