Creating identity and exploring the art/artist/audience relationship.
Which comes first?
Why create pseudonyms: Think of everything we write/make/perform as proposals to others. The story or concept “belongs” to the part of the group that wishes to proceed with it. They could re-propose the story in a new configuration.
Each of us is asked to turn inside out the usual methods codified within our specific art form for the creation and presentation of our work. This is the most significant challenge that this project presents.
In order to protect both the (originating anonymous) author as well as the project itself from being hijacked, writers, performers, and artists will offer their texts and ideas to the project under the Copyleft Attitude and the Free Art License. (document below)
Chuck Mee and Richard Foreman create some their scripts under a variation of the Copyright restrictions of this Free Art License, but for the most part this is new as it is applied to writing for theatre or performance.
As principle creators of the critical, promotional, and performance texts, the writers are also considered as stakeholders in any product or production. Details as to their stake in any particular art object (the 50/50 % gallery split) or box office percentage can be work out mainly with the performer(s) and particular producer.
The full documentation, archiving, and cataloguing of the individual
art objects and the project would likely include some recording of the
performance to complete it. These recordings along with the rehearsal
preparation and live performances make the performers stakeholders in
any product or production. Details as to their stake in any particular
art object (the 50/50 % gallery split) or box office percentage can be
work out mainly with the writers(s) and particular producer. In addition
performers should have the right to first refusal to subsequent "FridgeFest'
performances of their product.
Copyleft Attitude : the Free Art license
With this Free Art License, you are authorised to copy, distribute and freely transform the work of art while respecting the rights of the originator.
Far from ignoring the author's rights, this license recognises them and protects them. It reformulates their principle while making it possible for the public to make creative use of the works of art. Whereas current literary and artistic property rights result in restriction of the public's access to works of art, the goal of the Free Art License is to encourage such access.
The intention is to make work accessible and to authorise the use of its resources by the greatest number of people: to use it in order to increase its use, to create new conditions for creation in order to multiply the possibilities of creation, while respecting the originators in according them recognition and defending their moral rights.
In fact, with the arrival of the digital age, the invention of the Internet and free software, a new approach to creation and production has made its appearance. It also encourages a continuation of the process of experimentation undertaken by many contemporary artists.
Knowledge and creativity are resources which, to be true to themselves,
must remain free, i.e. remain a fundamental search which is not directly
related to a concrete application. Creating means discovering the unknown,
means inventing a reality without any heed to realism. Thus, the object(ive)
of art is not equivalent to the finished and defined art object.
The work of art:
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The aim of this license is to define the conditions according to which you can use this work freely.
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To benefit from the Free Art License, it is enough to specify the following on your work of art:
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The Free Art License advocates an economy appropriate for art, based on sharing, exchange and joyful giving. What counts in art is also and mostly what is not counted.
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1 / Each time you want to use or put this right into practice, use the Free Art License.
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This license can be applied to digital as well as to non-digital art. It was born out of observation of the world of free software and the Internet, but its applicability is not limited to the digital media. You can put a painting, a novel, a sculpture, a drawing, a piece of music, a poem, an installation, a video, a film, a recipe, a CD-rom, a Web site, or a performance under the Free Art License, in short any creation which has some claim to be a work of art.
Fridge: white box that artificially preserves things (museum)
12 refrigerators in a configuration (circle?) surrounding a divan. A desert or polar landscape surrounding, or perhaps enclosed within the vitrine, the white cube of the gallery.
The diva is that fleshy thing that moves between the divan and the fridge, foraging. The diva posing under "the gaze." Who or what or where is the gaze?
The entire space is a refrigerator. There are gigantic open soup cans, slowly rotting bags of spinach, the occasional pristine egg... The stage lights go off and on intermittently. The audience is famished. A diva must be sacrificed to their insasiable appetites. Does she go in noble calm to meet her fate? Is she forced shrieking to the top of the volcano? Does she go on to serve the Vanity, or the Compassionate Love Seat? Does she empathize with the audience's hunger? Does she just love a good recipe?
The fridges will be salvaged from the street on bulk trash days after the city has recovered the Freon.
There will be different kinds....freezer top, freezer bottom, maybe a side by side but they all will be white, inside and out. No off-whites because we will also paint them all the same Arctic White with visible brush strokes.
None will be "working" so in most ways they are no longer even fridges. Although what is the essence of a fridge? Years ago a friend of mine from India told me that the "new rich" there sometimes bought refrigerators without knowing their function. So they would have these brand new refrigerators in their homes packed with clothing or other things.
The plain white canvas from where we begin is still the FridgeHenge. It would be nice if we had an empty lot where the FridgeHenge always was. Not just a place from where we begin, but also the place to where we return. After the opening, after the premiere, after the cataloguing, auction, and sale....after the Deluge. We return to FridgeHenge. The faceless white stones.
That said, to bring one of these large faceless white stones into some domestic function, such as a TV console, fish tank, indoor marijuana garden, or even a refrigerator is possible but will face all the technical hurdles of "beginning from scratch."
MEDITATIONS ON MISE EN SCENE
Theatre is descendant of rituals once performed at site specific sacred grounds like Stonehenge,
Art objects are descendant of talismans and other sacred objects.
Refrigerator: Food source? Or messy place? Needs to be cleaned. Images of mom's & friends' clean & properly stocked fridges popping up each time you open up the fridge door. Can a refrigerator be a reminder of what we're not?
The sofa or divan is more conscious [than a bed]. Like a pedestal. Maybe I think this due to the photos on the cultsofa site. But also I think of the living room, a place where people present themselves to one another.
The refridgerator is so strange. Casket and breast. A symbol of our moden lives, at least those of us who are wealthy enough to own or have access to one. Frozen food is so dead, think of a piece of lettuce which has been frozen and thawed. I believe the cell walls burst when food is frozen.
The refrigerator is the comforter/the nourisher, the great mom after mom. The replacement mother. She takes over when mom has other plans. everything is very messy on the bottom, where the food is not completely stopped from decomposing, only stalled --all the i miss you mommy, where are you, connect to something...but the top -- the freezer --is where we can compartmentalize and get it back together. freeze your emotions. [the piece I am working on now is bleeding in here.]
Standing naked in the light of the open fridge at night, the question is always the same. "What do I want? Why am I here?"
In past fridge shows, cashing in on the kitsch phenomenon, each artist had created their line of "fridge magnets" to sell. The magnets were fun mostly because no one would actually buy one. But people would inspect these art magnets intently. Never being able to quite answer the question they all posed, "Why?" Why stick a magnet on the door of your fridge? Why stick a painting on your wall?
Eva had made casts of nipples of some of her friends. The clay male and female nipples were all pink and red. They were heavy and needed a strong magnet to adhere them to a fridge door. When Eva's fridge magnets actually started to sell, I think it may have confused her some." Maybe I should raise the price?"
I could imagine the Cult 12 Nipple Collection of fridge magnets becoming a hot item. Better than an autograph. And of course the Cult 12 should have busts to immortalize them. Egghead busts, nipple busts. The Cult 12 is destined to Fame's Piazza.
I want a world where celebrities give their fingerprint instead of their autograph. Nothing safer, more secure, more democratic than a celebrity. I write here the words "Bin Laden" and they don't get underlined as a mistake by spell check in Word. At first I'm confused. Is Bin Laden so safe secure and democratically elected Evil to have already entered the lexicon? But then I realize both Bin and Laden are words in their own right, commoners. The poet H.D. hung with Ezra Pound and William Carlos Williams. She held the notion that words were like vessels that could be cracked open, myrrh like resins releasing their imaginative aromas. Common bins laden with inventive power.
Again back to text as recipe. A list of ingredients. But then what? How to blend? How hot is the heat? But I'm not a good cook, so all that's too complicated. Give me only recipes for strange new elixirs. Something I just sprinkle yeast into and watch ferment. Something I can drink and get drunk on. Unlike those eggheaded showgirls, I dance in abandon with the spirits.