Archive for the 'live blog' Category

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Kris Grey: Queer Here

18.29 - daniel

On the video, Kris is holding a sign “Ask a tranny” and playing bits of conversations this has started … The video stops, performance is over. Applause.

18.26 - gareth

An audio recording of a conversation played against a photographic slideshow of the same conversations.

18.24 - daniel

Strips naked: “Do you wanna see my ID?” That’s how Kris would have liked to handle the situation.

18.23 - gareth

F for feminism.

18.23 - daniel

Story about “making radical visibility happen”. Travelling from Finland back to US. At customs office, checking passport: Red flag. “Have you done something diffferent with your hair?”

18.22 - gareth

A close-up of a passport photo.

18.22 - gareth

A photo of his passport.

18.21 - gareth

Poking at the permeability of gender constructions.

18.20 - daniel

Urinal anecdotes.

18.19 - daniel

Kris has taken off tie and shirt.

18.19 - gareth

Queerness is now written on his body; he takes off his shirt.

18.18 - gareth

Suits used to be subersive; now they conceal.

18.18 - gareth

There is a slideshow of the performer as a young adult.

18.17 - daniel

“These are things you should know about me going into this.” Kris now talking about queerness, in relation to his own biography. About starting to take testosterone. Body changing quicker than wardrobe.

18.15 - gareth

There is a slideshow of the performer as a child.

18.14 - daniel

Kris complaining that people are not really seeing him.

18.13 - daniel

Ok, the performance is about to start.

18.13 - gareth

Tom rollerblades off. The performance begins.

18.11 - gareth

I should add that all this so far is Tom Marshman’s introduction.

18.10 - gareth

The audience hushes.

18.10 - gareth

The theme for the third theatre segment: quiet carriages.

18.07 - gareth

Spandex bodysuits are avant garde.

18.07 - gareth

Live art is better with Olivia Newton John.

Angela Bertram & Mary O’Neill: Oral/Response

17.51 - gareth

They leave.

17.50 - gareth

The writer reaches back to the position where she started. Both women rest on their knees, looking in the same direction.

17.49 - gareth

The has set and the room is growing increasingly darker. It feels fitting, somehow.

17.48 - gareth

The change in colour of he text is corresponded with the colour of the crushed charcoal dust: black through shades of grey to white.

17.47 - gareth

The person standing next to me noticed that I was checking the rugby scores.

17.44 - gareth

The stenciled marks are also becoming increasingly faint.

17.43 - gareth

I’ve only now noticed that there’s a small pile of dust next to each position where the paper was placed. The piles are increasingly smaller.

17.42 - gareth

From the end of the room I can imagine it looks like a chimneystack, billowing smoke.

17.41 - gareth

There is a suggestion of symmetry, despite being asymetrical. But that’s perhaps because I’m standing on the side.

17.37 - gareth

She now writes backwards, away from the wall and over the original text.

17.35 - gareth

The text now stretches across most of the room, the stenciled dust only perhaps a meter or so.

17.34 - gareth

The paper is periodically lifted and then replaced, creating a sheet by sheet stencil for the charcoal dust.

17.31 - gareth

The text is becoming increasingly indistinct. It was begun in black charcoal, then through various shades of gray, now in near-white.

17.30 - gareth

Each line of text begins with the pronoun ‘She’

17.29 - gareth

“She blows the dust across the paper”

17.29 - gareth

The text written on the floor is a description of the other performer’s actions.

17.28 - gareth

The behaviour of the audience seems to fluctuate; sometimes we are still, sometimes we move, sometimes we stand close to read the words, sometimes we all seem to stand against the wall.

17.26 - gareth

The dust is then gently blown. The blower has charcoal dust on her nose. The other continues to write.

17.24 - gareth

Dust from the crushed charcoal is sprinkled onto a sheet of card that is taped to the floor.

17.23 - gareth

Two women. One is crushing charcoal with a pestle and mortar. The other uses charcoal to write on the floor of the space.

Claire Roberts: The Dug for Pearls

17.07 - daniel


17.07 - daniel


17.07 - daniel

She gets up to collect the pearls again.

17.06 - daniel

Bits of black thread still attached to both her soles.

17.04 - daniel

While before, there were often up to five pearls dangling between her feet, she no longer gets to that many. There is one now, and suddenly it’s rolling across the floor.

17.02 - daniel

Suddenly, there are quite a few people here again. The top monitor still showing the same image, interspersed with sewing-machine sounds and moving images of sewing thread to the feet. Live, Claire keeps sewing, then ripping the thread, pearls falling.

16.59 - daniel

This time, she does not move her feet as apruptly, just wiggles them a bit, spreads them more slowly, some pearls falling down, and now: all of them.

16.58 - daniel

Quite regularly, people come in and watch for a bit.

16.56 - daniel

Occasionally, she presses a button on the camera, I think to switch it back on.

16.54 - daniel

Three¬† pearls dangling between her feet again. And a fourth one…

16.52 - daniel

She apruptly spreads her feet, tearing the thread, pearls rolling across the floor. She gets up to collect them. This must be what she has done before when walking across the room.

16.49 - daniel

There is now one person left in the space who isn’t filming. Somebody else just arrived.

16.47 - daniel

Pearls dangling on threads between her soles.

16.44 - daniel

Still sewing.

16.43 - daniel

Back on. She just dropped her things and quickly ran across the space. She’s back now, sewing big pearls (?) to the soles of her feet.

16.42 - daniel

Bottom monitor now off.

16.42 - daniel

The writing “insufficient space on card” shows up on the bottom monitor.

16.41 - daniel

Claire is sitting in the far corner of the dark space. She is sitting on a chair, barefoot, and a desklamp is illuminating her feet. There are two monitors on her right, one on top of the other. The bottom monitor is showing live footage of her feet, the top monitor is showing a black and white image of two feet, black thread sewn across the soles. Occasionally, there is the sound of a sewing machine, and the image changes.

16.33 - daniel

The doors have opened early, people are still coming in. But it seems the doors are staying open, which suggests that you can come and go as you like.

Ellie Harrison: Etiquette of Grief

16.12 - gareth

This concludes the end of the meat section.

16.12 - gareth

Barack Obama and Stephen Fry get to go to heaven.

16.09 - gareth

Tony Blair got a bigger boo than Hitler.

16.09 - gareth

The audience seems to be mixed if Mother Teresa should go to heaven or hell.

16.08 - gareth

Neutral thumbs. Up for heaven, down for hell.

16.07 - gareth

Diana never wore gloves, unlike the Queen.

16.05 - gareth

Several trollies for a wake: tea, sandwiches, thank you cards, wine, cake, photographs.

16.02 - gareth

‘Late’, ‘passed away’, ‘no longer with us.’

16.01 - gareth

We are the Princess Diana fan club.

16.01 - gareth

A video relay, with the woman who is the Gillian McKeith of grief therapy.

15.59 - gareth

A minute is up. Song ends.

15.59 - gareth

Some kisses too.

15.59 - gareth

Goodbye England’s rose. Hugs to those in the front row.

15.58 - gareth

Some pre-memorial activities.

15.57 - gareth

Today is a memorial service.

15.57 - gareth

The black balloons are on the left of the stage. Ellie stands on the right in a bright red shirt. A requiem plays in the background.

15.55 - gareth

There are black balloons onstage.

15.54 - gareth

Ellie is often mistaken for a vegetarian, apparently because she has pasty skin.

Mark Leahy: Voice Recognition: A Play

15.52 - gareth

“When we were two little boys.” Repeated.

15.49 - gareth

A blue that is lighter than the dark blue of his shirt and trousers.

15.49 - gareth

It is only now that I notice he is wearing a blue bowtie.

15.48 - gareth

Recollecting the sound of his voice on the tape. Uncanny. “But I think it’s that I remember.”

15.42 - gareth

The lyrics of the song ignite recollections, comments, speculations, a biography; and seemingly vice versa.

15.39 - gareth

He is speaking into a microphone.

15.38 - gareth

Recollections, interspersed with song.

15.37 - gareth

A bearded man in a spotlight. Recalls Rolf Harris’ no. 1 hit, Two Little Boys’. Remembers recording and singing the song with his cousin for visiting American relatives. Was the first time he heard his own voice.