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‘A walk through Palestine’ installation included in ‘Ruins of Time’ exhibition – The Crypt Gallery, St Pancras, London

This small stone was once part of pleasing mathematics in tessellated patterns… a fan, a leaf, a flower. It remained in that belonging for nearly 2000 years until one day, it was dislocated from its home. In this instant, this fragment was transformed from artefact into another kind of ruin. A relic, this souvenir now belongs to no more than a memory, a resurrected existence in minutes and megabytes, and thus has become something much easier to destroy and to forget.

If you missed seeing “Ruins of Time” at The Crypt Gallery in St Pancras, click the link to walk through the virtual tour herehttps://vimeo.com/154992121 [Vimeo, duration 13:02 minutes]. My work appears at 4:45.

Kelise Franclemont, detail ‘A Walk through Palestine’, 2015, iPhone and video, duration 10:00mins (looped)

More links and information

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  • You can see “A Walk through Palestine” in the upcoming “Ruins of Time” exhibition at The Crypt Gallery, St Pancras, London – 25 through 30 November 2015 – In the first project by London Munich Exchange [LME], 13 British and German artists descend into The Crypt beneath St Pancras to stage “Ruins of Time”, an exhibition of contemporary art that explores “time and its specific expression in the architecture of the site”.
  • A Walk through Palestine” was first exhibited in the MA Fine Art Summer Show 2015 at Chelsea College of Arts, London – 4 through 12 September 2015 – Helena Anderson from Candid Arts Magazine writes, “Some artists whose work stood out among the crowd were Kelise Franclemont, whose video, sound, and found object installation ‘a walk through Palestine (collectable, artefact, relic, souvenir)’ raised important questions of historical accuracy, the ethics of tourism, and cultural heritage”
  • Find out more about “Ruins of Time” exhibition at The Crypt Gallery on their official website
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‘A Walk through Palestine (collectable, artefact, relic, souvenir)’, 2015, installation

This small stone was once part of pleasing mathematics in tessellated patterns… a fan, a leaf, a flower. It remained in that belonging for nearly 2000 years until one day, it was dislocated from its home. In this instant, this fragment was transformed from artefact into another kind of ruin. A relic, this souvenir now belongs to no more than a memory, a resurrected existence in minutes and megabytes, and thus has become something much easier to destroy and to forget.

Even the photos we take on our smartphones, stolen memories are remade to suit our own histories.

As seen in:  

MA Fine Art Postgraduate Summer Show 2015

at Chelsea College of Arts, London

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More links and info about the MA Fine Art Summer Show

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‘lockers’ – pop-up residency and exhibition, Chelsea College of Arts, London

Lockers_flyer_02It’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.

 

 

More links and information about ‘lockers’

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

 

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‘alchemy of the perfect fragrance (growing up in Illinois)’, 2015, found scents and installation

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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…

Part of the ‘lockers’ – a pop-up exhibition and residency in 20 small lockable spaces, at Chelsea College of Arts, London.

18 – 25 June 2015.

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‘Postcards from The Land of No People’, 2015, printed postcards in a wooden rack

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.

MA Fine Art Interim Show
Chelsea College of Arts, London
 
22 January 2015
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Right to Movement Rat Race – Office Party Marathon

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.
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.
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.
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.
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.
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.

More Links and info about Office Party

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.
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.
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Dreams of the Rat Race 1 (No Exit), 2014, projected digital video

(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, 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.
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.

More links and info about Office Party

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
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‘arabic coffee’, 2014, performance and installation

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.
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.

‘arabic coffee’ is part of ‘Collaborationem’, a group exhibition at St Saviour’s Church, Pimlico, from 3-6 July 2014.

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‘taxi driver dialogue, on highway 1, halfway between Jerusalem and Tel Aviv’, installation for BA Summer Show 2013

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.
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.

Watch an excerpt on Vimeo (with subtitles): Chapter 1: Borders and Checkpoints

More links and information about ‘taxi driver dialogue’:

 

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