portfolio

paula roush artistic & curatorial portfolio

page2 paula roush art practice portfolio

Contents4 intimate tv - forward:delete (wayback safari) 8 classop (varied papers) 14 A field (of interconnected realities)20 cctvecstasy 24 Persuasive* probes (1- space captology*)26 browser landscapes 32 soundtrack for a cctv36 arphield recordings40 Protest Academy44 mud d’artiste/ kunstniku muda48 bowville52 sos:ok 56 sos:ok at public services58 SOS:OK exercise/ vaja sos:ok62 b+b boycott biennale66 m4: a mobile/modular/multiple urban centre70 frankfurtress ghetto blast74 you are free76 workshift_eastopia84 Local Worlds spaces, visibilities and transcultural flows90 The Kinship International Strategy on Surveillance and Suppression94 welcome goodbye adeus obrigada 100 out/ sourcing106 Rkdk(ar-ca-de-cay) [the arcade project]111 EXHIBITIONS (selection)112 BIBLIOGRAPHY (selection)

intimate tv - forward:delete (wayback safari)

cyberformance/performative-lecture by the webcam operators (paula roush, maria lusitano et al), kunst-verein harburger bahnhof (hamburg) part of the programme channel tv, december 10th 2010

exploring links between the traces of webcam data found in the wayback machine archive and the ethics of logging and forgetting in network culture, fw: delete (wayback safari) is a performative presentation, in which images from the camgirls archive are re-activated and re-enacted by the webcam operators to explore the semiotic/ scopophilic implications of social life casting. the performative presentation debates the persistence of life traces in the network and the integration of technologies of surveillance/sousveillance into the structures of desire. it reflects upon the (re) construction of the self, within a net-worked offline/online linked existence, where the possibilities of organically editing (though selecting and deleting) our online biographies, shape and challenge our construction of identity.

the webcam operators (paula roush, maria lusitano et al), intimate tv - forward:delete (wayback safari), cyberformance/performative-lecture, kunstverein harburger bahnhof (hamburg), 2010

the webcam operators (paula roush, maria lusitano et al), intimate tv - forward:delete (wayback safari), cyberformance/performative-lecture, kunstverein harburger bahnhof (hamburg), 2010

classop (varied papers)

exhibition classop (varied papers) by maria lusitano & paula roush, sput-e-nik gallery (Porto), 2010installation and digital performance

“The first stage of this project consisted of a residence in the archive of l. santos in lisbon. The resulting artist’s book, later bound in malmö by a traditional bookbinder- and titled classop (an abridgement for the two portuguese words classe operaria / ‘working class’)- is a sampling of a unique library specialised in the so called PREC - the period after the 25th april portuguese revolution. An archive of texts and im-ages from books on architecture, urban planning and education, it reveals the influence of the historical events that marked the anti-fascist, May 68, student riots, and 1974 revolution of the carnations.

A book about a library is an index which is also the construction of an epistemology about the book and the state of not-knowing. It is a fiction-book based on fragments of multiple realities, rehearsed represen-tations of concepts in a state of flux.

The library as place and non-place, site and non-site, relational space where the conversation is started, questions are raised, memories activated the myth of a country unfolded and entwined with that of oth-ers, in a critical and political intertextuality, made out of subjectivities and ideological representations. The cumplicity, the intimacy of that encounter that carries the bibliographic corpus from historical data into ghostly pixels.”

Foreword by Louise Michel

maria lusitano & paula roush, classop (varied papers), installation and digital performance , sput-e-nik gallery (Porto), 2010



A field (of interconnected realities)

performative installation by the webcam operators (paula roush, maria lusitano et al), the Living Room 10, Auckland CBD, April 2010

A performative installation featuring a collaboration between paula roush in Auckland (NZ) and Maria Lusitano in Malmo, (Sweden) that consisted in 5 live networked drawing sessions re-enacting Max Ernst’s 1934 book Une Semaine de Bonte (A week of goodness), for a new artist’s publication. Using webcams, each session was performed live, mixing hand drawing with the use of sketch-a-graph, a machine that can both enlarge and reduce an image whilst copying it.

the webcam operators (paula roush, maria lusitano et al), A field (of interconnected realities), performa-tive installation, the Living Room 10, Auckland CBD, April 2010




cctvecstasy webcam performance

part ofAGM 09 under_ctrlJanuary 15th - 25th, 2009At QUAD (art center and cinema), Derby, and Broadway Media Centre, Nottingham.Curated by Alfredo Cramerotti and Iben Bentzen (AGM)

AGM 09 under_ctrl explores our behavior with technologies of surveillance and counter-surveillance. New media artists, designers, writers and performers respond to the cultural environment generated by CCTV and (self ) recording. This 7th edition of the media art event AGM is part of the Radiator Bien-nial Festival and Symposium and includes exhibition, new media and video installations, performances, music and talks.

cctvecstasy explores webcam performance in the surveillance space. in front of a live audience, a web-cam user (cctvecstasy), zaps through different live cams, projecting images of encounters –planned and impromptu-taking place in one of the oldest webcam-chat online communities.

the webcam operators featuring: paula roush as cctvecstasy, marie josiane agossou as marie_pix, deej fabyc as deedee4000, maria lusitano as alfazema, lara morais as byme, , lina jungergård as opaean , aaron de montesse as de montesse, susana mendes silva as misssms, anne marte overaa as anne marte.

the webcam operators, cctvecstasy, webcam performance, AGM 09 under_ctrl / Radiator Biennial Festival and Symposium, QUAD (art center and cinema), Derby, 2009


paula roush, cctvecstasy, webcam performance, AGM 09 under_ctrl / Radiator Biennial Festival and Symposium, QUAD (art center and cinema), Derby, 2009

paula roush, cctvecstasy, webcam performance, AGM 09 under_ctrl / Radiator Biennial Festival and Symposium, QUAD (art center and cinema), Derby, 2009


browser landscapes

paula roush: browser landscapes I-IV, 2010, screen recordings transferred onto DVD with soundinstallation: 4 projectors, loop

commissioned for the exhibition: tirésias - video de artistas made in portugal/ video by artists made in portugal, with the support of Instituto Camões and the Portuguese Embassy in Uruguai. Centro Cultural de EspaÑa in Montevideo, April-July 2010.

Included in ikonokash Centro Cultural de Lagos, Algarve, Portugal, from the 5th June to the 31 July 2010.ikonoklash at slideshare

browser landscapes the photobook, paperback, 166 paginas

browser landscapes I-IV, 2010, screen recordings transferred onto DVD with soundinstallation, 4 projectors, loop


browser landscapes I-IV, 2010, screen recordings transferred onto DVD with soundinstallation, 4 projectors, loop


Persuasive* probes (1- space captology*)

exhibition Turn Me On, Pavilhão 28, Lisbon, 2008 for the launch of the book Video-Art & Art and essay film in Portugal).curated by : Bruno Marques, Israel Guarda, Ivo Braz, José Oliveira

Persuasive* probes (1- space captology*) is an installation made of 3 elements-a small scale kinetic sculpture made out of a miniature model of a space probe that slowly turns around its axis is installed on site, just outside the room in pavilhao 28; the model is placed on the horizon of the planes flying over on the pathway to Lisbon airport;-a cctv camera incorporated in the model, streams the images to the room; when an airplane passes through, the occasional incident is captured live;-a video projector streams the live view of the model and airplane flights on the wall playing with ambi-guities of optics, scale, transmission and truthful/ fictional narratives of international space missions and incidents.The rising and setting sun provide the outside installation’s environmental conditions, which is supple-mented by the use of additional local light sources

References: *Persuasive Technology By B. J. Fogg (the emergence of captology)

paula roush, persuasive probes (1- space captology, installation, exhibition Turn Me On, Pavilhão 28, Lisbon, 2008


paula roush, persuasive probes (1- space captology, 2008, installation, exhibition Turn Me On, Pavilhão 28, Lisbon, 2008

paula roush, persuasive probes (1- space captology, 2008, installation, exhibition Turn Me On, Pavilhão 28, Lisbon, 2008


soundtrack for a cctv

voyeur project view gallery, lisbon dec 2007- jan 2008curated by rodrigo vilhena

soundtrack for a cctv explored the intersection of web 2.0 and ip-surveillance, and consisted of a net-worked camera and a loudspeaker placed outside the gallery, in timor street, lisbon.

the web page soundtrackforacctv.msdm.org.uk displayed five successive alternate view frames of the same patch of the street (distant to closeup to 4 screen image) with embedded podcasts, playing mp3s occasionally addressing the pedestrians

when the viewer looked through the peephole, the visual scene on the web page was one of their own body caught in the act of looking, as fed live via the networked camera, and accompanied by the sound-track. The automatic refreshing of the web page provided different perspectives and sound files to ac-company the scene.

The camera, the speaker and the peephole were made visible through signage and a union jack. The use of cctv in the title of the project was a reference to the history of surveillance in video art.

paula roush, soundtrack for a cctv, networked installation, voyeur project view gallery, lisbon dec 2007- jan 2008





arphield recordings

tagged exhibition, SPACE Media Arts London 2006curated by: heather corcoran

Showing at:TAGGED one day event at SPACE Media Arts (NodeLondon March 2006)Welcome Goodbye Adeus Obrigada (Stockwell Tube Station, June 2006),TAGGED exhibition, SPACE Media Arts October 2006

arphield recordings is a project documenting impromptu arphid sound performance produced by people scanning their oysters cards in the daily routine of access control to the london tube stations.

Part of Tagged, an exhibition of five works by artists working with RFID technology, an ongoing project produced by [ s p a c e ] Media Arts. Standing for Radio Frequency Identification RFID can potentially function without your knowledge and with widespread functions across many commercial, public and governmental industries. All the artists in Tagged utilise electronic tagging technologies highlighting their increasing impact with society and their influence in shaping our day to day lives.

paula roush, arphield recordings, installation, tagged exhibition, SPACE Media Arts London 2006


paula roush, arphield recordings, installation, tagged exhibition, SPACE Media Arts London 2006


Protest Academy

installation and archive at Elastic Residence, London 2005performative installation & free academycommissioned by elastic residency & heimat modern, london/leipzig, 2005-06

The academy was launched in London in February-March 2005 as an audio-visual archive that developed throughout a three weekend period at the Elastic Residence. For the occasion, the guest delegates par-ticipated with works of tactical sound for the 4 part collective score of the academy’s inaugural lecture titled: ‘What are we doing? What’s happening to us? What needs to be done? I prefer not to’ which was performed and streamed live during the weekend of 26th and 27th February. The audio archive is pub-lished as vinyl (ed 500) with insert libretto. msdm’s Protest Academy is part of General Panel’s introduc-tory summer course on ‘Protest and Production of Urban Space’ [Leipzig, May –Aug 2005].

Elastic Residence, London (Feb 2005)

Heimat Moderne Experimentale 1, Leipzig (Aug 2005),

Kunsthalle Exerngrass, Vienna (Oct 2006)

paula roush, Protest Academy installation and archive at Elastic Residence, London 2005


paula roush, I lost my voice today, protest academy installation and sound workshop at Kunsthalle Exerngrass, Vienna, 2006

paula roush, I lost my voice today, protest academy installation and sound workshop at Kunsthalle Exerngrass, Vienna, 2006


mud d’artiste/ kunstniku muda

part of the exhibitions:Space Protocol, curated by Louise Garrettwith paula roush/msdm and Manuela Ribadeneira/Artes No Decorativas S.A.Rael Artel Gallery, Pärnu, Estonia, 2005

GLOBAL TOUR Art, Travel & Beyond at W139, AmsterdamA group exhibition realised according to a concept by Amiel Grumberg, 2006with: Boris Achour, Renaud Auguste-Dormeuil, Zeigam Azizov, Alberto Baraya, David Balula, Otto Berchem, Jordi Bernado, Candice Breitz, Mircea Cantor, Jota Castro, Coco Fusco, Meschac Gaba, Gerald, Hong Hao, IAT, Martin Krenn, Oliver Ressler, Paula Roush, Nika Spalinger, Manit Sriwanichpoom.

I was invited for a project by the Rael Artel Gallery in Pärnu, an Estonian seaside resort and a tourist desti-nation renown for its many sanatoria and mud baths. I decided to work directly with mud. I was interest-ed both in the material, its healing and artistic qualities, and in the place, the Pärnu Mudaravila, the first sanatorium and grand neo-classical building opened in 1838. The health programme developed in Pärnu has, over the years, mutated from a trade union health centre for workers during the soviet occupation to become, since Estonian independence, a liberalised post soviet event space. Today, the sanatorium also houses a wax museum, sharing the original treatment facilities with an exhibition of wax celebrity look-alikes, which includes, in an amazing feat of time-space compression, side-by-side simulacras of Stalin, Princess Diana and Arnold Schwarzenegger.

Before travelling to Pärnu, I found the local weather report available online via a webcam that feeds live video from the main street’s tourism office. This webcam was part of a global network of surveillance cameras: the Axis 2100 Webcam (made in Sweden), is a pre-programmable device with its own server, which sends images from weather stations, shopping malls, university libraries and nature resorts all over the world. To address the relationship between tourism and surveillance and post 9/11 anti-terror legis-lation that make it illegal to wear face coverings such as masks and face paint in public space, I tried to obtain Pärnu mud to build a mud mask. This proved impossible as the local mud is not available for sale and can only be experienced as part of the sanatorium treatment. Furthermore, the Pärnu mud is only used on the body, facial treatment being excluded from the current mud treatment practice.

I visited the sanatorium and negotiated my own special treatment, which consisted of a unique blend of mud to cover my head and face. When I finished the treatment I took away enough mud to be bottled as a small series of mud d’artiste (artist’s mud) multiples, which include two to be displayed locally - one for the Rael Artel gallery where the exhibition took place and the other for the Museum of Pärnu, which has an archive of the local mud baths sanatoria. The other mud d’artiste bottles are to be included in the exhibition, Global Tour Project, addressing the issues of tourism and surveillance.

The mud d’artiste multiples are accompanied by a video juxtaposing the images of the mud mask treat-ment with the wax look-alikes, both filmed at the sanatorium. The project will be finalised the day I make a wax look-alike of myself with the mud mask.

links

Rael Artel, Artists In Fieldwork: Anu Vahtra, Jaanus Samma, Paula Roush, Pilvi Takala. Maja, Estonian Archi-tectural Review, Landscapes Issue, May 2006,Pp 39-43.

paula roush, mud d’artiste/ kunstniku muda, Rael Artel Gallery, Pärnu, Estonia, 2005


paula roush, mud d’artiste/ kunstniku muda, GLOBAL TOUR Art, Travel & Beyond at W139, Amsterdam, 2006

paula roush, mud d’artiste/ kunstniku muda, GLOBAL TOUR Art, Travel & Beyond at W139, Amsterdam, 2006


bowville

commission for bow wireless/[SPACE]/ London, 2004locative media performance

In August 2004 as the Home Office prepared to test the efficiency of the electronic tagging systems de-veloped by major UK security companies, Marian Manesta Forrester was electronically tagged and given three days to earn her citizenship to Bowville. Commissioned by [SPACE/ bow wireless] London, the loca-tive media performance used off-the -shelf purpose built equipment that simulated the official electronic tagging system to create a fictional game during which people were allowed to vote for and follow the movements of Marian Manesta Forrester to become a citizen of Bowville.

paula roush, bowville, performative installation, bow wireless/[SPACE]/ London, 2004


paula roush, bowville, performative installation, bow wireless/[SPACE]/ London, 2004


sos:ok

performative installationcommissioned by coleman project space, london 2004

This project plays with the role of in artistic practices in urban regeneration. Organized in the London neighbourhood of Bermondsey (known as Biscuit Town), the work brought together local residents and employees of now-closed Peek Freans Biscuit Factory to produce an “emergency biscuit.”

As part of a series of events highlighting the area’s history, the team produced then a new series of nutritional biscuits, packaged as emergency food rations. The first stage of the project was a week of workshops that compiled the reminiscences of those who had worked in the factory. The second part gathered together four hundred volunteers, who then participated in the operation SOS:OK, the largest simulation of an emergency food relief program ever to take place in London.

The launch and the time based performance of SOS:OK was inserted into a wider public campaign in-cluding billboards which explored the manufacture of place, in this case, the re-appropriation of Biscuit Town as a distinct location and provided a way of connecting the local production with global issues of productivity, emergency and international solidarity.

The relational aspects of the artistic-curatorial practice, were tested as it responded to site-specific as-pects of the commission, creating a new product for the area, which is freely released under a creative commons licensing scheme, allowing the former workers of the Peek Freans factory and others to re-use it as source for future creative work.

The project also engages with current debates on the role of artists working in the public sphere, having been integrated in the touring exhibition Public Services which brings together projects by artists and architects whose works and research deal with problems involving the service sector in contemporary urban environments. These projects represent a critical consideration of alternative models of public ser-vices, which, ideally, are founded on the principles of openness, access, equality, participation, mobility, adaptability, and transformativity.

http://www.msdm.org.uk/sos_ok/

paula roush, sos:ok, performative installation, coleman project space, london 2004


paula roush, sos:ok, performative installation, coleman project space, london 2004


sos:ok at public services

integrated in the exhibition Public Services curated by Tadej Pogacar, touring to Pavel Haus, Austria, gal-lery P74, Ljubljana, and Sparwasser gallery, Berlin

The exhibition Public Services brings together projects by artists and architects whose works and re-search deal with problems involving the service sector in contemporary urban environments. These proj-ects represent a critical consideration of alternative models of public services, which, ideally, are founded on the principles of openness, access, equality, participation, mobility, adaptability, and transformativ-ity. When artists today think about structures and forms in the contemporary city, they think above all about the importance of open communication within urban structures. By occupying the space that lies between the many different users of cities, corporate capital (and its interests), and the urban structure, they draw attention to processes of degradation and appropriation, borders between public and private, the de-industrialization and agrarianization of cities, and so on, while developing new public-service models based on participation, exchange, and solidarity.Public Services presents five different starting points for engagement and five explicitly subjective ap-proaches. These projects and creative works have been conceived as forms of immediate and physical intervention in the structure of the city, as social interaction, as a virtual utopian scheme, etc. In terms of their goals, these works may be either indirect or immediate, action-based or utopian.

Paula Roush works in a variety of media - architecture, sound, video, photography, installation, etc. Her recent project SOS:OK (Save Our Souls: Zero Killings), organized in the London neighborhood of Ber-mondsey (known as Biscuit Town), brought together local residents and employees of now-closed Peek Freans Biscuit Factory to produce an “emergency biscuit.” As part of a series of events highlighting the area’s history, they produced a new series of nutritional biscuits, packaged as emergency food rations. The first stage of the project was a week of workshops that compiled the reminiscences of those who had worked in the factory. The second part gathered together four hundred volunteers, who then partici-pated in the operation SOS:OK, the largest simulation of an emergency food relief program ever to take place in London.

extracts from the curator’s text published in the catalogue Public Services

paula roush, exhibition public services installation shot


SOS:OK exercise/ vaja sos:ok

Ljubljana | 7 to 24 Septembergallery P74vaja sos:ok

The Gallery P74 stages the largest ever simulation of terror attack followed by the gallery’s decontami-nation

paula roush, sos:ok exercise/ vaja sos:ok, performative installation gallery P74, Ljubljana, 2004


paula roush, sos:ok exercise/ vaja sos:ok, performative installation gallery P74, Ljubljana, 2004


b+b boycott biennale

performative installation commissioned by b+b for the prague biennale

National Gallery Prague and Czech Centre London, 2003performative installation/archive

B+B Boycott Biennale: A real time task-based performance of invigilation of the Boycott Biennale Archive - a participatory installation documenting the history of boycott to art biennales from 1968 to the pres-ent. Presented at ‘The Art of Survival’, Czech Embassy London, the National Gallery Prague and the Czech Centre London. The intervention at the Prague Biennale, included a street trade performance outside the gallery selling the t-shirts to the public who wore the slogan ‘B+B Boycott Biennale’ for the opening night.

A catalogue of the Prague Biennale was published by Politi Editors. A foldable poster was published by b+b for the Czech Centre.

paula roush(concept) with the collaboration of b + b (curators), patrice hanicotte (photography), anne marie etienne (modeling), general clothing (curators’ dress), consol rodriguez (design)

multiples:set of t-shirts with B+B Boycott Biennale logo, edition of 200, silkscreen on cotton.Curator’s dress with B+B Boycott Biennale logo, edition of 1, silkscreen on linen.

paula roush, B+B Boycott Biennale, performative installation/archive, National Gallery Prague and Czech Centre London, 2003





m4: a mobile/modular/multiple urban centre

dessau/ frankfurt/ grazmobile installation2001-2003

In 2000 the city of Frankfurt opened the debate on the development of the largest european urban en-tertainment centre in the empty former trains station. The site was named the European Quarter and the commissioning process -launched amongst selected architectural practices- was contested by the resi-dents of the surrounding quarters whose desires for a public park were largely ignored. Led by a group of artists, architects and scholars, the Bauhaus Kolleg programme at the Bauhas Dessau Foundation took the site and the public discussion as the case study for its research project ‘Event City”.

My contribution was the m4, a multipurpose kiosk, as a symbolic a tool to initiate the occupation of the vacant European Quarter. In addition to activate the empty site and develop connections with the urban field, I saw it as a way to facilitate access and provoke other forms of occupation: activate a meeting point for both the Burgerinitiative ( European Quarter citizen’s action committee ) and the residents’ own touristic fantasies, facilitate an intermediary space for both the long-distance travellers and the urban nomads, and provide a multifunctional platform for informal economies.

The term para-architecture (anthony vidier) references (following daniel sherer) the adoption of a type of artistic work which approximates architectural conditions without adopting exclusively architectural means and which appropriates methods of representation from architecture for its own ends. Within this practice, m4-uec investigates current models of networked entertainment, using guerilla like occupation of the terrain vague. Symbolic forms of architecture inspired in the vernacular topologies of the do-it-yourself settlements and underground economies, from kyosks to red ligth sex vitrines, constitute sub-jective discursive sites for survival models of eco-located identities and citizenships

Exhibitions‘Europe CC: Changing Cities 05’, Haus der Architektur, Graz, Austria, 2002‘Contemplation Room’, Overgaden Gallery, Copenhagen, Denmark, 2002‘Other Routes’, Generic Fun, New York, 2002‘Event City’, Mousonturm, Frankfurt/ Main, Germany, 2002‘Urban Detours’, Bauhaus Foundation, Dessau 2001

The project Event City was published as a book by Campus Verlag

paula roush, m4, Urban Detours exhibition, Bauhaus Foundation, Dessau 2001



frankfurtress ghetto blast

computer game, 2001

A computer game as a strategy for mapping the global city was developed in collaboration with sociolo-gist Regina Bittner during a fellowship residency at the Bauhaus Kolleg, Dessau. Part of the three-phase research programme set up by the Bauhaus Kolleg for the site of the European Quarter in Frankfurt/Main, Germany.

On site research was focused on three levels: the cognitive maps and spatial scenes of Frankfurt that form the social image of the space, the architectural strategies for the creation of themed urban spaces and the everyday practices of creating places as interactive spaces. Frankfurtress Ghetto Blast transposes these ideas into the aesthetics of computer games ( the arcade style games). The game world (the play environment) is a cartography of the global city. It is a multi-layered spatial platform, consisting of 10 spatial plateaux which represent different sectors of urban condition, from the very centralised to the outer region.

The ten plateaux are: citadel, ghetto, inner city, red light, neo-urban, para-urban, neo-rural, old-rural, airport and deportation zone. Alongside the spatiality, another entry into the game is through identity. I differentiated identity kits that can also be described as avatars. I list them: tourist, neo-urban, post-ford-ist middle-class, metro businessman, young urban entrepreneur, declasse, old rural, vagabond, neo-rural and hacker. What distinguishes these types is their living and working quarters as well as their model of urbanity.

Presented at:

Bauhaus Foundation Dessau and Monsotourm Frankfurt,‘Brandscapes’, Hochschule Der Kunst,Berlin ‘Time and Space in Megalopolis’,City Gallery PragueInfoscapes: City cartography - Informational Navigation’, 5th Graz Biennial of Media and Architecture, Graz, Austria.

Published in:(2002) Roush, P., ‘Frankfurt Ghetto Blast’ in ‘Glocal: Event City 1′, Catalogue, Bauhaus Dessau Foundation, Dessau(2002) Roush, P., ‘Effects of Locality: Frankfurtress Ghetto Blast’. In ‘Event City’, Edition Bauhaus Campus Verlag, Frankfurt /New York.

paula roush, frankfurtress ghetto blast, flash games, screenshot, 2001


paula roush, frankfurtress ghetto blast, flash games, screenshots, 2001


you are free

city-wide campaign commissioned by the worldinformation.org for the world information city, 2005

IN COLLABORATION WITH: Institut für Neue Kulturtechnologien/t0 | World-Information City: Public Out-reach Program, Bangalore, Various locations; zart21 Arte Urbana para Intervencao, Lisboa

CONCEPT: You are free/ Tu es livre: This project consists of invading the everyday space of advertising, whose production and consumption cycle is dominated by a regime of intellectual property known as ‘copyright’ with an infiltration from the parallel production regime of copyleft. The posters You are free contain the URL http://www.msdm.org.uk/youarefree to download its source file and legal code.

Along the lines of the overall topic “What do stricter intellectual property laws mean for the public, for digital ecology, accessibility of knowledge, and also for the future of urban spaces?” World-Information.Org presented billboards, posters and stickers in the public sphere. The World-Information Public Out-reach Program aims to raise awareness on issues of the information society in the public sphere and will introduce these themes into the urban environment of Bangalore. Various media interventions were located in different parts of the city. Along with billboards, posters, stickers and traditional Indian media forms like cut-outs, banners over streets and wall paintings, the use of monitors and digital displays pre-sented key messages.

paula roush, you are free, city-wide posters campaign, Bangalore, 2005


workshift_eastopia‘

Work_shift: Eastopia: A public art performance for the Bow Festival consisting of a real time task-based performance of street invigilation of sites connected to radical feminist socialism of the London’ East End. Women were recruited via the job centre and trained with an expert in museum invigilation, adopting the work rota of the Tate Modern to the public space of Bow.

work_shift’ is the intersection of two task-based performances. Using the work of invigilation as its departure point, it explores the boundaries between archive and fiction, real-time performance and its documentation. The first performance is based in the historical archive of east london, including the work of sylvia pankhurst, an art student who left the academy to become a radical socialist and create the ‘people’s army’ and the ‘toy factory’, the first women-led co-op. A group of women were hired by the fictional company ‘eastopia’ and trained to invigilate both public and domestic spaces related to this archive, adapting the rota used by museum invigilators to the streets of east london. The real time task-based performance was thought as a response to the policing of urban and museum spaces, building links between the materialist ideology of the labour archive and the aestheticisation of daily life in inner city for tourism and festivals.

The second instance is the presentation of the london work at CAMJAP -the Lisbon Modern Art Centre- and as a meta-archive considers the relationship between performance and its documentation. In addi-tion to the use of random scripting in the presentation of the video material as a counter-documentary strategy, there is a proposal for a real-time invigilation in which an invigilator from SOV- the security company hired to invigilate CAMJAP- wears for her work shift one of the ‘eastopia’ uniforms and regularly reads fragments from the book ‘work& beauty’ using her wireless radio.

work_shift archive-video-installation in the exhibitionPonto de Encontro/ meeting point, Centro de Arte Moderna Jose de Azeredo Perdigao, Lisbon 2004

Archive and task-based performance: work uniforms with logos (skirts, shirts, ties, arm-bands and identi-fication cards), two-way radios, books ‘work & beauty’ (barcelona-london, 2002) and ‘out/sourcing’ (lon-don 2002-2003) by msdm publications, photos, maps and other printed documents, random scripted digital video disk, digital video disk player, loudspeakers, tables and seatsDimensions variable.



work_shift archive-video-installation in the exhibition Ponto de Encontro/ meeting point, Centro de Arte Moderna Jose de Azeredo Perdigao, Lisbon 2004

Archive and task-based performance: work uniforms with logos (skirts, shirts, ties, arm-bands and identification cards), two-way radios, books ‘work & beauty’ (barcelona-london, 2002) and ‘out/sourcing’ (london 2002-2003) by msdm publications, photos, maps and other printed documents, random scripted digital video disk, digital video disk player, loudspeakers, tables and seatsDimensions variable.

work_shift archive-video-installation in the exhibition Ponto de Encontro/ meeting point, Centro de Arte Moderna Jose de Azeredo Perdigao, Lisbon 2004

Archive and task-based performance: work uniforms with logos (skirts, shirts, ties, arm-bands and identification cards), two-way radios, books ‘work & beauty’ (barcelona-london, 2002) and ‘out/sourcing’ (london 2002-2003) by msdm publications, photos, maps and other printed documents, random scripted digital video disk, digital video disk player, loudspeakers, tables and seatsDimensions variable.


CURATORIAL PROJECTS


Local Worlds spaces, visibilities and transcultural flows

co-curators: paula roush & Lúcia Marques

Centro Cultural de Lagos + Forte Pau da Bandeira Lagos, Portugal - 13.06.2008 - 07.09.2008Project developed under the programme ALLGARVE www.allgarve.pt | www.localworlds.org

The project Local Worlds brings together a range of international contemporary media art and perfor-mance works that explore the relationship between the local and the global, looking at how experiences of travel, diaspora and displacement can inform our perceptions of identity, culture and nation. The title refers both to the way the world is part of Lagos local imaginary and the way the local is a form of en-gagement of the artists with the world they live in. Juxtaposing for the first time works whose sites of reflection include Portugal (specially the Algarve’s region), other Europes and different Africas, amongst other continents with colonial histories, the project maps out the complex spatialities and subjectivities crossed by those in transit. Engaging with emotional landscapes and personal narratives of place, each work invites the viewer to approach the local — be it intimate, public, real or imaginary — as a psycho geography of everyday objects and practices. Staged as a discursive platform, the exhibition includes site-specific work, installation, and video screen-ings, occupying the multiple spaces of Centro Cultural de Lagos, including artistic interventions in the Forte Pau da Bandeira. During June, July and August the multidisciplinary programme of events also involves performance, workshops, talks and cinema, in order to map the plurality of strategies that currently characterizes the dynamics of the local. Local Worlds is an initiative designed for the Centro Cultural de Lagos, under the 2th edition of the ALL-GARVE and proposes a platform of artistic production for reflection on cultural diversity that character-izes the heterogeneity of cities today.

Participants in the project: Adekunle Detokunbo-Bello, Ângela Ferreira, António da Cunha Telles, António Ole, Beatrice Catanzaro, Cláudia Cristóvão, Cláudia Lopes Costa, Eduardo Matos, Eduardo Padilha, Faisal Abdu’Allah, Francisco Vidal, Gustavo Sumpta, Inês Amado, Inês Gonçalves, Jane Thorburn, Jorge Pereira, Jorge Pereirinha Pires, José Pinheiro, Kiluanje Liberdade, LAC, Luísa Homem, Manthia Diawara, Melanie Jackson, Mónica de Miranda, Ondjaki, Paul Goodwin, Pedro Sena Nunes, Psychological Art Circus, Red Bull Music Academy, Renée Green, Ricardo Valentim, Susana de Medeiros, Susana Guardado, Tiago Cutileiro, Uncle C, Vasco Pimentel, Victor Lopes, Ynaiê Dawson.

Faisal Abdu’Allah: Shared World workshop, july 2008 at Centro Cultural de Lagos. On the cover of the Mundos Locais / Local Worlds catalogue.




The Kinship International Strategy on Surveillance and Suppression

a project directed and facilitated by Camilla Brueton, Joanna Callaghan, Deej Fabyc and Paula Roush with guest artists, exploring notions of surveillance and suppression in contemporary society.

KISSS encompasses a large range of work through the utilisation of four curatorial strategies.Each strategy is led by a key artist:I See You See: public space surveillance / Camilla BruetonMedia Watch: media speak, subtext and information dissemination methodologies / Joanna Callaghan Body Fortress: How our bodies reflect our culture(s), phobias, supresssed energies, hopes and dissapoint-ments / Deej FabycTagsonomy: addressing classificatory systems in current surveillance practice with a special focus on electronic tagging / Paula Roush exhibitions:

KISSS was officially launched in August 2005 at the Whitechapel Gallery, London. The KISSS strategies were presented to a full house, in a live, intermedia combination of performance, video, interventions and working sessions. This was followed in September by a ‘summit’, which like Camp David, took place in an isolated country retreat, Woodspring Priory, a suppressed church, located near a high security MOD facility by the sea. A new piece of work Thomas’ Head was developed in response to the site, the historical archive and ideas of surveillance and suppression developed and enacted in public space.

Also in September, London’s art radio Resonance 104.4 hosted a six week discussion program as part of Media Watch/KISSS

In October 2005, the first KISSS exhibition took place at artist run space Conical Gallery in Melbourne Australia.

In October 2008, KISSS at the Castelfield galllery was a mult-platform show featuring video, photography, installation and performance.

camilla Brueton, KISSS at the Castelfield galllery , October 2008,


John McGrath, KISSS Symposium at the Castelfield galllery , October 2008,

Carlos Amorales, KISSS video screening at the Castelfield galllery , October 2008,


welcome goodbye adeus obrigada

A Portuguese season of artists who use journeys, dislocations and imaginary nations as the inspiration and departure for their work.

Theatre events 3 May- 9 June 2006 at the Blue Elephant Theatre, Camberwell SE5Visual arts 3 May- 30 June at the Blue Elephant Gallery, msdmSHOPPUB (Brixton Village Market) and in public locations in and around little Portugal in Stockwell SE9, South London

With: Teatro Praga, Patrícia Portela, Beatriz Cantinho, Cão Solteiro, Rogério Nuno Costa, Marília Maria Mira, Valentim Quaresma, Teresa Milheiro, Rodrigo Vilhena, Liavali Coquet, Mónica De Miranda, Paula Roush, Ana António Gill, Luís Torres, Nuno Luz

The projects share references to tourism, migration and new geographies, encouraging speculations about the existence of a third space: a hybrid territory developing from transnational encounters and cross-border dialogues embedded in the fabric of day to day life. The programme brings together for the first time Portuguese artists from Lisbon and living in the U.K.

http://welcomegoodbye.blogspot.com/


teresa Milheirolives and works in Lisbon

Creates wearable life systems reutilising animal bones and teeth within a new paradigm of objects for self-defence and survival. These are bio-jewels with a dual reference to antiquity and future, which have developed into interventive jewels, with a strong critical component, namely in reaction to current obsession with self-image, and the world economic leaders’ response to ecological crisis. This is visible in the survival kit, a prototype for the emergency conversion of urine into drinkable water.

liavali coquetlives and works in Sheffield

Liavali Coquet has a dual background in philosophy and goldsmithing. This comes across in her research Chinese Rituals and Traditions: Looking Through the Female Eye between 960–1911 in China, which follows the history of foot-binding, where different issues surrounding the body come under scrutiny. Attempting to understand the female space, Liavali’s work concentrates on how and why this space is constructed and its repercussions on women’s bodies and their perceptions of the world they inhabit.


Mónica De Mirandalives and works in London

Mónica’s work is rooted in a globalised culture, pushing boundaries and conventional notions of place and nation. At the core of her critical practice is an interest for the after-effects of colonisation on con-temporary geographies and current flux of migratory movements. Projects such as ‘In between Lines’ – a participatory hand knitted luggage boat, with its references to both the Portuguese colonialism and women’s crafts-create cross cultural fertilisations, with diverse senses of identity and belonging.

Rodrigo Vilhenalives and works in Lisbon

‘Solaris’ is a work in progress and it is about the painting process itself as a perpetual redrawing of bound-aries. The unknown planet is recreated as an ocean of paintings floating in the immensity of the universe, “taking into consideration the desires hidden in the darkest recesses of our minds” (Stanislaw Lem– “So-laris”). Solaris’ interface between painting and display reveals Rodrigo’s double identity as an artist and curator of the Voyeur Project View, an alternative gallery located in the Anjos neighbourhood, in Lisbon. Solo exhibitions are shown to the public through a peephole in the door that can be accessed 24 hours a day.


out/ sourcing

commissioned by iniva -institute of international visual arts, london -for the soft season

installation and events2002

A curatorial project for the Soft Season at the Institute of International Visual A, focused on artist-led curatorial strategies. Ten workers from different disciplines were gathered to investigate the interdependence of labour, aes-thetics, and social thought within current notions of work.

The exhibition’s starting point was the research into the nineteenth-century industrial history of Shored-itch [the area where the gallery is situated] with East London’s Geffrye Museum of English Domestic Interiors being a pivotal element. The museum, established by the founders of the Arts and Crafts Move-ment, acted as a conduit between past and present, the colonial and post-colonial, where issues around nation, class, labour and aesthetics converged. The installation at TheSpace@inIVA sampled architectural styles from the Geffrye Museum’s rooms.

The project also included the outsourcing of the following: a collaborative [28 participants] book ‘Work & Beauty’, the textual-visual archive ‘El Sueno Colectivo’, the robotic software ‘coyBOTt’, the white paper ‘Background and Context for the Application of coyBOTt Software to Systematic Analysis of Branding, Boycott, and Cultural Sponsorship’, and the video screening ‘Work & Non Work’, during which members of the audience were paid to watch.

The project is documented in the catalogue Out/sourcing.

paula roush, out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002


coyBOTt

launched for out-sourcing, msdm project for iniva's soft season

The coyBOTt software and graphic interface is built around a simple database that contains several types of information about global brands.

The data variables, gathered through a combination of static processes (data entry by hand) and dynam-ic functions (automated search tools), are:

-brand name-brand rank from 1-100 in the Interbrand ‘World’s Most Valuable Brand’ list (published online at www.interbrand.com and by Business Week)-www.google.com search engine hits for online calls to boycott global brands-news & articles published about boycotts against the brand in major english-language newspapers from 1999 to 2001.

These data are gathered for all 100 top global brands, and then used to calculate the position of an avatar that represents each brand in virtual 3D space. The user can select between various versions of the brand avatar, switching between cubes and spheres and choosing whether to texturize the avatar surface with the brand logo.In addition, these brand avatars have been made to ‘breathe,’ inflating and deflating according to the rise and fall of their stock quotes over the course of the year. Stock values are downloaded dynamically from a stock quotes database fed with financial information by Yahoo.Viewed all together, coyBOTt builds a 3D data cloud which allows the user to view the avatars of brand power and boycott activity like a school of fish in an aquarium, or a flock of pigeons in flight. The user is able to navigate between different views of the data cloud, zooming in and out, rotating the axes, and magnifying or shrinking the size of the avatars. The user can also toggle a viewing mode where brands are sorted by industry. In this case, a smooth animated transition shows the brand/boycott avatar cloud separate itself into its constituent industry cloudlets.In addition, the user can select any avatar to display a range of information about the brand, including global rank, boycott activity, stock rise and fall, and corporate arts sponsorship.The initial coyBOTt prototype was built around top global brands between the year 1999-2001. Future versions may track brand, boycott, and sponsorship activities year after year, and increase the brands studied to include national or local as well as global brands. In this complete version, coyBOTt might be able to constantly upgrade itself, and users might be able to develop and input new variables and cat-egories of information to track and analyse practices of branding and resistance.

paula roush, coyBOTt software for out-sourcing, a curatorial project for the Soft Season at the inIVA, lon-don 2002


paula roush, el sueno collectivo video archive for out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002

paula roush, work & beauty artists publication for out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002


Rkdk(ar-ca-de-cay) [the arcade project]

The Brixton Electric Arcade and The Trade Apartment Gallery, London, 2001Public interventions and installationsCurated by:paula roush/msdm

Participants: Zeigam Azivov, Pino Boresta, Inhabit, What we Call Progress, s/plice, Syndicate + Snorkel, Ana Laura Lopez de la Torre, Jorn Ebner, Oreet Ashery, Space Hijackers, Ronee Hui, Katarina Sevic/PP, Edu-ardo Padilha, Melina Berkenwald, and Gustav Metzger

A project for the Brixton Electric Arcade with a finale the Trade Apartment Gallery, with artists working in the intersection of art, urbanism and social space. The aim of exploring through group work and action-research the wider economic, cultural and political implications of working in the public sphere, was reflected on projects engaged with issues of progress, decay, and the memory of place.


EXHIBITIONS (selection)Solo/selection2010classop (varied papers) by maria lusitano & paula roush, sput-e-nik gallery (Porto), 20102007 Soundtrack for a cctv, voyeur project view, Lisbon2006 arphield recordings, tagged project at space, and welcome goodbye adeus obrigada, stockwell tube station, London2005Collaborative Aesthetics in a Self-Centred World, paula roush & eva rudlinger, ASC Studios, LondonSpace Protocol, msdm & artes non-decorativas, Rael Artel Gallery, Parnumsdm Protest Academy, Heimat Moderne, Experimentale 1-general panel, Leipzigmsdm What are we doing? What is happening to us? What needs to be done? I prefer not to, Elastic Residence, London2004SOS:OK Save Our Souls: Zero Killings Emergency Biscuit, Coleman Project Space, LondonExercise SOS:OK, Gallery P74, LjubljanaBowville, Bow Festival (Bow Wireless commission), London2002: msdm Out/sourcing, Institute of International Visual Arts, London

GROUP/selection2010intimate tv - forward:delete (wayback safari). kunstverein harburger bahnhof, HamburgA field (of interconnected realities), the Living Room 10, Auckland CBDtirésias -video by artists made in portugal, Centro Cultural de EspaÑa in Montevideo, ikonokash Centro Cultural de Lagos, Algarve, 2009cctv ecstasy AGM 09 under_ctrl, At QUAD, Derby2008 Local Worlds spaces, visibilities and transcultural flows, Centro Cultural de LagosTurn me on, pavilhao 28, Lisbon2007 Vtape, Hospital Julio de Matos, LisbonDestinations, Area 10, London2006Ear Appeal, Kunsthalle Exerngrass, Vienna Love & Anarchy, K3, ZurichTagged, SPACE Media Arts, , LondonWelcome Goodbye adeus Obrigada, The Blue ElephantTheatre, LondonGive(A) Way, Limerick Art Biennale, LimerickPublic Services, P74, Ljubljana/ Sparwasser, Berlin2005Global Tour Project, W139, AmsterdamPublic Services, Pavel Haus, LaafeldDisobedience, Play Gallery and Kunstraum Bethanien, Transmediale 05, Berlin2004Perfectly Placed, South London Gallery, LondonMeeting Point, Centro de Arte Moderna Jose Azeredo Perdigao, Lisboa2003Contested Space, Spacio Alcatraz Stazione Leopolda, FirenzePrague Biennale 1, Galleria Nazionale Veletrzni Palac, Prague2002out/sourcing, iniva -institute of international visual arts, londonEurope cc. changing cities 05, Haus der Architektur, GrazContemplation Room, Overgaden Gallery, Copenhagen

BIBLIOGRAPHY (selection)

Bob Dickinson, KISSS Kinship International Strategy on Surveillance and Suppression. Art Monthly, No-vember 2008, Issue n.321.

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Mark Howarth-Booth, Conspiracy Dwellings. Aperture magazine, Fall. Download the pdf here: aperture_conspiracy.pdf

Régine Debatty, New Brave World workshop at iMAL: RFID and art. March 2008.

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Régine Debatty, Arphid sound performances in the metro. we-make-money-not-art.com. April 2006.

Anthony Alexander, Of RFIDs and Arphids: The logistics of the Future Mute magazine, June 2006

Armin Medosch, The Spychip Under Your Skin:RFID and the Tagged exhibition, Space Media Arts, October 2006 published online, read html here or download pdf: http://www.spacemedia.org.uk/files/Tagged_Es-say.pdf

Rael Artel, Artists In Fieldwork: Anu Vahtra, Jaanus Samma, Paula Roush, Pilvi Takala. Maja, Estonian Archi-tectural Review, Landscapes Issue, May 2006,Pp 39-43.

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Sara Raza, Performance: Strategy And Process in The Work Of Adrian Piper, Lida Abdul, Sussan Dyhim, Reza Aramesh and Paula Roush. Notes for the Presentation Delivered at Artsadmin November 2004

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thank you!

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