Play interview of Tricia Van Eck
SLIPPAGE
The Visitation © 2012 Julie Laffin
In 2012, I was invited to create a portrait of Adam Brooks and Mathew C. Wilson of the performance collective, Industry of the Ordinary (www.industryoftheordinary.com) for their upcoming mid-career survey at the Chicago Cultural Center opening August 12th, 2012.
One chilly gray morning in March, Adam and Mat drove out to my house in Harvard so that I could make a photograph of them. Because I am severely environmentally ill, and easily triggered by minute amounts of fragrance and other chemicals, no one can enter my living space. So I took their photo from inside my living room while they remained outdoors on my front porch.
Because of my severe chemical sensitivity and limited social interactions, I have missed several years of witnessing Adam and Mat's work live. In an attempt to patch together at least some kind of vicarious experience from this loss, I began speaking with others on the phone who knew their work and had experienced it first-hand. What emerged is a fallible and highly subjective portrait of them based on the impressions of 32 people who recalled for me (while being recorded), one or two of their most memorable experiences of IOTO's work. Slippage is an audio portrait that both pays homage to IOTO and acknowledges the limits of my own perspective while at times revealing the limits of others', as well. I see these shared narratives as documents, as neurally embedded, living representations of IOTO's performance work I was fortunate enough experience, capture and render to digital media. I also began to see them as little performances themselves given by the speakers.
Some questions of great interest to me arose: can the reportage of live work serve as a tangible document that captures it? Is that reportage a legitimate performance itself? What is the relationship between live performance and its myriad representations?
As merely gatherer, recorder and editor of the 32 stories, I am unable to assert any authorship over them and would like to gratefully acknowledge the following individuals for the extremely generous gift of allowing me to present their contributions:
-Anni Holm
-Lin Hixson
-Dominic Molon
-Jason Lazarus
-Edra Soto
-Deborah Boardman
-Saul Aguirre
-Paul Klein
-Suzanne Cohan-Lange
-Meredith Weber
-Claire Ashley
-Teresa Albor
-Judd Morrissey
-Patty Carroll
-Clover Morell
-Sara Schnadt
-Joseph Ravens
-Barbara Koenen
-Claire Geall Sutton
-Erica Mott
-Tricia Van Eck
-Barbara Wiesen
-Bradley Litwin
-Jennifer Mefford
-Anonymous
-Anna Kunz
-Jeremiah Barber
-Anne Morse
-Jim Zimpel
-Anna Trier
-Mark Jeffery
-Dolores Wilber
One chilly gray morning in March, Adam and Mat drove out to my house in Harvard so that I could make a photograph of them. Because I am severely environmentally ill, and easily triggered by minute amounts of fragrance and other chemicals, no one can enter my living space. So I took their photo from inside my living room while they remained outdoors on my front porch.
Because of my severe chemical sensitivity and limited social interactions, I have missed several years of witnessing Adam and Mat's work live. In an attempt to patch together at least some kind of vicarious experience from this loss, I began speaking with others on the phone who knew their work and had experienced it first-hand. What emerged is a fallible and highly subjective portrait of them based on the impressions of 32 people who recalled for me (while being recorded), one or two of their most memorable experiences of IOTO's work. Slippage is an audio portrait that both pays homage to IOTO and acknowledges the limits of my own perspective while at times revealing the limits of others', as well. I see these shared narratives as documents, as neurally embedded, living representations of IOTO's performance work I was fortunate enough experience, capture and render to digital media. I also began to see them as little performances themselves given by the speakers.
Some questions of great interest to me arose: can the reportage of live work serve as a tangible document that captures it? Is that reportage a legitimate performance itself? What is the relationship between live performance and its myriad representations?
As merely gatherer, recorder and editor of the 32 stories, I am unable to assert any authorship over them and would like to gratefully acknowledge the following individuals for the extremely generous gift of allowing me to present their contributions:
-Anni Holm
-Lin Hixson
-Dominic Molon
-Jason Lazarus
-Edra Soto
-Deborah Boardman
-Saul Aguirre
-Paul Klein
-Suzanne Cohan-Lange
-Meredith Weber
-Claire Ashley
-Teresa Albor
-Judd Morrissey
-Patty Carroll
-Clover Morell
-Sara Schnadt
-Joseph Ravens
-Barbara Koenen
-Claire Geall Sutton
-Erica Mott
-Tricia Van Eck
-Barbara Wiesen
-Bradley Litwin
-Jennifer Mefford
-Anonymous
-Anna Kunz
-Jeremiah Barber
-Anne Morse
-Jim Zimpel
-Anna Trier
-Mark Jeffery
-Dolores Wilber