Public blog post about “Office Party” which mentions also my performance piece on Sunday 30 November, the “Office Party Rat Race”. The image in this photo is from “Dreams of the Rat Race (No Exit)” – a projected video work, duration 2:23 (looped).
(if video doesn’t auto-play, click to watch vimeo here: https://vimeo.com/112634742 )
Dream of the Rat Race 1 (No Exit), 2014, projected digital video, 2:23 (looped)
A short looping video in which I engage with this office space as my memory of my own prior office career… That 20 years always felt like kind of a trap, or like Sartre’s “no exit”… The viewer can be part of this nightmare; as they stand in front of the projection, their shadow becomes included in the memory of that former life…around and around never really getting anywhere…
Installation view at Office Sessions III: Office Party
curated by Adam Zoltowski
More links and info about Office Party
- “Contemporary art and unexpected encounters of the soiree – ‘Office Sessions III’ and ‘Office Party’ – London” on kelise72.com – 25 November 2014
- Watch the party evolve on the “Office Party” blog (Tumblr)
- Learn more about Office Sessions III on Facebook
- Read more about “Office Sessions III” curator and art director, Caitlin Mavroleon on LinkedIn
- Visit Bloomberg New Contemporaries at the ICA, London – 26 November 2014 through 25 January 2015
Exhibition details: “Office Sessions III” is at Anchorage House, 2 Clove Crescent, E14 2BE (East India on the DLR).
“Office Sessions III” is open to the public on all three floors (4-6) on the following dates:
- 27 November 2014: 6:30 PM – 10:00 PM
- 29 November 2014: 11:00 AM – 3:00 PM
- 30 November 2014: 11:00 AM – 3:00 PM
Please note there is also a performance piece by Kelise Franclemont scheduled on this date from 11AM, “Right to Movement Rat Race (an exercise in subjectivity and space)”, so look out for the marathon runners (and maybe stick around to cheer them on)!
- 5 December 2014: 6:30 PM til late
The centuries-old coffee ritual is a custom of deep cultural significance, where this rich dark drink, often served with dried dates or other sweetmeats, is a traditional gesture of warm welcome offered to all guests who happen by. An old Middle Eastern proverb goes something like, “A single cup of coffee creates a friendship that lasts for 40 years”.
My first taste of Arabic coffee was nearly 25 years ago, by the hand of a Palestinian woman who is also my friend. What fond memories I have of the many enjoyable hours accompanied by these tiny cups, and not long after that first afternoon, how proud I was to serve from my own ibrik, a very tasty and authentic “qahweh arabiya” to make my Palestinian husband feel right at home.
It’s many years later, and those friends are miles away in a time that was decades ago; nonetheless, they are never far from mind and even now, I often crave this delicious drink, stirred with so many memories.
In ‘arabic coffee’, I have appropriated this beautiful act of hospitality again as my own, in order to explore an aspect of my personal identity as I create a moment that is enriched by sharing in which I invite guests to share a cup of coffee and a conversation with me, making memories with new friends and old.
‘arabic coffee’ is part of ‘Collaborationem’, a group exhibition at St Saviour’s Church, Pimlico, from 3-6 July 2014.
Group exhibition in which I participated, Februrary 2014. The work that was shown in ‘Live in your Dreams!’ was a performance and installation entitled, ‘limn reveries’.
in Live in your dreams! exhibit at The Crypt Gallery, St Pancras
From 26 February through 2 March 2014, I’ll be doing a drawing/performance piece called “limn reveries”, in a group exhibition “Live in your Dreams!” at The Crypt Gallery, St Pancras Church, Euston, London. The exhibition is curated by Stéphane Verlet-Bottéro, whose research and interests are focused on curation as well as making his own work related to art and science.
Which is just an old fashioned way of saying, I’m recording dreams… Basically, what I’ll be doing is attempting to achieve a quasi-meditative state under which I’ll conduct “automatic” (or subconscious) drawing. The thinking behind the exercise is to listen to meditation sound tracks, whereby I can “open up” my subconscious and access the rich imagery there, and then record or draw what I see.
Or click the link to see a short film documentation of the performance/installation on opening night (26 Feb 2014).
Some of the drawings from the performance and installation:
More links and information
- Overview of the exhibition:
“Underground gallery becomes a dream vault – The Crypt at St Pancras, London” – kelise72.com
- Stephane’s microsite “Live in your dreams!” on myblog.arts.ac.uk
- Curator/artist/writer Stéphane Verlet-Bottéro
- Read more about automatic drawing as an artist’s tool to unlock creativity:
“Artist’s block? Try idea generator no 1: automatic drawing” – kelise72.com
- More info about some of the meditation sound tracks I use when I draw-meditate, including:
Shinka Zen meditation collection by Ilias Glenis (I purchased the set of CDs yonks ago, and unfortunately, at this time, I think the original website http://www.mymonkbuddy.com is closed/down, because I can’t find it anymore! So I have no further info about the “Shinka” programme, or its creator, Ilias Glenis…)
Music for the Mindful Brain by Dr Jeffrey Thompson I’ve found these on Amazon. From info and reviews, these soundtracks seem to have a similar “technology” as the Shinka Zen collection.
‘taxi driver dialogue, on Highway 1 halfway between Jerusalem and Tel Aviv’
2013, installation and digital audio with subtitles, duration 00:30:00 minutes
The listener becomes the conveyor of an unlikely conversation between two taxi drivers that starts and ends somewhere between Tel Aviv and Jerusalem and back again.
Watch an excerpt on Vimeo (with subtitles): Chapter 1: Borders and Checkpoints
More links and information about ‘taxi driver dialogue’:
- “‘Taxi Driver Dialogue’ joins ‘Hype’ exhibition at Chelsea College of Arts, London” – 9 September 2013 on kelise72.com
- “‘Hype’ exhibition opens Fresher’s week at Chelsea College of Arts, London“– 22 September 2013 on kelise72.com
Kelise Franclemont, ‘broken window’, 2013, charcoal-drawn digital animation, duration 00:00:22s (looped)
A brief memory of a broken window in Nablus, Palestine. What can be broken, what can be fixed, neither remains.
More links and information about ‘broken window’
- “Drawing is highlighted at Wimbledon BA Summer Show 2013” on kelise72.com – 14 June 2013 by Kelise Franclemont.
- View “broken window” on Vimeo [22 seconds]
a two-part project/installation curated by Dominic Head, showing new work by artists:
Dominic Head, Debra Singh, and Kelise Franclemont.
Digital Subversion 1: 5 March 2012
Wimbledon College of Art (PSR)
Click here to download the exhibit guide: DigitalSubversion0001
“Kelise Franclemont’s practice expresses the predicament of art in the digital age through a witty manipulation of canonical works of art using the tools available to digital technologies. Internet Killed the Gallery Star (2012) is a subversion of Da Vinci’s iconic Mona Lisa, displayed at the Louvre Gallery, Paris, whereby the figure is morphed, rotated and stretched to appear as a corruption of already broken data streams. Franclemont reduces the size of the portrait to that of a postcard, embellishing it with a frame that one would consider kitsch, given the content and context of the piece. She asks us to consider the relationship between canonical works of art and exclusivity, and points to notions of ubiquity in the understanding of ‘high art’.”
see Head’s blog for more on the exhibit:
Digital Subversion 2: 14 March 2012
Wimbledon College of Art (Room 213)
Click here to download the exhibit guide: DigitalSubversion0002
“Kelise Franclemont’s second work is at the threshold between canonical works of art and all-encompassing cyberspace. The QR Code has become a common marketing device in the consumption of Western products. Franclemont here uses it as a tool for viewing works of art, making the distinct correllation between the art object and the marketplace. Viewers must ‘activate’ the work through the technologies of the smartphone, in turn raising concerns as to the ‘exclusivity’ of art and the identity of its audience. The QR Code becomes therefore a barrier to the truth of the artwork, it becomes the promise of something greater than itself, a link to another world, another space with unforeseeable consequences.”