Rokeby, The Earth Not A Globe, evening of performance, 6.30-8.30pm, info:www.rokebygallery.com
To mark the midpoint of The Earth Not a Globe season ROKEBY will be hosting an evening of live work and durational sculpture by Giles Bailey and Jasiek Mischke.
The event will take place on the 29th July at 18.30 and feature newly commissioned performances by both artists, which will take the format of a lecture, a talk and an intervention which will be accompanied by a time dependent sculpture outside the gallery facade.
The work of Giles Bailey is concerned with the modern self’s complex subjectivity, something that is seen in proximity to the transparent ideologies that surround us. Taking the form of personal fractured narratives that have undergone a series of dis-junctures, Bailey draws from a myriad of sources, detailing a particular route the artist maps out a lecture series which addresses autobiography, genealogy and the interruption/mechanics of data. For The Earth Not a Globe Bailey will perform a new monologue that emphasises a particular engagement with the notion of transportation and science-fiction’s ability to embody and project this spatial model.
BQEBH or Elevated Methods of Transportation is typical of Bailey’s past performances in that it plays out the heterogenous ability of live narrative to draw together, by navigation or reading, an array of material from disparate spatial and temporal sources. For instance, in BQEBH Bailey collectively weaves overhead transit train lines in New York and a blue circular motif used on the cover of a past Control magazine to re-direct the readability of it’s content and past stage set-ups by theatre collectives such as The Wooster Group. In addition to incorporating past narratives, Bailey will also introduce an unknown element from a trip he is currently making to the Lebanon and thus uniting aspects of these different and distinct places.
Jasiek Mischke’s work deals with the proximity of one thing to another. As an artist he is interested in how far he can extend his presence. His drawings, performances, texts or installations appear as delicate and tender presentations, but in actuality are driven by subversive machinations. On the evening of 29th July Mischke will make a physical manifestation of his drawings in the current exhibition, seen in an ice sculpture, and inspired by the layout requirement of the accompanying exhibition catalogue – that the image could go full bleed.
He will also host an informal talk and series of micro-interventions that are characteristic of his live work.
Separation of colour is a re-occuring theme in Mischke’s practice, from his time spent in a t-shirt printing company. His drawings reflect this; being a series of coloured lines, they individually follow the artist’s hand across the page. Collectively, they create waves accumulating slight curves or inaccuracies when drawing straight lines. By cutting off the end of his drawings Mischke tries to make them potentially go on forever and sees the premature end to the work similarly to that of exists on maps.
