(Untitled) out of your eyes. Perfomance-concerto. Il lavoro si basa su tre movimenti che l'artista inglese esegue nello spazio della galleria come parte di una costante serie di apparizioni personali denominata "Acoustic Mirrors". ll lavoro di Dean si concentra simultaneamente sulla composizione della scrittura e sulla resa calligrafica e tipografica del testo stesso.
La galleria Alessandro De March presenta “(Untitled) out of your eyes”, un concerto-performance dellʼartista inglese Michael Dean. Il lavoro si basa su tre movimenti che Dean eseguirà nello spazio della galleria De March come parte di una costante serie di apparizioni personali denominata ʻAcoustic Mirrorsʼ. Qui il lavoro dellʼartista si troverà temporaneamente, per il tempo in una canzone, tanto nel corpo dellʼartista quanto nel corpo del pubblico. La scrittura inquadra il lavoro di Michael Dean. Frammenti di memorie composte di intimità vissute, momenti di intensità e di attrazione.
Il lavoro di Dean si concentra simultaneamente sulla composizione della scrittura e sulla resa calligraﬁca e tipograﬁca del testo stesso. Un corpo per un altro offre questa intimità in intimità. Il corpo tipograﬁco consegna il corpo del testo, sia questo costruito a mano, compitato corporalmente o trasmesso oralmente nello spazio.
Per Michael Dean questo concerto è una condizione necessaria e preliminare per lʼinvocazione di uno spazio che in seguito, nel novembre di quest ʻanno, esporrà una serie dei suoi lavori.
(Lʼartista desidera ringraziare Franziska Lantz (Percussioni) e Francesco Pedraglio)
The Alessandro De March gallery presents “(Untitled) out of your eyes”, a concert performance by Michael Dean.
Three movements will be performed at the Alessandro De March gallery as part of an ongoing series of personal appearances, referred to as Acoustic Mirrors. Here the work of the artist is located temporarily, for as long as a song, in the body of the artist and the body of the audience. Writing centres the work of Michael Dean. Written memorials composed to lived intimacies, moments of intensity and attraction.
Deans work is concerned simultaneously with the composition of writing and the calligraphic, typological delivery of this writing. One body for another delivers this intimacy into intimacy. Typological bodies deliver the body of text, be it hand built, spelt bodily, or delivered vocally in space. This concert is seen as a necessary preliminary in the invocation of a space which will later exhibit the work of Michael Dean in November of this year.
(The artist would like to thank Franziska Lantz (Percussion) and Francesco Pedraglio.)
INSTRUCTIONS FOR A PERFORMANCE, WHICH IS A CONCERT, WHICH CONSISTS OF A VOICE, WHICH SPELLS A TEXT, WHICH CREATES THE WORK OF THE ARTIST, WHICH IS DELIVERED TO EARS, WHICH ARE THE EARS OF THE AUDIENCE, WHICH IS ME AND YOU.
The instructions here below are forms of communicated information which are both commands and explanations for how the action – the performance – will work and which behaviour should be assumed.
This is a concert as a work, a rare concert as a bodily shared event. Its rarity has been dictated by the urgency of its nature: so naked, it is difﬁcult to hide. You feel the voice and you feel your ears, all these ears.
It seemed that something was missing. Sometimes he is missing, covered by layers and layers of references. Thoughts, words, actions, forms and images of these forms: he is missing by pointing at his absence. Here it is different, here he doesnʼt want to lose anything else, and he will use this petrifying space of bodily proximity to deliver what otherwise would be lost.
You experience words, words he has written a hundred times, as though for the ﬁrst time. The text and you, his voice and all these ears. It involves three movements as part of an ongoing series of acoustic mirrors coor-
dinating the differences and similarities in giving and receiving. The ceremony of delivery.
Stop and look around you: a room, four walls, people, low lights and spoken words. It is important that you contextualise. What you are looking at is different, it is a moment, a fragment of common feeling.
It functions primarily as audio experience through your mental memory. His voice as urgent and democratic device, while your body his ampliﬁer implement. The ceremony is physical but private, you know what he means but you will not tell.
Hear and recollect.
Maybe you glimpsed a crystal.
London 10 April 2008
Selected group and solo exhibitions
(2007) all the trees bend this way GuestRoom, London UK. (2006) The leaves move the moves a wave these waves sway because they return because this tree stays the sea stays and this waves they sway E:vent Gallery, London UK. (2008) Italia Italie Italien Italy Wlochy Curated by G. Del Vecchio, A. Rabottini, E.L.Scipioni, A. Viliani. ARCOS Museum of Contemporary Art Sannio, Benevento IT. (2008) The Mythology of Everyday Matters Curated by Francesco Pedraglio Bilton Centre for Contemporary Art, Red Deer CA.(2008) Your Ramp My Slide FormContent, London UK. (2007) yours Curated by Francesca Boenzi Exposito Residency, Napoli IT. (2007) this is the time (and this is the record of the time) Curated by Carlo Fossati and Simone Menegoi e-static, Torino IT . (2006) dumb interior Curated by Simon Morrissey R O O M, Bristol UK. (2006) Social Ocean Temporary Contemporary, London UK. (2003) Contingency City Radio Cars, London UK.
venerdì 18 aprile, ore 19.00 / friday april 18, 7pm
Galleria Alessandro De March
via R. Rigola 1 - Milano