On Duration

JG on duration

Performance Research, Volume 17 No. 5 October 2012
Published by Routledge ISSN 1352-8165 (print) ISSN 1469-9990 (online)
To view article Click: On Duration 

LINE DIALOGUES: MARKING TIME AND PROCESS
Jane Grisewood and Carali McCall
The artists’ pages in Performance Research journal’s On Duration October issue present images from our performative-based art practice, which interrogates the relationship between drawing and performance to explore themes of duration, movement and the transmission of energy. The repetitive and continuous action of mark-making in the one to two-hour performances identifies the body as a tool to stretch time and record temporal presence, while challenging how the body experiences duration through drawing. Carali and I have collaborated on drawing performances in the UK and abroad for six years, most recently the two-hour Line Dialogue 5 at the opening of the ‘Again and Again and Again’ exhibition, Vancouver Art Gallery, Canada (view also Again and Again post). 

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Again and Again and Again

JG again and again1 JG again and again2 JG again and again3Vancouver Art Gallery, Canada
12 May – 3 September 2012
The curator of VAG invited Carali McCall and myself to perform a site-specific collaborative wall drawing, Line Dialogue 5 (left), on 25 May for the opening of the summer exhibition, Again and Again and Again: serial formats and repetitive actions. With cameras strapped to our bodies, we repeatedly marked the wall with charcoal and graphite as we moved back and forth along its 40-foot length throughout the two-hour performance.

REVIEW “AGAIN AND AGAIN AND AGAIN: A SERIOUSLY SERIAL EXHIBITION AT THE VAG On at the Vancouver Art Gallery from now until September 3rd is Again and Again and Again, an exhibition about seriality in art. The exhibition touches upon a plethora of latent themes within the seemingly simple parameters of repetition, from the ‘mechanistic repetition inherent in much domestic work and industrial labour, to the multiple versions afforded by technological developments, to the limits of endurance that have been tested by performance artists’. Sol LeWitt, Agnes Martin, Frank Stella, Ed Ruscha’s iconic Los Angeles parking lots: the heavy-hitters are all there. The exhibition isn’t all history, however; it abounds with striking contemporary works as well, from Song Dong’s Fill the Sea, a symbolic comment on the British occupation of Hong Kong, to mesmerizing photographs of Giverny by Stephen Shore, to a sprawling collaborative drawing by Carali McCall and Jane Grisewood.”

Winsor Gallery, Vancouver, 10 August 2012