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interdisciplinary

JIM FINDLAY ON THE DESIRE FOR CONNECTION AND THE DEXTERITY OF ART

Jim Findlay. Credit Pavol Liska.

Jim Findlay. Credit Pavol Liska.

JIM FINDLAY works across boundaries as a theatre artist, visual artist, and filmmaker. His recent work includes Vine of the Dead (2015), Dream of the Red Chamber (2014), and Botanica (2012). His video installation Meditation, created in collaboration with Ralph Lemon, was acquired by the Walker Art Center for its permanent collection in 2011. Findlay is a founding member of artists' group Collapsable Giraffe and performance space The Collapsable Hole. His work has been seen at BAM, Lincoln Center, Carnegie Hall, Arena Stage, A.R.T., and over 50 cities worldwide, including Berlin, Istanbul, London, Moscow, and Paris.

 

We’re all here. Alone and together.

 

Odyssey Works: What are you trying to achieve with your art?

Jim Findlay: I’m just trying to achieve some art with my art. I’m pretty satisfied when I feel like I’ve done that. 

Thinking of the work I make in terms of other senses of "achievement" feels like trying to change a tire with a poem—which sounds like a good way to make art, even though it’s a stupid way to change a tire.

I’m basically down with the idea that what makes art unique is its uselessness. If its use is immediately apparent, then it’s hard for it to be interesting. You have to look at a wrench for a really long time to see the poetry in it, because it’s hard to stop seeing the wrench. But if you can make something that's interesting and also quite apparently useless, then I feel like that’s something that fires up the curiosity neurons. 

 

Vine of the Dead . Credit Paula Court. 

Vine of the Dead. Credit Paula Court. 

 

OW: Why integrate multiple disciplines? What is the best way to approach this?

JF:  Approach it by just diving in and using it, whatever it is. Use it wrong, use it stupidly, use it as incorrectly as possible. Don’t fall into the trap of having to understand it before you try it. It’s not about mastering something, it’s about bending it to its own special state of uselessness.

Humans are omnivores, utter generalists, pansexual, and inherently curious. We are probably one of the least specialized species on the planet. Why would we be wildly dextrous and flexible in every other aspect of our existence, but not in our art-making?

I find words and speech much more foreign than the physics of electrons and photons or the elaborate syntax of contemporary digital language. We’re living in a time of widespread visual and sonic literacy. Lay people are incredibly sophisticated about the language of the jump cut and the slow fade. Using multiple disciplines feels quite organic. I don’t think about it much. I just do it.

 

I think the desire for connection and the impossibility of it pretty much sum up the whole of human experience, from the criminal to the holy.

 

OW: Speaking of combining forms, your work frequently combines recorded and live performance. What is the reason behind this? 

 JF: It’s so much more mixed up than anyone can imagine! A lot of the media work I do is predicated on live performers using the technological medium, sometimes swimming in it. Integration of media for me means that it’s integrated into the bodies and actions of the performers. For example, in Dream of the Red Chamber, there is constant video presence in a truly epic way. But a deceptively large portion of that video is live. The technology’s main function in the world of the piece isn’t its content. Rather, its most essential function is that it occupies the performers' actions. I enjoy watching people struggle to do something difficult; using technology in performance in a rigorous way is difficult, especially when it’s largely controlled by the performers themselves. 

 

OW: A lot of your work has an epic quality. Yet it has also been described as "intimate." This seems counterintuitive, as we usually associate intimacy in art with a more minimalist aesthetic. How can a vast scope be intimate?

JF: Creating dichotomies, tensions, and seemingly incongruous feelings is something that is very conscious in my work. And I think that we never feel more intimate to ourselves than when we feel ourselves small inside the vastness of life and the universe. There’s something about loneliness that’s not on the surface often, but that nonetheless is a strong undercurrent to everything I am. I think the desire for connection and the impossibility of it pretty much sum up the whole of human experience, from the criminal to the holy.  

 

Dream of the Red Chamber . Credit Paula Court. 

Dream of the Red Chamber. Credit Paula Court. 

 

When I make worlds—and to me, making a piece is like making a world because it has its own set of functions and rules and features—I always want my worlds to have their own integrity. They don’t have to be realistic, or operate on the same principles as our experience, but they have to make sense on their own terms. I think that epic feeling in my work may come from my desire for a piece to have its own special autonomous feeling. I feel like the intimacy element is even more essential, and that comes from my real desire to just be there with everyone. The performers and I are not going to pretend to be other people, at least not in ways that aren’t utterly transparent, and you don’t have to pretend you’re not here either. We’re all here. Alone and together.

 

OW: In your performance Dream of the Red Chamber, the audience is encouraged to experience the work while drifting in and out of sleep. How does this enhance the experience? What is the connection between dreams and art?

JF: The piece makes a simple proposition: What happens when we disrupt the usual transaction between the audience and the performer? What if the audience doesn’t have to pay attention and the performer is released from their duty to entertain? Everything in the piece is in service of this proposition in some way.

 

Did I make that? Did she make that? Did it happen? Does it matter?

 

I also admit that I have a lot of firsthand experience of sleeping in theaters. And I always find the haze of liminal states between being asleep and awake very pleasant. So when formulating the piece, I had a pretty good idea of the experience I was proposing to the audience. 

The other aspect of this that became important for me on an aesthetic development level was that it forced me to relinquish control of the experience. A friend at the show fell asleep, and in her dream the show continued, but there was a large curtain near where she was sleeping. The performers made a big show of opening this curtain, and behind it was this very large beloved painting she had done 20 years ago that she thought had been lost forever. It was still lost in real life, but was returned in the dream. She woke up at the show crying because we had returned her painting to her, and it took her five to ten minutes to sort out what the reality was and what had been in her dream. Did I make that? Did she make that? Did it happen? Does it matter? That’s a pretty good demonstration of the connection between dreams and art, I think.
 

OW: Who are your influences?

JF: Captain Beefheart, La Monte Young, Elizabeth LeCompte, Reza Abdoh, Derek Jarman, Mark Twain, Kathy Acker, Werner Schroeter, Rainer Werner Fassbinder, Ralph Lemon, Amy Huggans, Iver Findlay, Radiohole.

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Interview by Ana Freeman. 

 

Leanne Zacharias on Preventing Passivity

Credit Kevin Bertram.

Credit Kevin Bertram.

LEANNE ZACHARIAS is a Canadian cellist, interdisciplinary artist, and performance curator. She has been breaking ground in the post-classical music landscape since the 90s, in collaboration with artists of all stripes. Zacharias' ongoing performance project Music for Spaces reimagines concert, public, and natural spaces with sound. Other notable work includes CityWide, which consisted of simultaneous recitals by 50 cellists to open the International Cello Festival, and Sonus Loci, a winter sound installation on Winnipeg’s frozen Assiniboine River. Her cello performance formed the climax of Odyssey Works' piece for Rick Moody, When I Left the House It Was Still Dark

 

A performance works best when everyone feels they are contributing.

 

Odyssey Works: How do you understand immersivity and interactivity? How do they work and what is the point?

Leanne Zacharias: The point is to prevent anyone, audience member or performer, from operating in anything resembling a passive or inconsequential mode. A performance works best when everyone feels they are contributing—via navigation, work, or some form of interaction.

 

OW: Why create experiences?

LZ: Experiences do more than most performances. They are lived rather than witnessed, so they exist differently in the memory. I think the best art is of this nature. As a performer, the task of creating an experience for someone shifts the intention from self-satisfactory pursuit to gift-giving. In giving a gift to someone, you ask different questions: What do they need? What do they want? What would they like?

 

OW: What are you trying to do with your work?

LZ: To enable close encounters with live performance, sound, and other people. To create musical scenarios that engage both listeners and players in a more direct way than typical concert settings do. To enhance awareness of gesture, place, and time. To ask what the audience would like that they don't know of yet.

 

Credit Kevin Bertram.

Credit Kevin Bertram.

 

OW: What is the collaboration between artist and audience as you see it? Where is the artwork itself located?

In many concerts and performance situations, there's little to no collaboration between artist and audience. There's an agreement on the terms, often in the form of a transaction: audience pays admission fee, artist delivers a program. This agreement is a contract and playbook. It outlines expectations. To me, the most interesting place to find the artwork is at the explosion of that transaction—the moment when the audience realizes they're being offered a different type of contract, a new playbook with unorthodox or unclear terms. 

 

A heightened sensitivity to space, surroundings, and people invites elements of surprise and risk; it requires and builds trust, and creates an exciting tension that is integral to great performance.

 

OW: What is the role of wonder and discovery in your work?

LZ: Crucial. If the work is a musical composition, the performer's role is interpretative. Even if a piece has been performed dozens or hundreds of times, it must be made new—through interpretive decisions, its placement in proximity to other musical works, its placement in the environment, or the placement of the performers and audience. Ideally, everyone is experiencing the discovery of a new interpretation of the piece together, in real time. I think of the entire performance, not just the music, as the work, so I attend to all the details: musical landscape, physical landscape, movement, proximity. A heightened sensitivity to space, surroundings, and people invites elements of surprise and risk; it requires and builds trust, and creates an exciting tension that is integral to great performance.

 

Credit Katalin Hausel.

Credit Katalin Hausel.

 

OW: Who are your influences? Can you describe an experience in which art changed you?

LZ: I'm influenced by knowledge and language beyond my home base in music: architects on community, designers on space, choreographers on movement, visual artists on images and materiality, theatre artists on presentation, and athletes and yogis on repetitive practices. I'm also inspired by naturalists, wilderness gurus, and explorers. I admire their embrace of wildness and their expeditions in search of sudden, fleeting beauty.

My first encounter with Janet Cardiff's Forty Part Motet was significant. It didn't change me so much as distill or crystallize a fundamental part of my identity as an artist. The piece consists of forty individually recorded voices each singing their part of  Thomas Tallis' Spem in alium, playing through forty speakers placed throughout the space. It is a stunning, complex installation and a beautiful experience with a single musical work that never changes. Her piece succeeds as a rare opportunity for art-goers to become listeners, and get close to each voice. What it doesn't do is bring the piece to life as a unique performance, or allow listeners to get close to the musicians' real-time efforts, the physical and intellectual work of executing a single part of a grand composition that is unique with each iteration.  I had a very strong reaction: I realized my purpose as a musician involves advocating for liveness and finding ways for live performance to involve the level of accessibility, interaction, and immersion of Cardiff's piece. Come to think of it, the experience of performing for Rick Moody in the Straw Bale Observatory is a perfect example of achieving this.

Clarinda Mac Low on Accessible Mysteries

Clarinda Mac Low. Credit Ian Douglas.

Clarinda Mac Low. Credit Ian Douglas.

 

Clarinda Mac Low was brought up in the avant-garde arts scene that flourished in NYC during the 1960s and '70s. Mac Low started out working in dance and molecular biology in the late 1980s; she now works in performance and installation, creating participatory events of all types. Mac Low is the executive director of Culture Push, a cross-disciplinary organization encouraging hands-on participation and hybrid ideas.

 

 

Odyssey Works: How do you understand immersivity and interactivity? How do they work and what is the point?

Clarinda Mac Low: In the realm of theatre and art, immersion and interaction are, to me, two very different propositions. I see immersion as a sensory bath, or flood, shifting perceptual terrain through a number of different techniques. Interaction doesn't require immersion, but they sometimes go hand in hand. Interaction can take a million different forms. It can be as simple as a conversation between strangers, and as complex as a highly responsive environment programmed to sense human presence and shift accordingly. Also, I'd bring up one other term here: participation. I see participation as an invitation to an audience to become co-creators of a situation. As with interaction, this can act on many levels, from a full collaboration to a brief contribution. When a work is participatory, this means the interaction between the originating artist(s) and those who come to the experience is what completes the work.

 

OW: Why create experiences?

CML: Everybody creates experiences. It's what humans do with each other. If by "experience" you mean a live work that moves through time with an audience instead of a more static work that's fixed in place, it's because I see experience as a common denominator. We all experience time passing, and we all have relationships to others and to our surroundings. Highlighting these states, provoking thought and action around our modes of existing, and allowing time for contemplation of these issues seem like valuable acts to me.

I create accessible mysteries designed to reach under the ribs and connect to the phantom organs of empathy and decisive action.

OW: What are you trying to do with your work?

CML: I work to generate situations where the viewer and viewed mutually affect each other, and create experiences that wake up the body and mind. I explore hot subjects through a cool lens, using the scientific method to expose the ways we exist physically with each other, with technology, and with history. I create accessible mysteries designed to reach under the ribs and connect to the phantom organs of empathy and decisive action. My work deals with real-world issues, and it is hard to pin down and categorize. Some of my recent artistic experiments were “Free the Orphans,” which encouraged people online and in public to adopt orphan works (creative works whose copyright holders are impossible to identify); “The Year of Dance,” an exploration of dance performance as ethnography with data analysis; “Cyborg Nation,” where a cyborg interlocutor acted as a connection between human and machine worlds; and “River to Creek,” a roving, participatory natural history research tour of North Brooklyn. 

Participants in "River to Creek" wearing sponge shoes to replicate the experience of walking in the marshlands that once occupied North Brooklyn. C redit Carolyn Hall.

Participants in "River to Creek" wearing sponge shoes to replicate the experience of walking in the marshlands that once occupied North Brooklyn. Credit Carolyn Hall.

 

OW: What is the collaboration between artist and audience as you see it? Where is the artwork itself located?

CML: For live art, there is always a collaboration, even if the audience is sitting still, watching a performance on a proscenium stage. Anyone who has ever performed or directed work in that context knows that the watchers profoundly change the watched. When I worked more in theatrically based performance, I always located the artwork in the electric connection between artists and audience. Now that audience members are often direct collaborators in my live artworks, the art is still in that connection, but it's also in the creation of the actual experience. We ourselves become the artwork, and our relationships are visible, tangible, and available.

 

OW: What is the role of wonder and discovery in your work?

CML: My work is based in somatic practice. By involving the audience in an actively physical decision-making process, I create a variety of situations and environments. I rely on a grab bag of tools that emphasize the intangible, including installation, media and technology, performance, dance and other physical action, directed wandering, unscripted conversation, and imaginative play. 

A performance of  40 Dancers do 40 Dances for the Dancers , in which 40 people interpreted instruction poems from Jackson Mac Low's  The Pronouns: A Collection of Forty Dances for the Dancers . C redit Ian Douglas.

A performance of 40 Dancers do 40 Dances for the Dancers, in which 40 people interpreted instruction poems from Jackson Mac Low's The Pronouns: A Collection of Forty Dances for the Dancers. Credit Ian Douglas.

I often reframe our relationships to architectural space and to urban public interactions. I create interventions into everyday life and infiltrations into unexpected sites in a wide variety of communities, from the streets of Lower Manhattan and the Queens Botanical Garden to an abandoned church in Pittsburgh and a park in Siberia. I try to engage audiences in the context of their real lives and ask them to interact differently with each other and with their surroundings. 

 

I saw the value of going beyond beauty, beyond expression, even beyond a certain conception of ‘human.’

OW: Who are your influences? Can you describe an experience in which art changed you?

CML: Whenever I'm given this kind of question, Robert Smithson always comes to mind. Then I feel like that's not right, because what changed me was not Smithson's art per se, but the writing he did around that art. Then I feel like it's fine, because his writing about his art was also his art, and his ideas are an artist's ideas. Smithson's work opened a world of possibility to me. After many years of existing within an avant-garde arts context, as the child of an experimental poet and composer and a visual artist, through Smithson I finally got itI connected to my legacy. I saw the value of these strange and stringent principles I'd grown up with. I saw the value of going beyond beauty, beyond expression, even beyond a certain conception of "human." I am also influenced by the intensity of physical experiences and personal relationships engendered by a long-term dance practice. Working as a professional movement artist for many years gave me access to ways of being and relating that are unusual, rare, and tremendously valuable.

TIU DE HAAN ON ACCESSING WONDER

Tiu de Haan. Credit Neal Houghton.

Tiu de Haan. Credit Neal Houghton.

 

TIU DE HAAN is an Oxford-educated celebrant, creative facilitator, writer, and singer. She marries, buries, and names people, as well as creating experiential workshops that remind people of all ages how to see the magic in the mundane.

My measure of professional success is if I have managed to make people cry.

Odyssey Works: What are you trying to do with your work?

Tiu de Haan: My work is about creating experiences that connect people to the heart, to the possibility of wonder, to each other, and to their own creativity.

As a celebrant, I create non-religious ceremonies, like weddings, funerals, and baby namings, as well as other rituals of all kinds. As a facilitator, I create experiential workshops that wake up the imagination, reboot our innate playfulness, and shift our perspective to see the wonder in the world.

My measure of professional success is if I have managed to make people cry. Or at the very least, get a little shiny-eyed. And I’m only half joking when I say this.

The celebrant work I do is about creating rituals that honor the big moments, the transitions of life, love, and death that merit a moment of reflection, emotion, and celebration. As my line of work entails tackling the big subjects, namely love and death, I have this incredible privilege of co-creating the emotional heart of some of the biggest days of people’s lives. So, yes, weird as it may sound, I am trying to make people cry. Or, to put it another way, to create an experience in which everyone present will feel truly touched.

In the case of the experiential workshops, I aim for a slightly less dramatic result—tears are welcome and they have often arrived, but when I send people off on adventures that crack open their capacity for wonder, I look for shining eyes at the end, rather than out-and-out weeping. An openness, an aliveness, an awe, a joy, visible on the features.

In both cases, my aim is to create moments of real meaning and magic, unique and profound experiences where people connect to the heart as well as to each other.

 

OW: Why create experiences?

TdH: Bringing creativity to the matter of making meaningful experiences is to marry our innate imagination with the very stuff of being alive.

We all create experiences as a matter of course, whether intentionally or not. It’s just that some of us choose to use it as our artistic medium, which is when things get really interesting.

When treated as an art form, experience is like no other medium. It can encompass all sorts of other art forms and weave them into one powerful whole.  It can incorporate the written and spoken word, music, scent, flavor, light, color, movement, and the creation of a physical space that houses the experience itself. It creates a liminal field where everyone has the possibility of contributing to the experience with both their attention and their intention, even if they don’t play an obviously active role. It harnesses emotions and channels them towards a point of focus that has the power to transform. It is inclusive, nebulous, malleable, and potentially profoundly meaningful.

Candle ceremony for families. Credit Robert Davidson.

Candle ceremony for families. Credit Robert Davidson.

It spans all emotional states and needs, too—a bespoke experience can be calibrated to serve joy or grief, silence or celebration, playfulness or empowerment. It can be solitary or communal, simple or complex. It can feed body and soul as well as heart and mind. It cannot be captured and it is fleeting—and all the more beautiful for it.

 

OW: What is the collaboration between artist and audience as you see it? Where is the artwork itself located?

TdH: In my line of work as a celebrant, the term “audience” doesn’t really cover what is going on. Similarly, with the experiential workshops, the artwork is the experience of the people who participate in it. The content is in part my contribution, but ultimately, it is the emotions, realizations, words, thoughts, and experiences of those who step into the frame. They are not merely passive receptors. They are making it what it is by being a part of it, by bringing their energy to the collaboration.

Their participation is what gives the moment the power to transform. I am there as a facilitator, a catalyst, a guide, a creator of the parameters, and the holder of the space—the frame in which we co-create the magic of the moment.

 

OW: What is the role of wonder and discovery in your work?

TdH: The light on my horizon, the point by which I steer in all that I do, is the possibility of wonder. To me, wonder speaks to the moments when something beautiful, astonishing, and enlivening happens and our worldview tilts on its axis and new ways of seeing open up — if only for an instant. It is the state that makes life feel like an adventure. I seek it selfishly, in how I live my own life and navigate my own waters, because it is what lights me up. In so doing, I have picked up a lot of clues along the way as to how to share my findings with others, through the myriad treasures of artists, teachers, explorers, and livers of magical lives throughout our world—as well as through the experiences I create.

There are few clearly defined maps to show us how to reconnect with that universal human experience of awe, delight, and mind-opening possibility—and I emphasize the fact that it is a possibility rather than a probability, because accessing wonder is an inexact science. It exists in the moments, in the gaps, in the tributaries and the serendipities, so you can’t guarantee its appearance. But you can create the optimum conditions that will allow it to happen all by itself.

This is where my work resides. Exploring those conditions, through non-religious experiences, and learning for myself and others how to access and prompt the possibility of that state of wonder at will, in all areas of life, including love, work, and play.

 

OW: You have a unique process for creating your work; talk about how you developed it.

TdH: There is a clear distinction between the process for my celebrant work and the process of the creation of the experiential workshops.

However, in both cases, I start with the moment of most emotive power in mind and work back from there.  The expressions on the faces, the richness of the silence, the tears in the eyes, the inaudible sound of hearts opening in unison following a moment of magic, connection, and power—these nebulous things are my guides and my goals. I keep coming back to them when logistics and practicalities start to usurp the to-do list. I navigate by the light of the heart, and it always shines through if you know to give it due attention and care.

The celebrant work is always bespoke, so that the process is about getting to know the stories of the people with whom I am collaborating. I spend as much time as possible with the people I am marrying, the families of those who have died, the parents of the baby I am naming, or the person who needs a particular ceremony to be created just for their particular needs. The questions I ask are intimate, spanning everything from divergent spiritual traditions, to dysfunctional family dynamics, to the biggest moments that have defined their lives, to the meaning of love itself. I empathize with their emotions, their hopes, and their fears. I build trust, I become their confidant, and I help them to channel their thoughts into a creative container that reflects what is truly important to them.

Marrying a couple under a 500-year-old oak tree. Credit Benjamin Thomas Wheeler.

Marrying a couple under a 500-year-old oak tree. Credit Benjamin Thomas Wheeler.

In order to be able to do my job well, I need to tune myself up to be at the top of my game, both inner and outer, so I have practices I use daily to keep myself present, healthy, and emotionally open. I choose to work from the heart, and so sometimes this means being with raw, visceral grief, as well as vast, heart-cracking love. I am configured for it. I know both love and death all too well. And I consider myself blessed to be able to be a part of such powerful experiences in the lives of others, to learn from them, and to share what tools I can with anyone who chooses to collaborate with me. It is intense, glorious, profound, and the most fulfilling work imaginable.

 

OW: How does your art practice influence your life?

TdH: I don’t know where one begins and the other ends. Since my medium is experience, the way I live my life is my art practice. Without wanting to sound preposterously pompous, the art of living a creative life blurs all boundaries between experience and the creativity with which I try to live. I mean, ok, not every day contains life-changing moments of wonder and magic. But I might argue that that’s just a failure of the imagination.

The world can be a wonderful place if only we know how to see it as such. And that is where a shift of perspective, a reinvigoration of the imagination, and a retraining of our senses can take us. That is what I see as my art practice—indistinguishable from life itself, because it’s not what we see, it’s how we see it. And in seeing the magic, I find ways to draw back the invisible curtain so that others can see, too.

 

OW: Who are your influences? Can you describe an experience in which art changed you?

So many. But in terms of experiences that move the heart, it has to be Marina Abramovic. It was the last day of her residency at the Serpentine Gallery in London, in August 2014. The exhibit consisted of only Marina and her facilitators, the public, and time. I should also say that I was in a very intense and dream-like grief. A week earlier, a huge love of mine had died.

I entered this big white space full of people in silence and stillness. About an hour after I entered the space, I approached a plinth in the middle of a room.  I stepped on and took my place in one of the concentric circles of people, and closed my eyes. It didn’t take long before I felt this enormous sense of love and gratitude cracking me open. I started to hear a kind of voice in my head, which started to list all that I was grateful for. The love I had felt and still felt for the man who had died and the love he had felt, and perhaps still felt, for me. The very fact that people could gather in such a profoundly beautiful way, without a deity or a discipline to draw them together. I became quietly euphoric, tears streaming down my cheeks. I opened my eyes to see that the plinth had now filled up, circles upon circles of people standing in silence, overflowing into the rest of the space which was now full of people also standing with eyes closed and palms open, their faces beatific, intense, smiling, crying, joyful, alive, still.  I stood there a little longer, then I decided to leave while it remained at this silent crescendo.

As I gathered up my things, I saw that there was still a huge queue outside, hoping for a glimpse of the artist. I was asked by a security guard to hang back inside. When the exhibition ended, Marina appeared. She came out to speak to the waiting crowds and the news cameras that clustered together in the rain. When she finished, the security guard told me I could leave. But she was still standing in the doorway and so I had to go right past her in order to exit. She stopped me, held me in an embrace, looked me in the eye, and asked me how I was. I simply said “I am in my heart” and smiled with the tears in my eyes. “Yes! Yes!” she replied, and gave me a huge hug. And then I walked off into the rain, heart open wide, mind still overflowing with gratitude, soul restored, grief released—forever changed.