Category: Cultural Terrorists

Completion of The Big Ben!

Fotini Efstathiou / / Cultural Terrorists

The Big Ben has finally been completed. After many trails and error of how to fix the newspaper to the structure we decided on double sided sticky tape and duct tape around the edges for a neater finish. We  firstly used staples but we decided it looked extremely messy and ruined the professional look we are aiming for to create the big impact we want. The use of the black duct tape around the edges frames the newspaper emphasising it’s importance and the cosmopolitan lifestyle of London. We decided on the use of The Daily Telegraph as it is published in London and has been running since 1855 only a few years before The Big Ben was built in 1858. We now need to practise constructing the tower in a timely manner, smoothly and professionally.

image_1367325460763867IMG_1438

Author: Fotini Efstathiou

Theatre & Museums

Jade Nicholls / / Audience, Cultural Terrorists, Space

After studying Susan Bennetts work into the use of theatre in museums it made us more positive about working in the museum and gallery. At first the site was daunting as museums and galleries are usually seen as places for people to relax and take in the art and artefacts without being disturbed, which is why we did not think putting on a drama performance in the Usher Gallery would appeal to the public. This was a main reason we did not decide to do a very long durational piece, we did not want the members of public to become frustrated we were in the way of what they wanted to see. However after reading Bennetts ‘Theatre and Museums’ it began to make a lot more sense as to why we were given this particular site. Performances are contemporarily performed in theatres, if you compare theatres and museums they have many similarities, ‘Theatres and Museums have increasingly become symbolic and actual neighbours, sharing the task of providing entertaining and educational experiences that draw people to a district, a city, a region and even a nation’. A lot of research has gone into whether or not performances should be brought into museums on a regular basis, John Faulk also wrote a book called, ‘The Museum Experience’, which goes into very specific details about what happens in the museums and the type of people who visit them. He found out during his research that, ‘Demographic analyses of cultural activity show that people who go to the theatre, concerts and movies are also museum visitors’, this also proves that using the museum as a site for our performance would not disrupt the members of public but actually intrigue them and may make their museum visit more enjoyable. Overall both Bennett and Faulk’s work gave us a more positive outlook on our ideas, instead of holding back so that we did not interrupt the gallery we believed the public would enjoy the performance more if we done something fast, loud and disruptive as it draws their attention and from the studies the people who visit museums also like to visit theatres meaning they must like drama performances.

The Pleasure of Treasure

Lacey Cole / / Cultural Terrorists, Development, Inspiration

With our sculpture continuing to be built, I thought I’d take some time to consider other parts of the performance. I was interested to read an article recently on the Pleasure of Treasure, a site specific piece based in London which gave people the opportunity to follow clues on a city-wide scavenger hunt. Since the piece was based in London, it was thought-provoking to read and in fact has some similar elements to the performance piece we are now creating. The Artangel group, initiated by Kathy Battista, recreated maps from 1868 merged with contemporary maps for those taking part. Our initial idea bore some relevance to this, as we discussed the idea that previously where the Usher Gallery stood it was just woodland, and the bringing together of what used to stand and what now does stand in the space was considered. We also had a chance to look at some older maps of Lincoln in the Lincolnshire Archives, which may have added an interesting element, as we discussed covering Big Ben with maps of London or Lincoln. This idea has evolved and we are now looking at incorporating both the history of the site and modern elements.

Another part we found struck a chord with us was the final effect the Artangel group wanted to produce with the walk. As we want the audience to consider their personal attachments to a city, the group wanted people to question ‘what they thought they already knew about… inner-city London’ (Battista et al. 2005, p.431). This idea of wanting people to query where they live and what they know about their roots and the city they feel comfortable in is prevalent in both site specific pieces. Along with this we also wanted to consider the ‘overlapping histories that make up urban space’ (Battista et al. 2005, p.439), in accordance with both London and Lincoln, with the idea that we’d be able to overlap both cities to create our own version. I feel this is somewhat close to what we are working towards, two intersections of historical places overlapped in order to become our own personal culture.

Although not much is documented about this particular site specific performance, other pieces by the Artangel group can be found on their website at www.artangel.org.uk.

References: Battista, Kathy et al (2005) ‘Exploring ‘an area of unnatural beauty’: a treasure hunt around King’s Cross, London’, Cultural Geographies, 12: 429-462.

Author: Lacey Cole

 

Problem’s occurring with our performance.

Fotini Efstathiou / / Cultural Terrorists, Development

A vital part of our performance is the drinking of afternoon tea after our hectic construction of The Big Ben in the gallery, as previously stated this is showing us inhabiting the space and also entwining the galleries history within our performance and cultural smuggling of London. Unfortunately when asking for permission to eat or drink in the gallery this was denied, so now we are stuck as to what to do during this part of the performance as we feel it is important to keep it in as it adds such a contrast to the first part of our performance, thus adding another dimension. We don’t feel pretending or miming will have the same impact, we feel if we are going to do it we should do it properly.

I have thought of other ideas such as sitting down and reading a piece of literature from the twenties, simply just listening to the music and lounge or perhaps do a bit of embroidery..what are your opinions?  Any comments or ideas would be really helpful. We really feel that having this contrast within the performance will make it more interesting and dynamic to the audience.

 

Author: Fotini Efstathiou

Part of our inspiration…

Jade Nicholls / / Cultural Terrorists, Development, Inspiration

After the gallery had a re-hanging the painting we were basing our performance around had been taken down. We at first thought this maybe a problem, however the new paintings in the gallery are very useful to our piece. The paintings of the cathedral in the corner of the room is where we are going to put up our model as it highlights the significance of the cathedral in Lincoln and how it is an iconic building in this city. This will mirror how the Big Ben is iconic for London. Another inspiration for us was the dress which is downstairs in the Usher gallery, it is covered in an atlas. We at first thought of covering our model in an atlas or map of London and Lincoln to show the differences between the two cities. However it looked extremely messy and was not as eye-pleasing as the newspapers are.

image_1363722698675758