I am your anti-matter (Latest version)

I am your anti-matter

Li-E

Che

n

© 2012 Li-E Chen; individual contributions © 2012 the contributors.

individual participants © 2012 the participants.All Right Reserved.

Series name: 1212360

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DANIEL PITT - CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS

Copyright

li - e Chen

HTTP://WWW.LIECHEN.COM

HTTP://CLOUDCLOCKLOVE.WORDPRESS.COM

http://www.liechen.com


http://cloudclocklove.wordpress.com

http://cloudclocklove.wordpress.com

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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.

CLOUD CLOCK LOVE, ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011

Credits

CLOUD CLOCK LOVEI Am Your Anti-matter

Conceived, curated, designed, and produced by Li-E Chen

Foreword written by

Dr Nathan Widder

Ebook contributions by

Ying Mei DuanVictoria gray

Bean Will Fung

Indigo J LAoife Collins

Mentored by Sally Dean

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DAVID TSE-KA-SHING - CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS

I am your anti-matter (limited edition t-shirts) by Li-E Chen(with the assistance of Sarah Ng)

Project assisted by

BeanNathan WidderSarah NgDavid MarchantJohn StewartJohn Hill Movana Chen

Participants (Co-creators)James Hodgson Ivor Houker Sophie Morgan Annette Fry Dean Soden Folveog Eva Daniel Pitt Qing Qi Melody S. Sacco David Tse-Ka-ShingSolveig Eva Magnusdottir Sebastien Han_Walker Apryl PipeTim Cullingford Sim Lai Soren Evinson Sally Dean Paul Whitlock

Hannah Lammin David MarchantJohn Hill Nathan WidderVictoria GrayBeanLi-E Chen

Live Documentation by Victoria Gray & Bean

Durational Live Writing online byVictoria Gray @ACTIONOTHINGBean @aplaceofaction curated by Li-E Chen @1212360

Live Streaming of the second day of the lab was arranged byJames Hodgson Ivor Houker

Others who participated in the project include

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

Those who took part in “take-no-action” during the DandD7 event, an open invitation from Improbable, 25-27 February 2012

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

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Softwares Advisers for digital publishing

Kaying ChengAndrew 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.

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http://www.artscouncil.org.uk

http://www.artscouncil.org.uk

LI-E CHEN- A STRUCTURE OF 3 ON NOTHING (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).


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.

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

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

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

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

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

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

cannot be conceptualized, remembered or organized in relation to other

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

sought to bring about conditions under which something creative could come

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

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

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

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

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

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

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

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

emerge and be felt.

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

Indeed, while Cloud Clock Love eschewed the kinds of representative

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

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

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

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

one constituted through the relationships of participants with one another and

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

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

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

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

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

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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).

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http://www.rhul.ac.uk/politics-and-ir/about-us/widder

http://www.rhul.ac.uk/politics-and-ir/about-us/widder

Introduction

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

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"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

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

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

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

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

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

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

durational live documentation, including live Twitter and Facebook updates,

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

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

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

emergence that the loose conditions of the lab made possible.

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

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,

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

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

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

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

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

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

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

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

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

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

and others who have helped me take this journey.

Li-E Chen

12

CHAPTER 2

durational laboratory on

nothing

CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON, UK, 3-4 SEPTEMBER 2011

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Fan & Numbers

Plain envelopesColor envelopes (invitation)

Floor

I am your anti-matter

Preparation has reached____, _______.

Space

Ceiling

Durational Live Writing

A structure of 3 on ‘nothing’

Nothing Political

Sound score

INTERACTIVE MAP: CLOUD CLOCK LOVE durational laboratory on ‘nothing’ by Li-E Chen, Roof Studio, Siobhan Davies Studios, London

3-4 september 2011

1 of 13

The interactive map contains a series of

performance scores as a starting point of the lab.

Available on iPad only

LI-E CHEN- FAN AND NUMBERS (2011) - ANIMATION

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

W

Click on screen to

watch video or

click here for web link

http://cloudclocklove.wordpress.com/2012/03/09/li-e-chen-participant-cloud-clock-love/

http://cloudclocklove.wordpress.com/2012/03/09/li-e-chen-participant-cloud-clock-love/

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...

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JAMES HODGSON AND IVOR HOUKERCLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON , 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...

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JAMES HODGSON CLOUD CLOCK LOVE - ROOF STUDIO, SIOBHAN DAVIES STUDIOS, LONDON , UK

“Nothing will come of nothing.”

“Nothing can be made out of nothing.”

(King Lear, Act 1.1 and Act 1.4)

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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’”

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http://twitter.com/#!/1212360




AN EVENT WAS HAPPENING UNDER THE STATE OF PREPARATION CONDITION TO REACH THE STATE OF ‘0’ or ‘NOTHING’ AS POSSIBLE

Li-E Chen (陈丽娥) 1212360@ 1 Reply Retweet Favorite · Open

Are you measuring your intelligence? #CloudClockLove @1212360


Are you waiting for an idea to come along? Don't wait - it will be too late. #CloudClockLove

4 Sep


What is your expectation of at the start of the lab?

4 Sep


@Hamish_says @daniel_pitt @aplaceofaction Preparation has reached 50: +Nothing. #CloudClockLove #fb @1212360 @ @ivorhoulker

In reply to @HamishMacP

4 Sep

Victoria Gray @ACTIONOTHING1 Reply Retweet Favorite · Open

#CloudClockLove A DUET FOR DANIEL & IVORRetweeted by Li-E Chen (陈丽娥)

4 Sep


@daniel_pitt @aplaceofaction Prep has reached 51: No records match this set of find requests. #CloudClockLove #fb @1212360 @ACTIONOTHING

In reply to Daniel Pitt4 Sep


@Hamish_says had ni light morning conversation @ACTIONOTHING @aplaceofaction about action #CloudClockLove #fb @ACTIONOTHING @aplaceofaction

In reply to @HamishMacP

4 Sep

Hamish MacPherson @HamishMacP1 Reply Retweet Favorite · Open

@1212360 I am not present (0) but I have moments of engagement (1) with what though? #CloudClockLoveRetweeted by Li-E Chen (陈丽娥)

4 Sep

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JAMES HODGSON





http://twitter.com/#!/1212360/status/110324756544368640


http://twitter.com/#!/search/%23CloudClockLove


http://twitter.com/1212360


























http://twitter.com/Hamish_says


http://twitter.com/daniel_pitt


http://twitter.com/aplaceofaction




http://twitter.com/#!/search/%23fb




http://twitter.com/ivorhoulker

http://twitter.com/ivorhoulker

http://twitter.com/#!/ACTIONOTHING/status/110313531672506368


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http://twitter.com/#!/HamishMacP/status/110310123351711744


http://twitter.com/#!/HamishMacP












http://twitter.com/#!/aplaceofaction/status/110308603277230080


]performancespace[ @aplaceofaction1 Reply Retweet Favorite · Open

they return, pace space selecting numbers, marking no thing striped down chest 36: I m your anti matter #fbRetweeted by Li-E Chen (陈丽娥)

4 Sep


#CloudClockLove RESEARCH PHASERetweeted by Li-E Chen (陈丽娥)

4 Sep


really nice light conversation about action, art, performance, etc. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


preoaration has reached: 36 I am your anti-matter. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


15 principles of Black Market International. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


worrying doing something wrong. #CloudClockLove #fb

4 Sep


Negotiation, not verbal #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


Noticing it is happening, doesn't have to judge yourself or others. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


Negotiation - yourself with the others, individual. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep

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just noticing it is happening #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


your body has history/memory already, it is already there. #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


not choreography or planning, action only #CloudClockLove #fb @1212360 @ACTIONOTHING @aplaceofaction

4 Sep


Action: TASK to yourself, TASH you create for yourself. #CloudClockLove #fb

4 Sep


action of not expressing anything #CloudClockLove #fb

4 Sep


@iambsebastian thanks for coming yesterday!! Great to have you here! hope to see you again #CloudClockLove

In reply to Benjamin Sebastian

3 Sep

Benjamin Sebastian @iambsebastian1 Reply Retweet Favorite · Open

@aplaceofaction @1212360 got ya. XRetweeted by Li-E Chen (陈丽娥)In reply to ]performancespace[

4 Sep


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


Preparation has reached: 38 I am an individual. #CloudClockLove #fb

Li-E Chen (陈丽娥) 1212360@ 1 Close

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http://twitter.com/iambsebastian

http://twitter.com/iambsebastian



http://twitter.com/#!/iambsebastian/status/109925841902911489


http://twitter.com/#!/iambsebastian








































Preparation has reached: 45 No records match this set of find requests. The t-shirt is so small. #CloudClockLove #fb12:01 PM - 3 Sep 11 via web · Details

1 Reply Retweet Favorite


Preparation has reached: 6 I am your anti-matter. #CloudClockLove #fb


Preparation has reached: 43 Hold on a second. #CloudClockLove #fb


Preparation has reached: 13 I must actually perform this experiment. #CloudClockLove #fb


Preparation has reached: 43 I am an individual. #CloudClockLove #fb


Preparation for #CloudClockLove has reached @ACTIONOTHING, Keep going @1212360.....Retweeted by Li-E Chen (陈丽娥)


Preparation has reached: 6 I am your anti-matter. #CloudClockLove eepurl.com/fnALk


#fb looking forward to seeing you tomorrow @aplaceofaction! around 30 people coming for the weekend lab. eepurl.com/fnALk

2 Sep


Preparation has reached: 24 I am your anti-matter. #CloudClockLove eepurl.com/fnALk

2 Sep


Preparation has reached: 12 I am your anti-matter. #CloudClockLove #fb eepurl.com/fnALk

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2 Sep


Preparation has reached: 24 I am your anti-matter. #CloudClockLove #fb eepurl.com/fnALk

2 Sep


Preparation has reached: 24 I am your anti-matter.2 Sep


Preparation has reached: 24 I am your anti-matter. #fb

2 Sep


Preparation has reached: 24 I am your anti-matter. #CloudClockLove @aplaceofaction @ACTIONOTHING eepurl.com/fnALk

2 Sep


Preparation has reached: 40 I am your anti-matter. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING eepurl.com/fnALk

2 Sep


Preparation has reached: 40 I am your anti-matter. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb eepurl.com/fnALk

2 Sep


Preparation has reached: 37 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING

2 Sep


Preparation has reached: 37 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING #fb

2 Sep


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

2 Sep


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

2 Sep


Preparation has reached: 28 + Nothing

2 Sep


Preparation has reached: 28 + Nothing #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING

2 Sep


Preparation has reached: 29 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitat: eepurl.com/fnALk

2 Sep


Preparation has reached: 29 Hold on a second. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitat: eepurl.com/fnALk #fb

2 Sep


Preparation has reached: 33 Let me think. #CloudClockLove @1212360 @aplaceofaction @ACTIONOTHING full invitation here: eepurl.com/fnALk

2 Sep


Preparation has reached: 51 No records match this set of find requests. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction2 Sep


Durational Live Writing of the lab on 'Nothing' will be documented live by artists Victoria Gray and Bean. Watch... fb.me/YjjjgTQr

2 Sep


Reminder!! this weekend a durational lab on 'Nothing' at Siobhan Davies Studios / London SE1 6ER (SAT) 3 Sept... fb.me/17gGdilAo

2 Sep


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

2 Sep


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

2 Sep


35 objects are being processed under the iron, preparing #CloudClockLove lab for 3-4Sept at Siobhan Davies Studios. #fb goo.gl/7mjsY

2 Sep


46 I must actually perform this experiment. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction

2 Sep


46 I must actually perform this experiment. @1212360 #CloudClockLove @ACTIONOTHING @aplaceofaction #fb

2 Sep


39 No reco d ma h t is se o fi d equests #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction #fb

2 Sep


46 I must actually perform this experiment. #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction

2 Sep


46 I must actually perform this experiment. #CloudClockLove @1212360 @ACTIONOTHING @aplaceofaction #fb

1 Sep


Finished printing 15 of 35 t-shirts in the last 6 hours. Go to bed now.

30 Aug


Time and matrix #CloudClockLove wp.me/pWz4M-wM

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http://t.co/KqaIw19

29 Aug


@1212360 @ACTIONOTHING @aplaceofaction less than 6 days, a lab on Nothing - Going from or to "0" #CloudClockLove #fb liechen.com

29 Aug


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


Get ready now #CloudClockLove wp.me/pWz4M-wz

29 Aug


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

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

28 Aug


#CloudClockLove ACTIONOTHING TESTING NOTHING, looking forward Li & BeanRetweeted by Li-E Chen (陈丽娥)

28 Aug


#CloudClockLove 19 hour LabRetweeted by Li-E Chen (陈丽娥)

28 Aug


It is really exciting the online duration platform on "nothing" is set up now. #CloudClockLove

28 Aug


This is a test of the emergency broadcast system #CloudClockLove #fb: wp.me/pWz4M-wf

28



















http://t.co/SzbGQuX

http://t.co/SzbGQuX











http://t.co/5q9nDOJ

http://t.co/5q9nDOJ











http://t.co/SpxxFRe

http://t.co/SpxxFRe













http://t.co/Cs0PC9a

http://t.co/Cs0PC9a

































































http://t.co/l4MBuE4

http://t.co/l4MBuE4

http://t.co/l4MBuE4

http://t.co/l4MBuE4

4:27 PM - 28 Aug 11 via WordPress.com · Details1 Reply Retweet Favorite

28 Aug


a week to go wp.me/pWz4M-w1

28 Aug


Cloud Clock Love 2011: wp.me/pWz4M-vS

29

http://publicize.wp.com/

http://publicize.wp.com/











http://t.co/QM555h2

http://t.co/QM555h2









http://t.co/8YUJKCo

http://t.co/8YUJKCo

CHAPTER 3

victoria gray

1

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]

31

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 in-between form forms a constructive tension that reveals itself to be formless [and therefore a bit shady].

A slow death [still] moves us

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.

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.

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.

What a way to go [to cause a 'seen']

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

32

2

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


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.

33

https://twitter.com/#!/ACTIONOTHING




1

10:20 10:28 10:28 COMPLICATED 10:32 BREAK UP10:36 REMOVE FROM YESTERDAYRIGHT SIDE RECORD 10:40 DURATION DAYSPEOPLE MIGHTLABALL OF YOU IN THE MIDDLE IS THE ENVELOPESCHOOLING CHOOSINGCHOOSING SCHOOLINGGOOD GIRL(S)GOOD BOYS(S)10:44 CONSTANT10:45 TRANSCRIBING10:52 10:56 LINK POLITICAL SIDESTEPPING11:06 WATER STRUCTURE11:10 LINK11:12 REMEMBERING FROM THE FLOOR STRUCTURE IS BROKEN EXTRANEOUS INVERT11:19 LI T 11:37 THIS EQUATES TO NOTHING11:46 SEED PENS12:03 ZEROES AND ONES PLANT AN IDEA 12:13 12:25

ON THE PAGE TRY THISAND 12:39 HERMETIC 12:51 SEED PENSSEED PENS12:54 SOUND FINALLYLISTENMONK BREAKFASE13:08 A NEW STARTER 13:13 I AM HER ANTI-MATTER PEOPLE ARE RESTING AND THIS IS NICESLOWING 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 DOINGSKETCHINGWHAT SHE IS DOING IS SKETCHING28: LLR2R112LLRRL22111LLRL2R112L211121LLRRRRR211LR2112LLRRL2111LLRL2R12LR1121LRR2R112LLR2211112LR2R112LLRLL211LLRL2L112R2R1R1121LLRRRL2R12L22111L112R1121L11112RRLR2R11211LLRL2R12LRLLRR2R12LLRRLL22R2112…1121LRLRL211….. … .... .. .. .. .. .. ………. … … …. … … … … … … … … .... . .. … … … ... … .. … . . … …. ……..... . .… …..13:56 HOLD ON A SECOND THINKING ABOUT PHASINGBLACK MARKET14:00 FASINGLIVE FEED NOW14:19

34

http://www.vvork.com/?tag=nothing

http://www.vvork.com/?tag=nothing

http://www.vvork.com/?p=23710

http://www.vvork.com/?p=23710

http://www.amazon.co.uk/gp/product/images/1857026985/ref=dp_image_0?ie=UTF8&n=266239&s=books


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

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



http://www.youtube.com/watch?v=86I6icDKH3M

http://www.youtube.com/watch?v=86I6icDKH3M

http://hermetic.com/crowley/

http://hermetic.com/crowley/

http://www.meredithmonk.org/Ladder/index.html

http://www.meredithmonk.org/Ladder/index.html

http://www.youtube.com/watch?v=RTke1tQztpQ

http://www.youtube.com/watch?v=RTke1tQztpQ

http://www.erwinwurm.at/bibliography/solo-exhibitions-catalogues/we-watch-karin-she-watches-something-else-2001.html

http://www.erwinwurm.at/bibliography/solo-exhibitions-catalogues/we-watch-karin-she-watches-something-else-2001.html

http://blackmarketinternational.blogspot.com/

http://blackmarketinternational.blogspot.com/

http://www.performance-art-research.de/black_market_international.html

http://www.performance-art-research.de/black_market_international.html

SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSsLi

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 LYINGANCHORGET INTO YOUR SKIRT LIKE IT WERE A PAIR OF TROUSERSWEAR YOUR SKIRT LIKE IT WERE A PAIR OF TROUSERSSTOP PERFORMING15:03 15:04

Z LI E CHEN (THOSE TESSELATED SHAPES)15:07 15:09 AFTERNOON SLUMBER STRONGER CASE PUSH DURATION AWAY15:14 LET THEM THINK15:15 I WISH WE COULD HAVE SOME SOUND ON GIVE ME VIOLINS, SOMETHING EPIC REALLY LONG CABLES LIABLE BECOMES ROPE FOR SKIPPING / PUTTING ‘THINGS’ OFFUSESHE’S FINDING THE (SO CALLED) NEGATIVE SPACE33 REMOVES HERSELF @15:25 HOW TO GET OUT OF THIS FORMULATHIS FUCKING FORMULAEXCESS IS15:29 COME BACK BOY12 15:37 – WALKER RESPITEBECOMES AN ABSTRACT CONCEPTMUSEBY THE WINDOW HAS PRESENCE GUY15:48 WHAT WOULD IT BE LIKE IF THERE WERE NO TASKS / NO SCORES LI? @1212360@APLACEOFACTION@ACTIONOTHING15:42 16:18 16:39

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

. .

.————-.LEVITATE

16:46

12345678910 OK123456789101234567891012345678910 OK OKI DONT KNOW1234567891012345678910 OK I DONT KNOW123456789101234567891012345678910 OKI DONT KNOW12345678910123456789101234567891012345678910 OK16:53 END

BAD MIC

16:55

18:15 BACKLONGER 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

35

http://www.hermitary.com/articles/ancrene.html

http://www.hermitary.com/articles/ancrene.html

http://wachturm.tumblr.com/

http://wachturm.tumblr.com/

http://www.susanhiller.org/Info/artworks/artworks-HomageYK.html

http://www.susanhiller.org/Info/artworks/artworks-HomageYK.html

http://twitter.com/#%21/aplaceofaction

http://twitter.com/#%21/aplaceofaction

18:28 GRAPE BOWL GINGER ALE STOMACH EMPTIER ROOM WATER BOWL HURT

18:30 RIGHT IN ITS PLACE

( IS ALSO 0 )

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

AEROGEL

18:46 18:46 18:47 AND COUNTINGSMALLER NOW

18:52 CREDIT

NW

18:54 CIRCULATING B

STAYING IN POWER

I AM NOT SURE I UNDERSTAND THE EQUATIONS BUT I WOULD LIKE TOWRITING TO PRODUCE SOMETHING – ATTEMPT

GUILTY5 NO 0.50

WHISKY19:03

19:19 SECOND 19:22

THAT ONE MAN AGAIN LEFT OUT

19:29

1 + 0 IS STILL 1 19:42 RECORDING ‘AFTER’ TOMORROW19:44

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

19:48 LIKE GLUE

#CloudClockLove | ALGEBRA COMFORT | EQUATION SOFTENER | SEQUENCING SENSE | NUMBER BED | RATIONAL SYMBOLS | CONFIRMATION QUIETER | YES DIGITS

SHOW YOUR WORKING1 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 ONEO

O = OIN WEBDINGS FONT

OO

AND O IN WINGDINGS FONT

O

36

http://www.youtube.com/watch?v=kHnen2nSmDY

http://www.youtube.com/watch?v=kHnen2nSmDY

EAR + FLAGCALL ATTENTION WITHO

OMOUTH

“

“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 DOTWITH NOTHING IN BETWEEN EYES A DRAWN TO THE WINDOW / OUTSIDE SPACE / OUTSIDE FRAME / PUNCTUM

PUNCTUMPUNCTUMPUNCTUMSTUDIUMSTUDIUMSTUDIUM

20:26 363 HOME20:28 46 DISCUSSION 88 MSGS1ST TIME ON

MUSIC MUSIC MUSIC MUSIC RICH RICH

VERONIQUE

THE MOST SONGTHE SMALL DANCE

THE STAND THE TAKING OF PHOTOGRAPHSTHE TAKING OFFTHE STRANGER DANCINGTHE CINEMATIC THE WAITING ENDINGTHE 11 HOURS CLOSINGTHE PARTICIPATINGTHE INHIBITIONS LOST; CURTAILED THE OPERATHE SCREAMINGTHE CIRCLING OF THE WRISTTHE SOFTLY WALKING ACROSS LINOTHE WINDOW WANTING NOTHING MORETHE 46 HANDS OF EARS MUMBLINGTHE SHOPPER RESTED GENTLYTHE EPIC THE BAROQUETHE OIL PAINTINGTHE RODIN THE PARISTHE DARK NIGHTSTHE SHAMETHE RUBBER BALL BOUNCINGTHE PLASTER SHOWERSTHE DOUBLETHE CURETHE RECORDINGTHE ANTI-MATTER THE 11TH HOUR THE LAST 15 THE WOMEN AND CHILDREN THE INDIVIDUAL THE SOLO SHE SENT METHE PERFORMTHE REACHED THE REQUESTSTHE TAPETHE ROMETHE I AMTHE SECOND DOUBLETHE INDIVIDUAL THE PLUSTHE SECOND THE ACTUALLY EXPERIMENTTHE RECORDED MATTER

37

http://www.reactfeminism.org/artists/wilding_en.html

http://www.reactfeminism.org/artists/wilding_en.html

http://twitter.com/#%21/1212360

http://twitter.com/#%21/1212360

http://www.youtube.com/watch?v=rq1AGQ7_Ubw

http://www.youtube.com/watch?v=rq1AGQ7_Ubw

THE LAST TEN MINUTES / 1 – 0

ARE LIKE PERMISSIONSARE LIKE DISCREET BAGSARE LIKE GOODBYESARE 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 WHATWORK OUTSIDE10:55 I AM NOT WORKING HARD ENOUGH 12:09 35 ANTI MATTER MAN ARRIVES12:09 RESEARCH PHASE12:10 12:23 HE BECOMES SEBASTIAN A DUET FOR DANIEL AND IVOR 50 + 51 12:36 SOMETHING IN SPITE OF ONES SELFADMIN 100 @ 12:37 D2 STILL A DUET TAKING SHAPELESS TODAY IN TIME BUT IN ENTRY ALSO LINKING OUTPRODUCING14:25 BACK FEELING BAD PERMISSIONSBEING THOROUGH DUET PLANNING IT OUT MORE ROOTED THAN YESTERDAY SETTLED GROUNDED IN A COUPLE OF HOURS THEY MADE THIS SPACE14:30 TABLET LIGHT LIKE SCHOLASTIC FUTURE CHECKING AGAINST PAPER TECHNOLOGY FOR SIGNS POINTERS ROOTS LEADS NEXTS POSTS14:33 HAS REACHED 36 14:52 50 READING WALL TEXTSAND 36 ALSO15:01

36 IS WALKING WITH A BENCH ON HIS SHOULDERS36 IS RUNNING WITH A BENCH ON HIS SHOULDERSAND IS LOWERING IN A VERY CONSIDERED WAYAND LOWERING IN A VERY CONSIDERED WAY TO ANONYMOUS SOUNDS15:10 DENYONES SELF

WHAT IS TRANSFERRABLE WHAT ISWHAT IS NEW IS INTRODUCING ONES SELF15:21 NOTICING MYSELF LOOKING NOTING THE TIME THAT IS NUMBERSSUITS BACKKNEE PLAYS 5 15:38 PUT YOURSELF ASIDE

VOID ()

TRUE ‘BEING’ OF ANOTHER SHARING16:09 SHARING AS WE GO ALONGbecause IT IS FUNCTIONAL

LESS DUPLICATION TODAY

16:42 LISTENING TO YESTERDAY THROUGH SOMEONE ELSE AND THEIR RECORDING16:45 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 EFFORT17:01

38

http://www.qubik.com/zr/

http://www.qubik.com/zr/

http://en.wiktionary.org/wiki/peter_out

http://en.wiktionary.org/wiki/peter_out

http://en.wiktionary.org/wiki/out

http://en.wiktionary.org/wiki/out

http://en.wiktionary.org/wiki/peters_out#English

http://en.wiktionary.org/wiki/peters_out#English

http://en.wiktionary.org/wiki/petering_out#English

http://en.wiktionary.org/wiki/petering_out#English

http://en.wiktionary.org/wiki/petered_out#English

http://en.wiktionary.org/wiki/petered_out#English

http://en.wiktionary.org/wiki/Appendix:Glossary#idiomatic

http://en.wiktionary.org/wiki/Appendix:Glossary#idiomatic

http://en.wiktionary.org/wiki/dwindle

http://en.wiktionary.org/wiki/dwindle

http://en.wiktionary.org/wiki/tail_off

http://en.wiktionary.org/wiki/tail_off

http://en.wiktionary.org/wiki/diminish

http://en.wiktionary.org/wiki/diminish

3

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 time-

based performance art with a national and international profile.

39

http://www.victoriagray.co.uk

http://www.victoriagray.co.uk

CHAPTER 4

yingmei duan

PHOTO BY MELATI SURYODARMO

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

Good evening, everybody! Today I will bring you Yingmei Duan’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".

41PHOTO BY MELATI SURYODARMO

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. For this solo show Yingmei writes about the concept

"fear". The Arts Center is reformed from a small church.

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

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

Yingmei Duan runs for 14 days.

Please follow me now.

42

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.

43

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.

44

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.

45

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.

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.

We see a big white double bed. In bed we also see a TV screen. On TV the girl

46

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.

47

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 Duan’s Solo show.

Now we are in the forth exhibition space - please imagine we hear very terrible

sounds and we see a horror scene.

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.

48

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. “

49

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.

“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."

50

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

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

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

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? “

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

"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

repeated:

"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.

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

got out I ran very quickly back home.

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

and hugged me.

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

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

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

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.”

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

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，看到了几朵白云

他们象我招手，他们向我微笑

我躺在白云上自由地梦想着

啊啊啊，啊啊啊…

一天, 我变成了一个很小的隐形人

走哇，走哇

我走到了一个又一个的家庭

我经历和看到了人世间各种各样的事情

啊啊啊，啊啊啊…

51

我飞呀，飞呀

我走哇，走哇

…

52

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 Yingmei’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.

53

bio

Ying-Mei Duan

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

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

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

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

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

continuously learn and develop. For the past twelve years she has

concentrated her energy and creativity on making performance art and

researching the medium.

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

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

including examining society and questioning its conventions and human

behaviour.

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.

54

http://www.yingmei-art.com/

http://www.yingmei-art.com/

CHAPTER 5

li-e chen

1

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.”

56A STRUCTURE OF 3 ON ‘NOTHING’ (2011) LI-E CHEN

“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

57A STRUCTURE OF 3 ON ‘NOTHING’ (2011) LI-E CHEN

2

What if someone asks me what void means?

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.

58

3

nothing political

59

60

Conversations about a formula on ‘nothing political’

Li-E Chen (LC)

Ivor Houker (IH)

Will Fung (WF)

(IH/LC)

If we replace Nothing with n, we may then get:

NP + n = 3 (EP + n)

NP + n = 3EP +3n

n = 3EP + 3n – NP

NP = 3EP + 3n– n

NP = 3EP + 2n

Nothing Political = 3 x Everything Political + 2 x Nothing

Nothing = 3 x Everything Political + 3 x Nothing – Nothing Political

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

(WF/LC)

If we substitute “Nothing Political” for “Nothing,” we will get:

NP = 3EP + 2NP

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

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

In further simplification,

NP = EP

NP/P = EP/P

N = E

Which means “Nothing” is “Everything”!

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

(LC)

if we we replace the number of “3” with “FEAR”, then we can get the result of

“Nothing Political” as:

61

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

62

https://twitter.com/#!/search/%23nothingpolitical

https://twitter.com/#!/search/%23nothingpolitical

4

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

63WHAT IS YOUR NAME? N=U (2009) LI-E CHEN

ARTIST RESIDENCY AT THE CHINESE ARTS CENTRE | MANCHESTER (UK)

THE CONDITION OF PREPARATION

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

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

Preparation has reached: 36, I am here

Preparation has reached: 31, +nothing

Preparation has reached: 42, hold on a second

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


Preparation has reached: 26, I am your anti-matter







Preparation has reached: 35, I am here



Preparation has reached: 33, Hold on a second



Preparation has reached: 47, No record match this set of find requests

Preparation has reached: 38, I am an individual


Preparation has reached: 29, Hold on a second

Preparation has reached: 45, No record match this set of find requests






Preparation has reached: 31, let me think






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

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

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

unspeakable or non-structured words/sentences.

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

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

1n 2n 3n 4

1n 2n 3n 4

1 2 3 4 5n 6 7 8 9 10

10

64

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

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

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

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

of natural numbers.

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

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,

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

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

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

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

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

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

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.

THINKING ABOUT AN OPEN STRUCTURE WITH NUMBERING

1

23456789101234567891012345678910123456789101234567891012

1 2 3 4 5 6 7 8 9 4 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 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

65

1

2

1 2

1234567891012345678910123456789101

2 3 4 5 6

1234567891012345678910123456789101234567891012345678910

1

1

1

1

1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8

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

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

2

66

67

68

69

70

71

72

73

74

75

76

Nothing to interpret

Nothing to discuss

Nothing to analyze

Nothing to explain

77

5

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.”

78

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

http://cloudclocklove.wordpress.com/2012/03/09/li-e-chen-untitled

http://cloudclocklove.wordpress.com/2012/03/09/li-e-chen-untitled

6

bio

Li-E Chen

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

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

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

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

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

degrees.

In 2004, Chen took part in “Teamworks,” a three-year new media theatre

project supported by the National Endowment for Science, Technology and the

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

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

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

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

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

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

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

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

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

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

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

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

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

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

text.

Chen has always been fascinated by arts and performance that express

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

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

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

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

durational laboratory on “nothing” at the Siobhan Davies Studios, London,

where she collaborated with artists Victoria Gray and Bean.

80



CHAPTER 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)


82





Preperation has reached: 50

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

Cutting + Reading

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

Flat footing. Flat. Flat. 0. 0.

11.

Retrun to grey.

Air 0

Folding T-shits Unfolding cables.

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)

it is not empty enough

man with one sock up, tries to draw 0

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

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

left LEFT.

ADD AND +

ADD AND +

ADD AND +

Green

Blue

Red

Green

Yellow 33 wants to think.

People are choosing envelopes that match their clothes.

I don’t understand your voice or your trousers.

56 performs the experiment. 56 over Ss.

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.

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.

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

33 is stamping nothing political

small steps are nothing political

masking tape is nothing political

tearing tape/ folding body into 0.

0 political.

Mutterings of nothing. The only word I know.

Did you say M14?

5/6/7/8

83

+7 = nothing

(letting the outside in will not lead to nothing)

Prep 42. hold.

Structure of whole numbers. Structures within structures.

The structure of 3 is a collection of random numbers.

I wish I could here you.

The structure of 2 is simple whole numbers.

The structure of one is nothing.

O

sound over bodies

sound divided by bodies

sound devides bodies

0 white

0 grey

0 = nothing

nothing = grey

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

Masking tape sticks to nothing of the air.

Air is nothing.

breath.

Amplified air. Amplify the nothing. take it away and there is nothing.

Prep 53. PERFORM!

| || David

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

| || David

|||| ||||| Opening

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

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

| || David

I am lost.

| || David

|||| ||||| Le

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

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

1003! THIS MAN IS HERE HEAR.

I like this man and his sounds.

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.

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

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

14 15 28 9 7

-7 looking

(3 HOURS = CHANGE)

84

“3 is a collection of random numbers.”

Ki

I always hear 33.

You must stop now When is nothing how

you must stop now can you reference

you must stop now anything

to the page

there is nothing you

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.

Some thing like the radio times.

Do less.

(Prep 13. Sounds like found bound grow)

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




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

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

85

the mic stand extends her body and the music swings them on 12341223456 1234567812341223456123456781234123456234567812341234562345678123423456123456781234234561234567823412345612345678234123456123456782341234562345678234123456234567812345678123412345612342341234234 preparation has reached 34 and we are anti matter 2345623455678123423456

and I am confused.

chaos.

paired paper ripping through and on chaos.

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

empty

at last

(THIS GAP IS SO BIG)

The 2nd of life

The death

The minutes

The time

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

(THIS GAP IS SO BIG)

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

0 = focus

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

He gangles.

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

They don’t want a new number.

Prep reached 37: hold on 1 second.

(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.

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.

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

11 22 33 44 2 arms like 2

11 22 33 44 2 flirting and talking

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

note: this is making more not nothing

slapping patterns 360 whole turns everywhere turning nothing in something

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.

26 but cheeks.

Screwing numbers.

Brake.

And it has changed.

she is writing on the floor – I am not writing

the structure of 3. 12345678910 12345678910 12345

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

its humid and still. pushing through this nothing.

(ding) nothing political is separation

86

(ding) nothing political is preparation condition

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

searching for 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

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

this is a playground of anonymous numbered bodies

preparing with hands over ears – you

i can t hear you

she is wearing the numbers as trousers - 49 is defiant

everything is always about circles

0 = nothing 0 = everything

0 the projection – the fan – the felt tip 0

(i feel we are getting closer to nothing)

we keep trying to do nothing and it keeps becoming something

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.

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

They have to make noise to know they’re alive

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

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

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

nothing is difficult












87















































88





























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

I will print to point out our failings.

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

15

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)

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




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.

89

MM tells me about zero 0 in the sand

On return

| 0

. .

at peace

what is madness

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

to rest.

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.

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.

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

cartwheeling to cut time. back to circles.

circles of nothing. circles to make something.

cartwheeling to cut time. back to circles. circles

of nothing. circles to make something. cartwheeling

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

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

circles of nothing. circles to make something. cartwheeling to

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

F A I L

The

numbers

are

ordered

folded

as

a

line

numbers

are

lineal

|

is

straight

THIS IS WHY WE DREW THE CIRCLE IN THE SAND

0

negative and complete whole and empty

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

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

90

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 12341233567123456781234123456234568781378123456235678135334561234567812345234562123456782341234561234567823412345612345678234512345623456782341234562345678123456781234123456123423412342341 p o p u l a t i o n h a s r e a c h e d 3 4 a n d w e a r e a t a m a x i m u m 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

the problem is what is useful.

just being.

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

perform

on

91



13

perform

individual

hold on

anti matter

I am your anti matter

hold on

individual

+ 0

hold on to seconds

I m yours

perform

experiment

request binary

EXPECTATIONS

SOLO FELT-TIP SOUNDS OUT THE SPACE

11 44

33 22

44 66

88 12

12

16 14

17 it doesn’t work 14

18 16

18 16

20 18

20 18

11

44 22

33 11

44 22

33

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33

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44 22

92

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33

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44 22

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44 22

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33

93

11

44 22

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94

44 22

33

copy & paste.

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

commanding clock/ commanding feet/ commanding keys.

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

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

is 0 the end – it started with nothing

sound

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

d i s o l v e

I should do less

Do nothing

For everything

For nothing

You cant describe nothing/ inscribe is something

One, 1, dances circles of 11 22 33 44

1 dancing with 0

it is a story of love

1 0

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

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

zero functioned as a mere placeholder wombs of nothing

Bitting lips towards 0

body is zero

placeholder

they return, pace space selecting numbers, marking no thing

95





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.

Use:

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

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

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

3 + 7 = 10

10 = two bodies, 1 0

Action 51: no records match this request

Action 50 + nothing

51 + 50 = 101

1 0 1 = two men and Li E chen

Man Li Man

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

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

Informally two persons, note in and on.

Beyond surfaces, words, characters.

Draw, del ineate one figure (1) within another 0 the inner l ies 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.

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.

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

The synchronicity continues.

HELLO

HELLO

IT IS VERY GREY NOW. GREY = 0

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

Asymmetric in everyway.

36 shadow 50

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

96

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

NUMBER

BLACK

NUMBER

NUMBER

1 1 1

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

change moments.

(in) direct (un) direct.

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

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.

BLACK DOT WEIGHT

BLACK DOT WEIGHT

BLACK DOT WEIGHT

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

97

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)

METZGER

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

22 64 83 49 02 42 4 002

Brake: Recording Recordings:

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.

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:

deny oneself everything.

d e n y

o n e

s e l f

e v e r y

t h i n g

o n e

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.

98



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. Can’t escape movement. Is nothing an act or thought.

Coding

Codepending

a flock of numbers

hair repeat hair repeat this doesn’t mean anything

flock

half of total

1 / 2

my voice is banging round the room SHOUTING NOTHING AND FAILING. us all.

END

99

2

bio

Bean

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

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

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

anthropological research. Her work has been described as deliberately

“accidental, scattered, scuffed, blurry and incomplete.” Oscillating between the

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

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

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)

100

http://www.1lii.com

http://www.1lii.com

CHAPTER 7

aoife collins

Mangetout (01)

102

giclee print, 63 cm x 76 cm/24.8 in x 29.9 in

Mangetout (02)

103


Mangetout (03)

104


Mangetout (04)

105


Mangetout (05)

106


Downward Social Mobility

107

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

bio

Aoife Collins

Aoife Collins’s work uses appropriated commonplace mass-produced

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

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

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

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

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

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

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.

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

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

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

Sculpture Workshop, Scotland. Selected exhibitions include There is No

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

Dublin; 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; ev

+a, Limerick; Prelapsarian/here-and-now/postlapsarian, Goethe Institute,

Dublin; Perspective, Ormeau Baths Gallery, Belfast, and Permaculture, Project

Gallery, Dublin.

108

http://www.aoifecollins.com

http://www.aoifecollins.com

CHAPTER 8

will fung

ANNETTE FRY - CLOUD CLOCK LOVE - ROOF STUDIO, 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

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

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

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

“everything” appears as what we have today.

Everything has an opposite: Advantages versus Disadvantages, South versus

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

Delighted versus Upset, Yin versus Yang, and so on… The two sides are always

fighting for their territories in order to maintain an equilibrium.

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

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

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

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

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

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

nowadays…

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.

111

CHAPTER 9

indigo j l

Dragon Coconut and the Monster Rabbit by Indigo J L

113

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

Indigo’s first animation film takes you on an adventure with Dragon Coconut and his friends ...

(6 mins)

http://cloudclocklove.wordpress.com/2011/12/03/dragon-coconut-and-the-monster-rabbit-by-indigo-jl/

http://cloudclocklove.wordpress.com/2011/12/03/dragon-coconut-and-the-monster-rabbit-by-indigo-jl/

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

http://aspaceonnothing.tumblr.com

http://aspaceonnothing.tumblr.com

1

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


An open laboratory . .

2

Who

BY Li-E Chen & WHOEVER PARTICIPATES IN IT

117



3

Where

]performance s p a c e [

Unit 6 Hamlet Industrial Estate

White Post Lane

London

E9 5EN

Google Map

118



http://maps.google.co.uk/maps?client=safari&rls=en&q=%5Dperformance+s+p+a+c+e+%5B+Unit+6++Hamlet+Industrial+Estate+White+Post+Lane+London+E9+5EN&oe=UTF-8&redir_esc=&um=1&ie=UTF-8&hl=en&sa=N&tab=wl




4

When

. .

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



http://liechen.us4.list-manage1.com/subscribe?u=7b5a743e1eddca6aaf7b5ebee&id=46caba6a54

http://liechen.us4.list-manage1.com/subscribe?u=7b5a743e1eddca6aaf7b5ebee&id=46caba6a54

5

Register

REGISTER

The one-year laboratory is free for everyone

If you are interested in taking part, please register here.

120



http://aspaceonnothing.tumblr.com/REGISTER

http://aspaceonnothing.tumblr.com/REGISTER

http://1yearlab.eventbrite.co.uk

http://1yearlab.eventbrite.co.uk

Contact

Li-E Chen | London-based Independent Chinese Artist | UK

Transdisciplinary - Art - Performance - New Media

For more any enquires, please email [email protected], or call +44 (0) 7946 420 467 or twitter @1212360

SUBMIT YOUR COMMENT

121

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I am your anti-matter (Latest version)