SHOOTING

bin-sink-toilet seat-toilet paper-table-flush

EDIT

table-chair-shelf-heater-window-board

EDIT

bed-table-switch-drawer-floor-closet

drawer-oven-hob-table-wardrobe

EDIT

wardrobe-tap-door-switch-table

EDIT

SHOOTING TEST

Toilet: bin-sink-toilet seat-toilet paper-table-flush-heater

table-chair-shelf-heater-window-board

bed-table-switch-drawer-floor-closet

drawers-oven-hob-table

wardrobe-tap-door-switch-table

VISITING LECTURER & SHOOTING PLAN

VISITING LECTURER

  • Marcus asked me to think about how long each yarn takes and what timing represents. I don’t think time is important in this work actually. It’s more about the action.
  • Marcus said the context could be related to the lockdown. I understand but my idea is not based on the lockdown.
  • Marcus mentioned about creating a piece of text about the instruction/process. I think the information about the process is important for this work. It can be displayed on a note alongside the work. But I’m not sure about using the text as work.

SHOOTING PLAN

Looking at my last project, I thought of using body instead of yarn to touch as many objects as possible in some areas indoors like twister:

  • Toilet
  • table-chair-shelf-heater-window
  • bed-table-door-drawer
  • drawer-oven-hob-table
  • wardrobe-tap-door-switch-table

I’m not sure if it’s gonna work because I’m afraid the body would cover most objects.

BEDROOM & KITCHEN

BEDROOM

Door

Toilet

Door + Toilet

Hook

Table + Chair + Corridor

Decided on the following two photos that showed table & chair, and drawer & corridor as they looked better and also covered most areas.

KITCHEN

GROUP CRITS & SHOOTING PLAN

GROUP CRITS

  • Michelle said she liked the suggestion of clothing. I actually want to minimise the visual effect of clothing because it’s not needed but it’s also not necessary to be naked, which is why I used a nude body suit.
  • Michelle mentioned how it would be like if it’s a performance where viewers could hear the sound of breathing. Yunqiu also said if it’s a performance, it would be like a punishment/challenge for humans. As it’s just still, I think performance is only needed if I want to emphasis the effect of duration, which is the effort of being together with the objects in this case. But I want to show the result of disfunction more so I think still images are enough if not better.
  • Craig said not using my own body made it less about self-statement but a general statement. I actually don’t care whose body it is. I use my body sometimes only because it’s more convenient sometimes.
  • Craig and Michelle mentioned it’s also related to sexual/submissive poses with physical restriction. I never thought this way but I think it also relates on an emotional level where the self is the weak/manipulated part in a “relationship” compared to other. And now I think maybe it’s good that the body is not naked so that it’s not so sexual.
  • Craig also said it’s related to consumerist and how our identity was defined by products. Never thought this way but again I think it relates to the relationship between self and other, although other Craig thought was more about consumerism while other I suggested was supportive objects/people.
  • Michelle mentioned I could try tin foil. But I want to show the contained body and objects.

SHOOTING PLAN

Still thinking about how I couldn’t accept the disconnection from other, I’ve been looking at Rebecca Horn’s body extension work especially the gloves:

Übungen in neun Stücken: Mit beiden Händen gleichzeitig die Wände berühren

It makes me think about the need of getting in touch with the space all the time. I got the idea of using yarn to connect all the area in the domestic space my body once touched through my daily movement, so that my body would not be disconnected from the space in any time/experience. Yarn is used for weaving, which relates to connecting well. The use of yarn is also influenced by my reading about Lacan’s theory that’s related to Freud’s idea:

In a case study which appears in Freud’s Beyond the Pleasure Principle, Freud talks about his nephew, aged about 18 months, who is playing a game with a spool tied with yarn. The kid throws the spool away, and says “Fort,” which is German for “gone.” He pulls the spool back in, and says “Da,” which is German for “here.” Freud says that this game was symbolic for the kid, a way of working out his anxiety about his mother’s absence.

https://www.webpages.uidaho.edu/~sflores/KlagesLacan.html

The visualisation of the trace of my movement is also influenced by The Fold:

To have or to possess is to fold, in other words, to convey what one contains ‘with a certain power.’

Deleuze

I feel the movement is similar to folding, which consists of one’s experience/existence physically. Domestic space is a container to body. I think the sense of unity/non-separation is also a sense of being contained. The attachment between the movement to the space shows the desire of being united with the container. However, the more attached one’s existence is to the container through time, the less functional the container becomes. It reminds me of Valie Export’s “We are prisoners of our own making”:

I won’t be able to go out with the yarn because it won’t survive outside the container. This attachment makes me unable to enter the society. At the end, as the yarn gets used up, the body cannot move forward without letting go of the connection, or go backward because it’s to unfold the trace, which is to erase one’s experience/existence and break past connections eventually. The body becomes functionless holding on to the unity.

‘The true opposite of the self is not the non-self, it is the mine; the true opposite of being, that is, the having, is not the non-being, but the had.’

The Fold

The inability to accept the loss makes me unable to become a being.

I bought a 150m yarn. I plan to carry it with a tape and scissors wherever I move around the flat. I can only tape it to areas or objects that don’t really move. When the yarn is used up, I’ll ask my flatmate to be at the position where the yarn is used up and hold the end of the yarn, and I’ll photograph the yarn in different space including the body of my flatmate. I’m worried how the visual effect would be because it’s both staged and natural. I’m afraid there’re too many unrelated elements in the space but it also should be the place where I live otherwise it would just be random attaching.

SHOOTING PLAN

Still thinking about the desire of keeping the shape of the unity with the supportive objects I photographed last time, and the idea of blob, I suddenly thought of using cling film to wrap the objects and the body to form a visual unity and also achieve a better effect of blob. Cling film tells the clingy characteristic of the self in a “relationship” which eventually causes too much pressure to other and drives other away. The wrap reminded me of my previous performance project Futility and also its inspiration:

Man Ray
L’Enigme d’Isidore Ducasse

Then it reminded me of my reading about a fashion design. I remember it talks about how it sees accessories as part of body. It should be about the show Lumps and Bumps.

Merce Cunningham in Antic Meet (1958), with décor and costumes by Robert Rauschenberg
It inspires me of wrapping body and chair together further.

With the use of cling film, I decided to have the body on the objects using them normally because it’s the original unity it wanted to keep.

I thought about removing the objects in the unity shapes but I didn’t think it’s obvious enough to tell what the objects are. With objects in presence, it shows the desire of not letting go of the support, the rejection of separation, and the result of disabling the function of the body.

I thought about if I should let the body hold the cling film to show it’s the body’s intention of this wrap. But I feel it’s too aggressive and powerful. There’s a conflict between the natural desire and the knowledge of its futility. The nature wins over in this situation in some degrees. But the result still shows the state of being stuck. It also shows the body cannot become a subject/self this way.

TUTORIAL & BLOB

Craig suggested I could play with frame rate of the videos to emphasis the role/eye of camera and express more emotions. I tired to slow down or fast forward a video but the fast forwarded video looked strange and I didn’t feel the effect of speed.

He also mentioned that he felt that the subject and object were equal in the videos, unlike the usual ontology where humans were primary and objects were on command. It reminds me of Lacan’s theory about the Real when the baby hasn’t mastered its own body and doesn’t have control over its own movements. It doesn’t know its body parts belong to it. Then it starts to distinguish between its body and everything else and become aware there exist things that are not part of it. The baby then demands a return to that original sense of non-separation that it had in the Real. But it is impossible, because the union must be broken up for the baby becoming a self/subject.

The inability to distinguish between my body and other and accept the loss of my dependence makes me unable to become a subject/self. I’m only a belonging. I thought of how my body couldn’t react when the support disappeared due to the lack of the sense of the separation between the body and the support and even the rejection of the idea of separation. The role of the subject/object has changed. My body is an object in this situation where it’s got no control over. And other/object manipulates the body. I thought about objects that were supposed to support the body and shape the body at the same time. When the differentiation cannot be realised, the body still keeps the manipulated shape. The role has switched because of my inability to let go of the sense of the unity.

I thought about chair, table, rack, mattress and food at the beginning and photographing the manipulated body shape with the absence of the objects but I was afraid they wouldn’t be obvious enough and may be hard to relate.

MATTRESS

TABLE

SHOES

Tried different angles and found the last one most natural.

LADDER

Tried different angles and found the last one looked better.

CHAIR

REPETITION IN PERFORMANCE

Our desires, it seems, demand not only the reaching and the getting there, which can be achieved momentarily (I’ve got you, don’t fight) and then lost forever (JIGGER BOTH), but the holding on to their object. The repetitively performed impossibility to reach what one is aiming for, in terms of structure and content, is what renders the scene so enthralling for me and its effect on memory so profound.

EIRINI KARTSAKI

Reminds me of Hold/Held and Quit It.

Desire’s function is not to give rise to great satisfactions, but rather to reproduce itself as desire. And repetition’s function seems to enable such an objective.

EIRINI KARTSAKI

Desire builds up desire.