rolling my dung, in four acts

This weather is a disaster!

I am getting a bit muddled up in the preparations of 3 simultaneous exhibitions.

There is the work (well, of course) the writing about the work, the managing of time and energy..

I am quite worried about wether I took on too much.

But on the up-side: while writing text for entry on the "Big Hope" website, I am re-focusing and tightening my thoughts on "Khoreia" (Devotional Choreography) significantly. Which is of imperative importance as I am about to propose to an interesting exhibition space with this project.

Still, this week I am a worried solo artist.

But there is no time for dwelling.. There is more text to write and some drawings to make. So that I can finish the material that ought to go into print tomorrow. (yes, my 4 page A3 sized exhibition material..)

So far the day has been a bit of a non-starter. But I am finally at the desk ready to write the website information for "Devotional choreography" at "Big Hope", and for the installation of "The Watchers/7 Giants" at St. Luke's Church.

I have been down to Streets Ahead in the city centre today, it's been a while since I last ran into so many old friends and faces from the past decade in Liverpool.

Justin Virdi was in town, Virgil Shakira, Amina, Liz from Juno and several more who I had to sneak away from because I really should have been at my desk working, not mingling frivolously..

Virgil nailed my project concerns on the head. He is correct: it's a demo. the exhibition at St Luke's is now officially 'a demo'. How else can one figure out how 7 3.5meter high structures will look, when one just hasn't got the space and transport solutions to ever see the work in one space pre-installation date.

I am concerned because the space in St Luke's is a bit rough and ready, and I am not sure I will be able to level the grounds in the way I had hoped to.

I may have to accept the space with it's flaws and place my 'demo' in it and see what happens. I am supremely nervous.

If it was up to me then I would get a truck load of wood-chip or shredded cardboard and cover the ground in it at least 5 cm deep. I originally thought that I would have a lot of freedom in how I will use the space, but now it looks like the installation will be sharing the space with bits and pieces and building rubble left behind by one section or other of Lliverpool City Council / their contractors.

Urban Strawberry Lunch, who have made the space accessible have done a great job. I just wish I had a budget that I could throw at the space in a way that nobody could possibly oppose.

I wish I could tidy the grounds into what I had in mind, but it just isn't an option. Perhaps I should be keeping these turmoils to myself. Well, but here they are, publicly aired.

In Virgil's words: "It's a demo".

Just where, if not in St Luke's, will be the grand finale? The project would make a good public sculpture.. I think so.

But now: to work with me, or there will be nothing at all.

About "Devotional Choreography" written when I first started on this thread of work..

(written by Tomas Harold / curator)

The origin’s of Birgit Deubner’s art may be traced back to childhood, when folklore, ancient mythology and imaginary activity took hold of her life. In adulthoos, these preoccupations have developed into an interest in the roots of religious and secular belief. Her experience of life is richly steeped in symbolism and abstract narrative, and her work is part of an on-going journey towards a personal philosophy. Working across mediums, and incorporating forms as diverse as photography, cine film, sculpture, performance, installation, smoke, ice and wax, Birgit produces requiems of sorts – ephemeral and shadowy attempts at capturing states of impermanence.

“Devotional Choreography” is a study of rehearsed movements. Following meetings with religious leaders in Liverpool, Birgit gained access to their communities and their public and private religious ceremonies. From footage of the physical rituals that are performed during these practices, she has produced a multi-channel video & film display that concentrates on the visual poetry of movement and gesture – developed over centuries to express faith.

By following these movements and focusing on chosen movements, postures and gestures, Birgit highlights the endlessly repeated choreography that accompanies every religion, and forms such a fundamental part of devotional practice. Instead of examining the philosophy and teaching for their shared commonalities, her approach is focused on intuitive, disinterested perception. Hers is a study of those humble movements that have gained meaning through their association and application in faith.

Birgit has no desire to offer a judgmental or confrontational treatment. She follows a visual path to reveal similarities in form between these different expressions. In certain fundamental ways, this provides an opportunity to explore what is shared between faiths.

The visual choreography can be seen to stand at a distance from its religious roots, asking quietly: what gives these gestures their power and meaning? A movement, as part of a devotional practice translates differently to one separated from that root. So, can a physical ritual, based in devotional practice, transgress its heritage? What does a movement contain without this religious framework? It is impossible not to draw association with faith when we see hands in prayer, but isn’t this particular connection dependent on a western upbringing?

written about my work by Tomas Harold (curator)