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A NEAR and FAR MAP SITE-SPECIFIC PERFORMANCE By

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A NEAR and FAR MAP SITE-SPECIFIC PERFORMANCE By THE THINGMOUNT WORKING PAPER SERIES ON THE PHILOSOPHY OF CONSERVATION A NEAR AND FAR MAP SITE-SPECIFIC PERFORMANCE by Hester Reeve TWP 99-08 ISSN: 1362 - 7066 (Print) ISSN: 1474 - 256X (On-line) Published by: Department of Philosophy. Lancaster University. Furness College. Lancaster LA14YCJ. UK Tel: 0152465201 ; fax: 01524592503 e-mail: [email protected] THE THINGMOUNT WORKING PAPER SERIES ON THE PHILOSOPHY OF CONSERV A TION A NEAR AND FAR MAP SITE-SPECIFIC PERFORMANCE by Hester Reeve [This performance was presented at a conference on Aesthetic Knowledge and a Sense of Place held at Lancaster University, 15-16 May 1998] TWP 99-08 Hester Reeve ISSN 1362- 7066 A Near and Far Map was performed by Hester Reeve, Saturday 16th 5:30pm Hester Reeve is a fine artist (graduating from a joint degree at Newcastle Upon Tyne Polytechnic and the School of the Art Institute of Chicago) who recently completed an MA in Values and the Environment at Lancaster University Philosophy Department. Her main medium of communication is through live 'embodied' ideas. She has been showing these performance works internationally over the past ten years mainly in site-specific locations. Since 1992, when the artist worked with the environmental movement in the Czech Republic, Reeve's work has engaged with revealing and challenging the ways in which we 'know' and relate to 'nature'. Her work methodology is to situate her exploration and the resulting 'event of thought' within liminality (i.e. the state of being on the threshold; a no man's land where the 'voice' desires to climb out of cultural patterns). The resulting language is anti-theatrical and non-literal. A Near and Far Map took place on the University grounds and focused on the artist's interaction with the notion of a 'sense of place'. Hester Reeve is currently the artist co-ordinator of the project Other Life Map for the local charity Lancaster Green Spaces. This project aims to challenge: assumptions about the presence of the wild within the urban context, the ocular-centric approach to ways in which humans communicate facts and value about 'nature', and the easy access to 'knowing' what nature is through mapping processes/expert knowledge. This project involves workshops to facilitate community involvement and the resulting 'map', which will be housed at Lancaster Castle, will make a special consideration for the needs of the visually impaired. Hester Reeve, A Near and Far Map Page 1 of 1 A Near and Far Map Key: Whilst maps can be inspirational cultural images which generate new ideas and ways of relating to the natural environment they also epitomise, in today's world, an unquestioned confidence in representative thought and objectivity. Most maps re-present the landscape solely from the human use-come-access vantage, always from the aerial perspective (present-at-hand rather than ready-to- hand) as well as promoting 'nature' as that which can be visualised. Such maps assert the way things are according to authorised knowledge and, through their cultural dominance, fix the human being's relationship to this. Why not a map which admits to a chaotic element in our attempts to value 'nature'. Why not a map which confesses to the Being and non- Being of the human in the midst of 'nature' (the landscape changes whilst we, the authors of the word "landscape", end and disintegrate into it). Why not a map created as an event which purposes to impart a location or sense of place inside the viewer's mind (rather than one which remains fixed outside in objective reality). Why not map the energy of an individual (Dasein) caught up in the exercise of ripping herself away from the cultural presupposition of what signifies "You are here". Map this as a mark-making effort which, for once, feels real (energy release taking priority over textual sense making). Near is that which is cared for and gathered in. Far is the horizon of knowability; non- Being, horizontal. The measurement is the human life, fully conscious, vertical. This is the flag of "pirate Being". It is the same thing as the sky yet the size of a handkerchief. Hester Reeve, A Near and Far Map Page 2 of 2 Hester Reeve, A Near and Far Map Page 3 of 3 Hester Reeve, A Near and Far Map Page 4 of 4 Hester Reeve, A Near and Far Map Page 5 of 5 The Why of What Academics, go with my flow. If I could cradle a small river in my arms and walk it through one of our libraries, I ensure you that I would. This riverlet would leak on the floor and penetrate the paper. All the words, like armies of ants, would come and follow me out of the building, through the city and up over the hills. In the very heart of nowhere, we would all lay ourselves out to dry, panting and exasperated. Eventually, the vapour from our breaths would form a little cloud which, resting next to my renegade brow, claims itself as an excess of language and demands to be brought into human experience, to take place and effect us. For thinking is an element like the weather, to which we have the choice to expose ourselves, thankful as much for what is not as for that which is. This is when the alphabet for truth, the first letter being our hearts, shines out from our writing. Our Yes's (which have been frozen for centuries) will be by now ready to melt as rain, down from the heavens above. Performance art - the action-based/time-based medium that a slim minority of artists prefer to present their ideas through - is one of the most problematic of 'art-forms' both to witness as an audience member and for the 'performer' to carry out. Though heralded as an art form in the seventies, performance art for me reflects a primordial desire to take part in a meaningful experience. Being is intrinsically meaning-full for each individual. The need for drama arises from generosity - wanting to share the sense of meaningfulness together- and from anxiousness - needing to hold hands in fear at the impossibility of discovering the meaning of Being within a universe that defies categorisation. And here begins the problem, at least for me. Drama today and what constitutes meaning no longer connect to anything primordial (I use primordial in the sense of questioning the meaning of 'being-here' and regarding the surrounding world as the source of awe). Not that I wish to return to the ancient forms of ritual and ceremony (which would somehow be a denial of the present situation). This makes the why and what of my practice as a performance artist complicated. The problematic of what I do is confounded by what people have gotten used to in terms of live performance over the past centuries, i.e. theatre. It is interesting that the word theatre, etymologically speaking, designates the building and not the practice per se. However, the practice and its idea of 'content' has become more or less bounded by the building and the values fixed to it. People come to performance events with the expectation of entertainment - albeit often intellectually based. Even the most avant-garde theatre is usually entertainment based in that it is not dangerous; it is exciting and innovative but completely deferential to what is expected and the everyday culturalised parameters of Being. Often, in the case of well known scripts, the audience know what they will be getting in advance. The performers usually perform because they like performing (forgive me if that seems too obvious to state) and we usually appraise actors in terms of their skill and not because of what they themselves have to say. The more well known, the Hester Reeve, A Near and Far Map Page 6 of 6 more expert, the author of the theatre piece, the more people want to come and experience it. Theatre posters and brochures help to make people feel confident that they are about to see or have just seen something significant. I am not setting out here to criticise or de-bunk theatre. It is just that the why and what of my performance practice is so strange and difficult to put into words that starting by stating what I don't do serves best. Of course, some theatre breaks all the 'rules' and other theatre deals head-on with real life situations and human need (for example the theatre work carried out in Sarajevo). These, like entertainment, are valued cultural experiences and practices. In contrast, my performance art craves - perhaps impossibly - to be realer than real, larger then life yet simultaneously smaller than culture (primordial) and to disrupt the every-day-ness of experience. I'm no expert or skilled dancer and no one else 'wrote my script'. Usually, and this is hardest for us all to swallow, noone invited me to perform in the first place! No small wonder that the audience twitches uncomfortably and I am full of dread prior to commencing. For all the above, my performance work, however individualistic, is not about me but in service of ontological questioning (which causes a trembling within our cultural confidence). In such a way, my performances are not personal or self-exhibitory so much as they are an opportunity to exercise possibilities of experiencing the meaning of Being, to take Dasein from worded idea to embodied signifier. But signification of what? For me, the what and the why of my performance are fused. If there is a main subject to my performances it is the answer to this very "why?" What I am doing is exercising the need to rip open the possibilities of meaning and experience within the every-day-ness of existence.
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