tenyearstoturner

Dear Martin,

Thank you for your application to perform at DRUNKEN NIGHTS. We had an overwhelming response to the opportunity, with 117 proposals and just 19 performance slots. Unfortunately, on this occasion we have not chosen your work to be part of the project.

We would like to assure you that a great deal of consideration went into the selection process, which took several days. Given the large number of applicants, we are unable to provide individual feedback for those not selected. However, here is some general feedback for all applicants:

The successful works responded clearly to the pub-based brief, i.e. the form, style and content was informed by pub traditions, architecture and entertainment. In many cases, artists wrote clearly about how they were inspired to make work for pubs, but were less effective in putting across what the performance would actually be. In addition, we favoured artists who we believed showed potential for future development, mentoring and support. Finally, the final programme was selected to present an interesting mix of work on each night, and we were faced with some very difficult decisions.

We are sorry to write to you with disappointing news, but we hope that it will not put you off applying for future Drunken Chorus projects.

1. Tell us about your work: what kind of performance do you make; how long have you been active; what excites you about live art; where have you performed in the past? (150 words)

My performances are low-tech and literal, doing the saying. Since 2006 I have performed a variety of sayings including; Un sou pour vos pensees (A penny for your thoughts), literal #37 (moving the goal posts) and Private Pile (2 steps forward, 1 step back). Doing live art excites me (and is a reaction against creating dead objects) – the immediate engagement with an audience, the unknown potential. I have performed in various venues in various cities (Greenroom, Castlefield, Bluecoat and Arnolfini) as well as outside, unaffiliated in public space.

2. Tell us about the work you would like to make for Drunken Nights? – Please give a practical description of what will happen in the performance (150 words)

I will sing, shout, rant the word “La”. In Western popular culture La is a phoneme used in pop music to sing along to. In Arabic “La” means no and therefore has a significant other meaning. For this performance I will specifically use “Las” from songs by Kylie, Minnie and Iggy.

3. Explain how the work you are proposing for the event fits with the brief to create work specifically for the environment, layout, architecture and audience of a pub venue. (150 words)

Before I first went to an Arabic country I told a friend I was reading the Koran and they asked why, it was to try and give me an understanding. I explained that if I wanted a visitor to this country to understand our country I would take them to a pub. Now I understand that some people, of some cultures, would not go to a pub because they do not drink alcohol. Pub culture and drinking stereotypes are role models for this performance. The drunk, sat in the corner, singing to himself, to you; maybe it’s a moment of clarity not to be excused by the shrug of the shoulders and blamed on the booze.

4. a. How will your work be accessible to unsuspecting audiences who attend the pub without knowing that there is a performance event on? (100 words)

Repetition of the word “La” in a variety of ways may appear like the rantings and ravings of a pissed-up punter, a common enough occurrence and to be expected in a public house, after all, we can’t and don’t always behave ourselves after a few drinks. However, on closer inspection things aren’t always as they first appear. To some “La” is the start of a revolution, to others it’s a sing song, karaoke. Join and become part of a group or stand back and stare. Are you with me or against me?

4. b. How will your work respond/recover from potential rowdy / drunken / heckling audiences etc? (70 words)

Embrace it, react to it and engage with it. Sing it back. Smile.

5. What effect would performing at the events, as well as the potential development support, have on your artistic career? (100 words)

I don’t know the possible effects on my artistic career; I will cross that bridge then. My previous performances share a moment with an audience which might be all there is, a shared experience. I would be interested in the development support to see and hear what other artists have to say about my practice and what they would suggest to develop this piece, maybe a drunken, choreographed chorus performed by the whole pub.

Is performance art an under represented minority in contemporary art gallerys?

As you know, the curators met on Saturday and spent a good 8 hours going through the shortlisted applications for the January 2013 exhibition. The process was extremely intensive and after a lot of deliberation, the team selected 4 final proposals to commission. I’m afraid your work was not selected to be commissioned on this occasion but the curators would like to congratulate you for making it through to the shortlist. They would also like to thank you for being available to speak to on the day and apologise to those who did not receive a phone call. Not all applications required clarification. I’d like to thank you for applying for this opportunity and wish you the best of the for the future.

463,000 visitors at £14 each = 6,482,000