March 2011

REPOSITORY


Analogue Tape Glove at WHAT NOW Festival 2011, London

We have our first show in London on April 16th & 17th at the WHAT NOW Festival..
WHAT NOW 2011 presents choreographic thinking in diverse forms. It includes installation and time-based work, performance lectures, photography and books, alongside live performances. Work will be located around Siobhan Davies Studios and run across the weekend.
Location: Siobhan Davies Studios 85 St George’s Road, London, SE1 6ER Nearest tube: Elephant & Castle, Lambeth North
Saturday 16 – Sunday 17 April Time: Saturday (12-9pm) Sunday (12-5pm) Tickets: Weekend Pass £12 (full), £10 (freelance artists), £8 (concession) Day Pass £9 (full), £7 (freelance artists), £5 (concession) Advance booking recommended: tickets on the door are subject to availability.
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Blast Theory Residency Report

Please can you give a brief description of your residency project and what you were working on during your residency.


During our one month residency at Blast Theory, we developed a “mobile” version of a previous work entitled Analogue Tape Glove, an interactive sound installation. This included the re-design of the glove interface, and the introduction of a wireless transmitter, enabling us to potentially exhibit the work in a number of different environments/contexts in the future. We experimented with the way in which the work is presented to the audience. In its original context, a static board or “canvas” of audiotape was mounted on the wall, which people could interact with. As part of our intention to make the piece a more spatial experience we placed the tape around the walls of a room, creating a wider area for the user to “play”, and drastically changing the aesthetic of the work. We are interested in the physical properties of the medium of tape, and mapping this information onto the physical walls of the space.

How would you describe your practice and what stage is your career at?


Our current practice could be described as Interactive Installation. This residency continued our investigation into the creative potential that obsolete media technologies have to offer, currently focusing on the magnetic audiotape format. We have some experience of exhibiting internationally, but we are very much in the early stages of our career as artists.

How long was your residency?


One month during Feb 2011.


What did you most benefit from during your residency?


Having a neutral space to work in full time for a month was a huge benefit to us. Being able to leave our tools and equipment set up was a great advantage to the projects development. The feedback from all of the Blast Theory staff especially Nick Tandavanitj’s weekly mentoring sessions were particularly helpful in the developing the new phase of the work. The Blast Theory team offered us an inspired response to the work, giving us confidence to take it to the next stages of development. Niall really liked the coffee machine, the big white board to write things on and the dog known as Trotski.

How did you obtain your residency?


We applied via the Blast Theory website and sent through a written proposal. Weeks later we were excited to receive an email of acceptance!


How well did the space suit the type of project you were working on?


We felt like we maximised the studio spaces potential throughout the residency. It particularly suited our very practical methods of working. It was also really helpful in allowing us to document a prototype of the work and present it to the Blast Theory team.


Was there anything that would have improved or added to your residency?


Blast Theory waivered our fee for use of the studio and provided us with all the means to undertake a successful residency. This included an excellent studio space, bedroom, kitchen, internet access and even a leather sofa. Perhaps the only thing that could have helped us further would be some sort of grant for artist’s materials. Overall, Blast Theory were extremely accommodating throughout the residency.

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