Working Title: How can a work of art penetrate an environment outside of the institutional art context as a means of successfully provoking action for change?
- To find a way for a work – and its implied meaning – to extend beyond the gallery setting and penetrate the life of the viewer
- To make uncomfortable ideas or niche subject matter more accessible as a means of communicating them to a wider audience
- Create a through-provoking work that can act as a catalyst for positive change
- Create a familiar system of introduction to ease people into thinking about uncomfortable subject matter
- Create a physically (enclosed installation) and conceptually (cover varying media and ideas) immersive environment
- Find a ‘language’ in which to communicate a universal idea – translate to make accessible
- Use narrative elements to help the digestion of ideas and element of translation
- Documentary film and docufiction beginning, with music documentary focusing on socially and politically driven musical movements
- Music and the history of specific musical genres: Industrial Music, Noise, Experimental, etc.
- Video Installation: Bill Viola, Saron Hayes, Stuart Marshall, Bruce Conner, Nam June Paik; Music Videos
- Photography theory: Susan Sontag, John Berger, Walter Benjamin,
- Performance: COUM Transmissions, Viennese Actionism
- Word Art: Jenny Holzer, Barbara Kruger
- ‘Object’ Sculpture: Duchamp, Daniel Arsham, Paul Coldwell, etc.
- Existential philosophy (and philosophical movements that spawned from this)
- Video merging narrative story and documentary footage, both primary and secondary source
- Written word, in the form of narrative subtitles, scripted speech, written word on print media (poster art)
- Physical space, either built or dressed, to act as immersive experience presenting each of the varied media in the best possible way (Soundproofing? Lit?)
- Sound, specifically creating cover songs using “gradient of intensity” built into video installation and material takeaways (below)
- ‘Takeaways’ in the form of various 3D objects and print media: CD-style “album”, 3D artefacts, rendered objects referenced in music and film cast in cement, 3D printed, etc., digital design, photography and print binding in book (zine) and fold-out poster art.
- Multi-channel (4-screen?) video installation showing a docufiction narrative interspersed with music (created cover songs)
- A built, self-contained space to provide ‘inside/outside’ spaces (the former for immersive installation, the latter for additional material takeaways)
- Material ‘takeaway’ elements presented in adjacent ‘store’ or merch stand containing all purchasable artefacts:
- An ‘album’ of cover songs (1 hour continuous play) with bound artwork (zine) and fold-out poster translating the narrative depicted in the video installation in print form (photography, graphic design and text)
- Artefacts rendered in 3D – cement, 3D printed, etc. – to replicate physical things from story (narrative touchstones)
Film: The Punk Singer (Riot Grrrl), The Decline of Western Civilisation (American hardcore punk); onto docufiction: Interior, Leather Bar, A Crackup At The Race Riots (Leo Gabin)
Books (Philosophy): Nietzsche, Thus Spake Zarathustra, Beyond Good and Evil; Anton Szandor Lavey, The Satanic Bible; Genesis Breyer P-Orridge, Thee Psychick Bible : Thee Apocryphal Sciptures ov Genesis Breyer P-Orrige and Thee Third Mind ov Thee Temple ov Psychick Youth
Books (art theory): Walter Benjamin, The Work of Art in The Age of Mechanical Reproduction; John Berger, Ways of Seeing; Susan Sontag, On Photography; Barbara Kruger, Remote Control: Power, Cultures and the World of Appearances
Books (misc): Simon Ford, Wreckers of Civilisation: The Story of COUM Transmissions & Throbbing Gristle; Alexander Reed, A Critical History of Industrial Music