It’s a pop-up show in the CG05 corridor (near the part-timer’s base room) in which each of us takes one locker and curates an exhibition in the 30 x 30 x 43 cm cubby. It is a response to the locker as a space, a container, a set of limitations, boundaries, a wish granted, or some other response.
Of course, there are only 20 lockers and almost 30 people in part-time 1 & 2 group so this might also turn into an exercise in negotiation, compromise, and teamwork!
What I propose is 1-2 (or more) people choose a locker, and put an object in or installation… and then place a padlock on the door (for safety). During the exhibition, the lock is enigmatically left on or perhaps the door is left wide open for uninhibited viewing.
Click thumbnail to view/download exhibition guide/map.
Exhibition details: a pop-up residency and exhibition (18 – 25 June 2015) in 20 lockable spaces, located in CG05 corridor, at Chelsea College of Arts, 16 John Islip Street, London, SW1P 4JU
Kelise Franclemont, detail of ‘growing up in Illinois’, 2015, installation in ‘lockers’ at Chelsea College of Arts, London. Photo courtesy the artist.
This one’s about memories, and how they are made… in this case, through my sense of smell. Each of 12 scents is carefully crafted and a little story is attached to the bottle. The viewer could ignore my story in favour of their own…
17 Chelsea MA students (12 MA Fine Art, 5 MA Curating & Collections) enter into a week-long cooperative exhibition in which the curators, who see the show for the first time mid-week, will reconsider curation and transform the space. The project is an experiment which aims to “…challenge the ‘occupancy’ inside the regimented frameworks” such as may be found in the academic or gallery setting. From 7-10 April 2015 at Chelsea College of Arts.
Re-examining the relation between artist and curator
The basis of Housed: was about the relation (some might say “hierarchy”?) between artist and curator, firstly in a gallery/exhibition setting, secondly in academia. In the first half of the week, the dozen artists installed the show, collaboratively of course, installing their work with consideration for the siting as well as “conversations” between the nearby pieces.
My proposed work, ‘memoirs of a stone (Part I – The flight from Hyrcania)’ was an installation of drawings on paper, a short looping film with sound, and several found objects, most importantly, a small piece of red shale about 1 cm big.
In the first part of week, a writing desk was situated in the doorway, a small intimate space which may inspire quiet reflection as the viewer may pause and read or handle the drawings. Further along in the exhibition in the next room, one might come across the small red stone on a black velvet jewel block, positioned on the floor.
Kelise Franclemont, installation view of ‘memoirs of a stone (part I – the flight from Hyrcania)’, 2015, installation of video, drawings, collage, and found objects, in ‘Housed’ at Chelsea Cookhouse, London. Photo credit Kelise Franclemont.
Kelise Franclemont, installation view of ‘memoirs of a stone (part I – the flight from Hyrcania)’, 2015, installation of video, drawings, collage, and found objects, in ‘Housed’ at Chelsea Cookhouse, London. Photo credit Kelise Franclemont.
Mid-way through the week, the curators came into the project with a fresh perspective to re-hang the work, possibly creating new conversations and altering the “flow” of the exhibition overall.
‘Memoirs of a stone’ was relocated to another room entirely, which somehow “opened up” the work in a positive way. The little stone, placed next to Paul Abbott’s work (the video/busts on plinths – left image) somehow crystallised for both works the reference to Greco-Roman era, with busts on plinths and the Roman-era mosaic tile. Then the writing desk, even though in a more open space, still allowed for intimacy placed in the corner, adjacent to a large airy window.
Kelise Franclemont, installation view after curator intervention, ‘memoirs of a stone (part I – the flight from Hyrcania)’, 2015, installation of video, drawings, collage, and found objects, in ‘Housed’ at Chelsea Cookhouse, London. Photo credit Kelise Franclemont.
Kelise Franclemont, installation view after curator intervention, ‘memoirs of a stone (part I – the flight from Hyrcania)’, 2015, installation of video, drawings, collage, and found objects, in ‘Housed’ at Chelsea Cookhouse, London. Photo credit Kelise Franclemont.
For many of the artists, the re-curation improved the flow and openness for the exhibition overall, and opened up each work to have more “breathing space”, a marked positive change. If nothing else, the project allowed for a different way to see and experience the works in this very successful week.
A contemporary Orientalist sees herself in Palestine in a series of souvenir postcards… whether or not she belongs or is welcome there…
Because isn’t this what we all do, when we travel to an exotic place, proudly saying “please” and “thank you” in exactly the correct pronunciation of an Other tongue, imagining ourselves for a moment, in asking for the bill, to be mistaken for a native…
while the server, laughing behind his or her eyes, sees right through your identity to a colonial past that is, along with your fantasy, part author to this current moment. Nodding and smiling and complimenting your excellent Arabic, which you both know is harnessed to expectations of generosity, which you gladly bestow for recognition of being seen as you wish to be seen. All of us pretending in this business transaction, an exchange until all accounts are empty.
Kelise Franclemont, ‘Postcards from the land of no people’, 2015, printed cards in a wooden rack.
Kelise Franclemont, ‘Postcards from the land of no people’, 2015, printed cards in a wooden rack.
Kelise Franclemont, ‘Postcards from the land of no people’, 2015, printed cards in a wooden rack.
‘My darling, wish you were here! A camel tour of the Pyramids gives the feeling of what old Testament Egypt must been like way back when…and you can get right up close to these wonders, that is if Humps has the same idea… see you soon, all my love, Kelise’
‘My darling, wish you were here! I was disappointed to find the real Mary’s well in the centre of a car park and it doesn’t even have running water, so tourists are welcome to bring their own bottled l’eau to reenact the biblical water gathering experience.’
Kelise Franclemont, still from ‘Dreams of the Rat Race 2 (No Exit)’, 2014, projected video, duration 15mins (looped), in ‘Office Party’ as part of ‘Office Sessions III’, East India docks, London. Photo credit Kelise Franclemont.
This is the second version of “Dreams of the Rat Race 2 (No Exit)”, a short looping video [15:03] 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… this time, there is a running course marked in the circuit of approximately 330m. The viewer goes ’round and ’round and occasionally, another runners appear in the frame.
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)!
Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Pictured (l-r): Adam Zoltowski, Kelise Franclemont, Jonathan Slaughter. Image courtesy the artist. Photo credit Thomas Butler.
A group of runners will pace around and around and around this uncommonly short course (of approximately 330m) in order to make up the marathon distance of 42K. Some people sign up for runs like this for the challenge, or to achieve a particular fitness goal; others have nothing better to do on a Sunday afternoon.
“Making the mundane tolerable”
What else happens besides work in the workplace? Outside the norm when the conventions of behaviour are relaxed for a while. A ritual that acts as a pressure valve. Making the mundane tolerable.
— Adam Zoltowski, artist and curator of “Office Party” (12 Nov – 5 Dec 2014)
This particular race is a response to the site itself…a circular office would be a perfect (and perfectly ridiculous) race track demonstrating and documenting (thru video and still image), the silliness that is running for 4-6 hours at a time (marathon runners have to be a bit mad no?) as well as the silliness that is containing this 42km in a 350 metre track (130 laps, give or take)…
Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Pictured (l-r): Kelise Franclemont, Jonathan Slaughter. Image courtesy the artist. Photo credit Thomas Butler.
A number of people from the Right to Movement running club have been invited to participate, as a sort of preparation for the upcoming Palestine Marathon in Bethlehem, which sees runners going around a necessarily abbreviated course multiple times because an enormous concrete wall prevents a single circuitous route of 42K.
Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Image courtesy the artist. Photo credit Thomas Butler.
At the same time, this race would be reminiscent of “the rat race” that this office space once embodied; the endless cycle of getting up, going to work, “making a living”, coming home, sleep, get up again next day, and start again. Over and over. Another kind of madness…
Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Pictured (l-r): Adam Zoltowski, Kelise Franclemont. Image courtesy the artist. Photo credit Thomas Butler.
Suddenly this race becomes an experiment in the subjectivity of time and place…there will be no markers along the course to indicate distance, nor will there be a race clock, leaving the runner to decide: when is enough, enough.
What was the point of this “good cause” marathon, we all wondered… a race in which we clamour for attention, look at me doing good things, yet at the end, almost no one would bear witness but the runners themselves? An expression of the artist trying once again to be noticed, to be seen as working hard, striving determinedly to be recognised for her passionate sincere goodwill… soon easily forgotten as a near-nothingness. All that hard work for nothing changed at all. Isn’t that what much of activism feels like, a rush of runner’s high followed by numbness and forgetting as soon as a shiny new start-line banner is unfurled, and the next race is called.
Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Pictured (l-r): Adam Zoltowski, Nalini Thapen. Image courtesy the artist. Photo credit Thomas Butler.
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
Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Pictured (l-r): Jonathan Slaughter, Kelise Franclemont, Robin, Nalini Thapen. Image courtesy the artist. Photo credit Thomas Butler.
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
Kelise Franclemont, Installation view of ‘Dreams of the Rat Race (No Exit)’, 2014, projected digital video, 2:23 mins (looped). Photo credit Kelise Franclemont.Kelise Franclemont, ‘Dreams of the Rat Race (No Exit)’, 2014, projected video, duration 2:23 (looped), in ‘Office Party’ as part of ‘Office Sessions III’, East India docks, London. Photo credit Louise Wheeler.
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)!
Kelise Franclemont, ‘arabic coffee’, 2014, performance and installation in ‘Collaborationem’ at St Saviour’s Church, Pimlico, London. Image courtesy the artist. Photo credit Tom Butler.
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.
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
Kelise Franclemont, drawings from ‘limn reveries’, 2013. Image courtesy the artist.
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.
“limn reveries”
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.
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.
Kelise Franclemont, in ‘Limn Reveries’, 2014, performance and installation, in ‘Live in your Dreams!’ at Crypt Gallery, St. Pancras, London. Photo credit: Thomas Butler.
From ‘Taxi Driver Dialogue’, 2013, audio and installation, 30 minutes, in 2013 BA Summer Show at Chelsea College of Arts, London. Image courtesy Kelise Franclemont.
‘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.
Kelise Franclemont, ‘Taxi Driver Dialogue’, 2013, installation view, in the BA Undergraduate Degree Show at Wimbledon College of Art. Photo courtesy Kelise Franclemont.
Kelise Franclemont, ‘Taxi Driver Dialogue’, 2013, installation view (detail), in the BA Undergraduate Degree Show at Wimbledon College of Art. Photo courtesy Kelise Franclemont.
More links and information about ‘taxi driver dialogue’:
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 ‘Internet killed the gallery star’, 2012, postcard print on paper. Photo credit Dominic Head.
Head writes:
“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’.”
Digital Subversion 2: 14 March 2012
Wimbledon College of Art (Room 213) Click here to download the exhibit guide: DigitalSubversion0002
Kelise Franclemont, ‘QRitique’, 2012, hand-drawing QR code on paper, framed. Image courtesy the artist.
“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.”
It’s a pop-up show in the CG05 corridor (near the part-timer’s base room) in which each of us takes one locker and curates an exhibition in the 30 x 30 x 43 cm cubby. It is a response to the locker as a space, a container, a set of limitations, boundaries, a wish granted, or some other response.
