{"id":188,"date":"2009-08-18T20:00:50","date_gmt":"2009-08-18T20:00:50","guid":{"rendered":"http:\/\/rachel.we-are-low-profile.com\/?p=188"},"modified":"2017-05-31T15:04:02","modified_gmt":"2017-05-31T15:04:02","slug":"tonight-matthew-im-going-to-be-dickie","status":"publish","type":"post","link":"https:\/\/rachel.we-are-low-profile.com\/blog\/tonight-matthew-im-going-to-be-dickie\/","title":{"rendered":"Tonight Matthew, I\u2019m going to be Dickie\u2026"},"content":{"rendered":"

(Or, at least, that\u2019s how it turned out but I didn\u2019t quite know it yet.)<\/p>\n

\"Elodie<\/p>\n

Elodie Pong’s Secrets For Sale<\/strong><\/p>\n

Down to my last \u00a32.60 on my final day in Edinburgh, I leave the house for a day of looking at art \u2013 always a reliable, cash-free option! After spending an hour (yes, an exceptionally long time) with Elodie Pong<\/a>\u2019s video piece Secrets For Sale<\/em><\/a>, I find my mindset is well and truly altered. I feel unnecessarily harsh for dismissing so lightly the slightly awkward and incredibly timid lad I passed earlier on the steps of the RSA holding a handmade sign that read \u201cFree Hugs\u201d. Maybe I am as guilty as anyone of orchestrating intimacy in the search for a feeling of true communication with my fellow human beings.<\/p>\n

At first glance, Elodie Pong\u2019s piece may seem to be treading a well-worn path, formed, as it is, around the hackneyed pretence of sharing secrets with strangers, a genre that could be described as \u2018confessional\u2019 artworks. However, I would argue that Secrets For Sale<\/em> offers an alternative approach to these ideas. Pong carefully sets up a situation where audience-members-cum-participants are invited to enter into a contract with the artist, trading their secrets for cash, in an elaborately constructed environment that initiates an acutely intimate transaction. The participants, or secret-sellers, seem particularly thoughtful. Their secrets are not given away casually, as they are required to consider what they are agreeing to at each stage of the process. They can choose varying levels of anonymity, how much to reveal and how much to retain and, of course, can choose whether or not they actually tell the truth.<\/p>\n

Maybe it was that many of the subjects of the video are French speakers (for me, immediately engaging), maybe it was that it was shown in the RSA on a relatively small monitor with headphones (which meant only one viewer at a time could watch the video piece), or maybe it was the deadpan narrative method in which the video documented each stage of Pongs\u2019 original installation, that allowed me as a viewer to put myself in the place of the participants.<\/p>\n

You can see a trailer for the piece at http:\/\/www.elodiepong.net\/secrets4sale1.html<\/a><\/p>\n

After a short detour to the galleries on Cockburn Street, I make my way to the Forest Fringe<\/a> \u2013 a not-for-profit artist-run space that has been putting on a BAC assisted microfestival for the last number of years in parallel to Edinburgh\u2019s increasingly corporate and, at times, utterly overwhelming annual Fringe.<\/p>\n

\"\"<\/p>\n

Once I have dutifully handed over my ID (in a procedure incredibly reminiscent of Janet Cardiff<\/a>\u2019s Missing Voice: Case Study B<\/em><\/a> audio piece at the old Whitechapel Library), I am presented with an MP3 player, headphones and a map to the nearest Tesco Metro. The spoken introduction to Rotozaza<\/a>\u2019s piece Wondermart<\/a> <\/em> prepares me for the micro-theatrical culture jam that follows on my trip around this particular supermarket, where amongst other things I find myself stalking an Italian-looking woman, standing for too long with the door of the (last remaining functioning) freezer cabinet open and later, uneasily contemplating the theft of a 7p pack of \u2018basics\u2019 strawberry jelly, all because of my willingness to follow the spoken instructions played through my headphones.<\/p>\n

Even though I know I can disregard any of the requests that are made of me, something about the situation makes me feel satisfyingly uneasy and I am glad of the opportunity to \u2018play\u2019 with the space I so often visit out of necessity and a sense of duty. I start to wonder if anyone else in the shop is also doing this piece, whether the security guards have clocked and are trying to decode my suspicious behaviour and whether anyone does actually go to supermarkets to pick up women like people used to talk about in the mid 90s.<\/p>\n

On my return to the FF, the girl on the door convinces me to write in the visitors\u2019 book and reluctantly I agree to do so. Before I mange a to step outside again, she has also signed my up to \u2018see\u2019 a show at ten to six, saying that she\u2019ll waive the usual \u00a35 deposit because she trusts me. With only the scantest of details \u2013 that they\u2019ll \u201ctell me exactly what to do\u201d, I return at the allotted time.<\/p>\n

Rotozaza\u2019s piece GuruGuru<\/em><\/a> takes place each hour, for this week only, for an audience of five, who also (as it turns out) take on the role of performers of the piece. Each \u2018participant\u2019 is given a name sticker (this is when I become \u201cDickie\u201d) and the group are shown a sign outlining the groundrules for the piece. We don\u2019t know each other and (I think) we don\u2019t know exactly what will happen. Much like Breathe<\/a>\u2019s offering Just To(o) Long(?)<\/em><\/a> at the Fringe in 2007, being an audience member for GuruGuru<\/em> comes with a certain level of implication (you need to \u2018play along\u2019 to a certain extent and speak in a voice loud enough for others to hear) and a feeling of responsibility to not reveal the exact details of \u201cwhat went on\u201d to other after the event.<\/p>\n

\"Rotozaza's<\/p>\n

Rotozaza’s GuruGuru<\/strong><\/p>\n

Without giving away too much, I can tell you that for 50 minutes, I sat on a named seat (\u201cDickie\u201d to correspond with my name tag) in a non-confrontational group therapy style C-shape\/semi circle with the other four participants, facing a TV monitor, while we were each sporadically given instructions for what to do and say via headphones. And I thoroughly enjoyed it.<\/p>\n

As someone with a strong dislike for enforced participation and \u2018organised fun\u2019, this may seem to be quite a turn up for the books, but there could be a number of factors that contributed to this. Refreshingly, Rotozaza<\/em> choose to keep the workings of their technology on-show \u2013 each of us in the room can easily see and work out that what we are hearing through the headphones is individual and unique to us, but synchronised with the rest of the group and the TV monitor. This creeping awareness of the \u2018nuts and bolts\u2019 of the piece actually serves to increase it potency. For example, when I overhear what I\u2019ve identified as a special prompt sound on \u201cEddie\u2019s\u201d headphones, I know he\u2019s going to do a particular gesture \u2013 what could, at first, be read as a technical flaw (sound overspill) is actually a really useful device to remind each of us in the room of the ways in which the situation is constructed.<\/p>\n

It is this same set of constructs that give me a feeling of uncertainty (the good kind of just-about-to-fall-in-love or anything-could-happen full-of-possibilities uncertainty) and simultaneously a strange comfort, in the knowledge that I can do whatever I want in this situation. The giving over of control to \u2018being instructed\u2019 means that any action or sound I make can be attributed by the other participants to the instructions, whether or not it has actually been triggered by them. I realise early on that it is not the quality of my delivery that is \u2018on show\u2019, nor how well I \u2018play the part\u2019, that I can relax and that the piece is almost better when it is very underplayed, heightening the sense that at any minute things could go wrong, could fall apart, could get messed up. The piece unfolds into exactly the kind of performance I enjoy, with quite ordinary people saying quite ordinary things in an increasingly un-ordinary situation, carefully engineered by the artists. And they successfully manage to construct a sense of temporary community without even being in the room \u2013 impressive!<\/p>\n

To describe GuruGuru <\/em>as excessively manipulative and choreographed in minute detail sounds far too Machiavellian, but I can\u2019t stress enough how beautifully un-theatrical and low-key this piece manages to stay. It appeals to my fondness for Erving Goffman<\/a>\u2019s writing, Frenchmottershead<\/a>\u2019s notion of \u201cmicroperformance<\/a>\u201d and my dislike of all things showy, affected, precious or melodramatic. Through the artists\u2019 care and attention to detail, we, as participants, find ourselves in a situation where it would almost be impossible to ignore ideas about how, when and where we each \u2018perform\u2019 in our daily lives. By relieving us from the pressure to \u2018perform\u2019 (in a very normal, everyday sense, as Goffman argues we do at all times when we are \u2018in company\u2019), our awareness of how much acting\/directing\/choreographing we might each be involved in, in any given normal \u2018non-performance\u2019 situation, is heightened.<\/p>\n

The careful balance between absurdity and mundanity also allows for a blurring of what might seem real, and what might seem fictitious. I catch myself manufacturing tiny fictions, actively \u201cfilling the gaps\u201d without necessarily wanting to \u2013 I actually start to believe that the person with the name sticker \u201cAngel\u201d and I do<\/em>, in fact, have some kind of history (we don\u2019t \u2013 this man is a stranger to me). Maybe I\u2019m too open to suggestion (perfect Derren Brown fodder), or perhaps this piece is just operating very successfully in the cracks between what Goffman would term \u2018front\u2019 and \u2018back\u2019 \u2013 an intimate kind of honesty and dishonesty.<\/p>\n

Then, all too soon, it\u2019s over (we were warned it would be a very quick 50 minutes), I walk out onto the street again, peel off my temporary name tag, discarding my alter-ego and I\u2019m back to reality, to real life, whatever that is.<\/p>\n

DOWNLOAD this article as a PDF<\/a><\/p>\n

 <\/p>\n

[originally posted at\u00a0http:\/\/thingsthatdontquitefit.wordpress.com<\/strong> in August 2009]<\/p>\n","protected":false},"excerpt":{"rendered":"

BLOG:<\/strong><\/p>\n

Reflections on on Elodie Pong’s Secrets For Sale<\/em>, Forest Fringe Edinburgh 2009 & Rotozaza’s Wondermart<\/em> & GuruGuru<\/em>, from Aug 2009<\/p>\n

\n“Down to my last \u00a32.60 on my final day in Edinburgh, I leave the house for a day of looking at art \u2013 always a reliable, cash-free option! After spending an hour (yes, an exceptionally long time) with Elodie Pong\u2019s video piece Secrets For Sale, I find my mindset is well and truly altered…”<\/em><\/p>\n","protected":false},"author":2,"featured_media":503,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true},"categories":[3,58],"tags":[17,29,30,41],"class_list":["post-188","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","category-writing-about-art","tag-edinburgh","tag-orchestrated-intimacy","tag-performance","tag-writing"],"yoast_head":"\nTonight Matthew, I\u2019m going to be Dickie\u2026 - Rachel Dobbs<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/rachel.we-are-low-profile.com\/blog\/tonight-matthew-im-going-to-be-dickie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tonight Matthew, I\u2019m going to be Dickie\u2026 - Rachel Dobbs\" \/>\n<meta property=\"og:description\" content=\"BLOG: Reflections on on Elodie Pong's Secrets For Sale, Forest Fringe Edinburgh 2009 & Rotozaza's Wondermart & GuruGuru, from Aug 2009 "Down to my last \u00a32.60 on my final day in Edinburgh, I leave the house for a day of looking at art \u2013 always a reliable, cash-free option! 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