{"id":193,"date":"2010-06-01T09:39:11","date_gmt":"2010-06-01T09:39:11","guid":{"rendered":"http:\/\/rachel.we-are-low-profile.com\/?p=193"},"modified":"2017-05-31T15:04:12","modified_gmt":"2017-05-31T15:04:12","slug":"never-can-say-goodbye","status":"publish","type":"post","link":"https:\/\/rachel.we-are-low-profile.com\/blog\/never-can-say-goodbye\/","title":{"rendered":"Never can say goodbye"},"content":{"rendered":"

For a little while now, I have been wondering whether I should make a disclaimer for those I enter into romantic relationships with, warning them of the possibility of them ending up in my work.<\/p>\n

\"\"<\/a>
Sophie Calle\u2019s Take Care of Yourself<\/figcaption><\/figure>\n

Unwittingly becoming a muse may be an occupational hazard for those who choose to date artists, especially those whose concerns are \u201chuman scale and are based on the specific, particular fixations and everyday details of our lives\u201d. On a weekend visit to London, I pass some time before meeting my current beau by visiting Sophie Calle\u2019s exhibition Take Care of Yourself<\/em> at the Whitechapel gallery.<\/p>\n

I received an email telling me it was over.
\nI didn’t know how to respond.
\nIt was almost as if it hadn’t been meant for me.
\nIt ended with the words, “Take care of yourself.”
\nAnd so I did.
\nI asked 107 women (including two made from wood and one with feathers),
\nchosen for their profession or skills, to interpret this letter.
\nTo analyze it, comment on it, dance it, sing it.
\nDissect it. Exhaust it. Understand it for me.
\nAnswer for me.
\nIt was a way of taking the time to break up.
\nA way of taking care of myself.<\/strong><\/p>\n

The premise of the show is as follows. Calle has been dumped by a lover via email. She enlists over a hundred women from different professions in the production of 107 separate responses to the same initial text \u2013 ranging from framed texts and photographs, to videos, books, numerous translations of the text (into profit and loss accounts, legal documents and children\u2019s stories amongst other things) and copies of the text used as target practice for archery or parrot food. The exhibition itself is quite overwhelming, and the collection of responses we are presented with is not easy to take in in one glance. It would be hard to ignore that the \u2018activity\u2019 undertaken here is intended to be both exhaustive and exhausting \u2013 just as repetitive, obsessive, bewildering, relentless and all-encompassing as being in love or feelings of loss can be.<\/p>\n

Through this \u201csummon[ing] of a whole squadron of women\u201d (as writer Christine Angot puts it in her response to being given the email), Calle chooses a seemingly inefficient yet charmingly flawed or bittersweet way of attending to the situation see finds herself in. However, her investment in, and close examination of, this email draws our attention (as viewers) to this situation, not only engaging us in her personal experience of being dumped, but also coercing us into examining our own break ups and all of our previous (and future) positions or roles as \u2018dumpers\u2019 or \u2018dumpees\u2019.<\/p>\n

The event itself is blown out of all proportion. What was initially a small, private and personal emergency, is now played out with the help of 107 uninvolved individuals, increasing its scale and impact for those previously \u2018outside\u2019 of this relationship through multiple translations (literal and figurative), \u201creadings\u201d, analyses, interpretations, responses, re-imaginings and commentary. When you enter the space of the exhibition, it would be hard to ignore the time, energy and effort spent in the simultaneous \u2018processing\u2019 and \u2018making\u2019 that has gone on to produce this work.<\/p>\n

There is something I really respond to in this shifting of scale and that through simply paying this email far more attention than it probably deserves, it becomes un-ignorable \u2013 a very public echoing of the familiar private action of reading and re-reading the email\/text message sent by a lover in the hope of deciphering or decoding it further, or in the hope of somehow \u2018imbibing\u2019 or absorbing it more fully, to the point where it becomes somewhat of an obsession.<\/p>\n

In Take Care Of Yourself<\/em>, our focus is directed towards a fragment of evidence and possible chain of events. The \u2018facts\u2019 of the situation are presented with a cool detachment (in a very \u2018matter-of-fact\u2019 way) and the possible \u2018effects\u2019 of the email (the potential for heart-break, feelings of shock, loss, surprise, loneliness, anger, fear or sadness, the unexpected necessity for new beginnings, moving on) are hammered home, if not only through sheer relentless repetition of the \u2018facts\u2019. This deadpan delivery, and simultaneous fictionalising of events, allows us to resist viewing this show as a simple affected emotional display. Instead, it seems to be indicative of a wry sense of humour \u2013 an outwardly effortless way of keeping us on our toes or not allowing us to become too complacent, where we can never be completely sure when the artist\u2019s actions are a little tongue-in-cheek or deadly serious.<\/p>\n

This strategy, of purposefully confusing (and complicating) fact and fiction to create an uneasy reportage of personal events, is familiar territory for Calle. Calle\u2019s works (such as The Hotel<\/em> and Double Game<\/em>) are often task-led and rely on an interplay between Calle\u2019s simultaneous statuses as an artist\/author and her everyday existence as a \u2018normal person\u2019. Her works are framed by pretexts (the numerous ploys, ruses, red herrings and alleged reasons for her actions) that allow for, or specifically construct a space for, the subtext of the work. Their preoccupation with narrative (in the methods of both their construction and their presentation and in terms of form and <\/em>content) mean that they lend themselves to becoming \u2018shared texts\u2019 \u2013 stories that are told and re-told by others who encounter the work. Forced Entertainment<\/a> maybe most successfully exemplify this when they adopted Calle\u2019s strategy of doggedly repeating the narrative of a break-up (employed in the piece\/series Exquisite Pain<\/em>), using the entirety of her repeated accounts of this as a \u2018found text\u2019 in their performance of the same name. For those who endured this two and a half hour performance, hearing the line \u201cSix days ago, the man I love left me\u201d being read over and over again as the preface to Calle\u2019s changing explanation of events, is bound to hold a particular resonance \u2013 I certainly felt almost as though this had in some way become my own story simply by hearing it so many times.<\/p>\n

We are reminded that, in each of our cases, these situations (of break-up\/break-down), the remembering of them, and the ways in which we are called to deal with (and address) them publicly, through the necessity of informing, explaining and re-telling the news of the ending of relationships to our families, friends and acquaintances, become fictionalised \u2013 our understanding of \u201cwhat went on\u201d is, at best, provisional (subject to agreement and change), rather than the authoritative version it pertains to be. Take Care Of Yourself<\/em> and Exquisite Pain<\/em> both display an intense attention paid to a \u2018text\u2019 that becomes charged through a public re-playing \u2013 we are presented with repeated attempts to make sense of, to reconcile and to repair (oneself, not the relationship, which is referred to by the \u201cquitter\u201d as \u201cirreparable\u201d, as philologist Barbra Cassin in Take Care Of Yourself<\/em> points out).<\/p>\n

The way in which Calle enlists others to \u2018play out\u2019 the scenario and the offering of her ex-lover\u2019s email as a \u2018found text\u2019 means that her work avoids becoming a simply cathartic exercise, moving it away from the domain of the personal towards something more universal and more recognisable. Its step into fiction encourages us to consider ourselves in the roles of the story\u2019s protagonists.<\/p>\n

\"\"<\/a>
Sophie Calle\u2019s Take Care of Yourself<\/figcaption><\/figure>\n

Later in the weekend, I go to see Gob Squad\u2019s film installation Live Long and Prosper <\/em>at the Chelsea Theatre, which presents footage of performers from the company \u2018playing out\u2019 another set of \u2018found texts\u2019 in public. This time the \u2018found texts\u2019 are seven sequences from films like Star Trek II: The Wrath of Khan (the one where Spock sacrifices himself to save the ship and its crew), The Thin Red Line (an American WWII film made in the late 1990s) or Winnetou (a German western with Lone Ranger\/Tonto-esque characters). We watch as the members of Gob Squad make their way, two-by-two, to their selected locations in various public spaces in Berlin – including a launderette, a pound-shop, a public space with some decking and a palm tree, a furniture shop and a shopping centre concourse. With care and attention to their costume and camera angles, they set about re-creating\/re-playing their chosen scenes.<\/p>\n

\"\"<\/a>
Gob Squad’s Live Long And Prosper<\/figcaption><\/figure>\n

Two men get changed into the white polo-necks and red hoodies that become their Star Trek uniforms. They make last minute checks that eachother\u2019s hair is not sticking up in the wrong places and position themselves either side of a shop\u2019s closed plate glass doorway. Live Long and Prosper<\/em> draws on an aesthetic we have become increasingly familiar with in an age of cheap consumer video technology and easy-to-publish-and-distribute YouTube videos \u2013 the fan film. Traditionally the domain of the amateur, fan films imply a particular type of attending to \u2018found texts\u2019 \u2013 a way of taking ownership over the thing you love, admire, or obsessed by through repeated watching, careful notetaking and storyboarding, (sometimes huge) personal investment and hours spent creating low-budget homemade costumes and sets.<\/p>\n

As the narratives continue, we realize that each of the chosen scenes involves the death of one of its protagonists.<\/p>\n

Gob Squad\u2019s film asks us (as viewers) not only to re-consider the original film sequences, to watch intently as these new death scenes are played out to their inevitable conclusions alongside the originals, but also to pay closer attention to their content. We watch as Gob Squad \u2018play out\u2019 these scenarios as a dry run for the inevitable conclusion of all of our relationships. They practice saying goodbye, switching off the life support machine, taking one for the team, being the one who has to make the tough decision or the one who is left behind. This dress rehearsal might allow for mistakes to be worked through or ironed out, where there is less at stake if things go wrong or if the \u2018players\u2019 fluff their lines than in \u2018real life\u2019.<\/p>\n

The \u2018found texts\u2019 (the film scenarios) may at first glance seem overused, overfamiliar or outmoded but Gob Squad\u2019s sheer investment of time and energy in re-creating, shot for shot and line for line, these seemingly worn-out or clich\u00e9d images in public makes them far harder to dismiss or ignore. They treat these scenes (these \u2018texts\u2019) with the same kind of tenderness that the characters in the original films show for each other. Their homage not only demonstrates their affection for the source material, but the concentrated effort involved in remaking these scenes from scratch, in some way, shifts their status from simple Hollywood film narratives to significant cultural texts. As viewers, our understanding of the making process behind this work draws our attention back to academic ideas of undertaking a close reading \u2013 we realize that the performers must have spent a good deal of time \u2018with\u2019 and \u2018concentrating on\u2019 these scenes – watching, rewinding, fastforwarding and re-playing them.<\/p>\n

The simulations-of-simulations presented here also ask us to re-examine what WE <\/em>have been watching, not just here and now, but every time we have watched a film (or read a book, watched a play etc). Is it possible to suggest that each fictional portrayal of loss I watch\/read could be a dry run for the death of a loved one or my own death, grieving, losing or being lost? And similarly, that I might not actually be able to encounter these emotions\/situations in \u2018real life\u2019 without referring to the versions we have seen played out on films or TV? Maybe Gob Squad are suggesting that these scenes could provide prototype scripts for our own encounters with death?<\/p>\n

I\u2019m not sure, but the hurriedly fashioned costumes, borrowed film sets and hand-held \u2018shoddiness\u2019 of their interpretations remind me that these questions are being asked in a gently ironic or playful way. As in Calle\u2019s work, this idiosyncratic shifting and tension between deadpan\/detachment\/straightness and playful\/mischievous\/humour and both artists\u2019 impulsive and exaggerated \u2018attending to\u2019 gives us (as viewers) a time and space to consider something relatively serious – that unexpected (but inevitable) endings are not only part of our cultural language but also need to be part of a vocabulary that we are, or will be, called on to use in our own lives.<\/p>\n

Like Take Care Of Yourself<\/em>, Live Long And Prosper<\/em> focuses on the making public of intimate moments. Like Calle, Gob Squad are fictionalizing fact, playing out fictions in the \u2018real world\u2019 and enlisting (or implicating) others (by appropriating public spaces and the invisible lives\/people who inhabit them) in their process of making a response to something they have encountered in the world that seems unfathomable. Throughout Live Long And Prosper<\/em>, the low production values, the lack of glamour and the recognizably mundane \u2018sets\u2019 used by the artists remind us that we (the viewers) could easily be the ones enacting these scenes.<\/p>\n

As Gob Squad\u2019s scenes end and their cameras pull backwards, retreating from their subjects, the surviving protagonists exit the shot and the \u201cdead\u201d are left where they fall. Just as quickly as the members of the company shifted from their \u2018normal\u2019 selves into their roles as cinematic stand-ins at the beginning of the piece, at its conclusion, we are reminded that all of this has been played out ‘in public’ \u2013 our attention is drawn back to the off-screen space and the world that has existed beyond the frame all this time.<\/p>\n

The credits roll and the lights fade up. Once more it is time to put my coat back on and venture back out into the world\u2026<\/p>\n

 <\/p>\n

[originally posted at\u00a0http:\/\/thingsthatdontquitefit.wordpress.com<\/strong> in June\u00a02010]<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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

\nWriting in response to Sophie Calle’s exhibition Take Care of Yourself<\/em> & Gob Squad’s video piece Live Long and Prosper<\/em> from January 2010<\/p>\n

\n“For a little while now, I have been wondering whether I should make a disclaimer for those I enter into romantic relationships with, warning them of the possibility of them ending up in my work…”<\/em><\/p>\n","protected":false},"author":2,"featured_media":497,"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":[11,30,41],"class_list":["post-193","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","category-writing-about-art","tag-care","tag-performance","tag-writing"],"yoast_head":"\nNever can say goodbye - 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\/never-can-say-goodbye\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Never can say goodbye - 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