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Talker Catalogue. Talker Catalogue is a research project – in the form of a series of performances, that aims to propose alternative strategies for assembling and recounting a history of performance practice. Presented at several exhibition venues, it was also presented as a performance paper at the conference Inner Movement: the motor dimension of imagination, University College Ghent and developed into a text published in Not a Day Without a Line: Understanding Artists’ Writing, Academia Press, 2013, Ghent.

Lookup NU author(s): Giles Bailey


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Publication metadata

Artist(s): Bailey G

Publication type: Exhibition

Publication status: Published

Year: 2011

Number of Pieces: 4

Venue: Van Horbourg - Art in Space,

Location: Basel, Switzerland

Source Publication Date: 25 Sept – 22 Oct 2011

Media of Output: Portfolio

Notes: Talker Catalogue is an ongoing research project initiated in 2010 that aims to interrogate the reductive tendencies in assembling and recounting a history of performance practice. In doing this through various iteration in print, exhibition and live performance the project’s constituent elements challenge and propose alternatives to traditional linear, sequential, ‘cause and effect’ historiographic models. Each of the four performances that constitute the project (Exit THE AZTEC, The Nineteen Sixties, Tom/Lutz: Two Scenes in 1983 and All Whirlwind Heat and Flash) address, not the artist’s body, but rather her/his subjectivity as a reader or interpreter of information. Working from the details, fragments, documents or footnotes of what could be considered as ‘the history of performance’ these performances expand and reconfigure this to provide a new commentary and reconsideration of history writing’s status. By experimenting with a range of modes of public address (explicatory, academic, dramatic, discursive, anecdotal) texts were devised to be delivered as monologues as an extension of the process of reading and rehearsing. Through repetition, collage and speech a new descriptive mode was developed in which writing is expanded beyond the page and actualised via my voice as a singular speaking subject. In doing this I was able to test the statuses of these modes of address while responding to a contemporary cultural condition where media and information hierarchies are in flux as a result of internet usage. The performances interrogated the particularities of certain visual material by integrating it into the live scenario. This introduced and problematised questions of appropriation, image reproduction and authorship for audiences.