As part of The Wild

Special Event

APPROPRIATE CONTACT

Dates: 21 Jan - 21 Jan

Show Time: 4pm

This is a free event, booking is not required and places will be issued on a first come first served basis. 

“First I want to protest again the restriction of discussion time.”
From The Caucasian Chalk Circle by Bertolt Brecht, 1944

The Legislation: Oisín Byrne
The Demonstrator: Vaari Claffey
The Institution: Sarah Pierce
Technician 1: Deborah Madden
Technician 2: Paul Doran
The Singer: Larry Beau

The Chorus Artworks by Eleanor Duffin, Dylan Coburn Gray, Megan Kennedy, Dan Colley, Sarah Jane Shiels, Seamus Nolan, Liv O’Donoghue, Tom Lane, Barbara Knezevic, Oisín Byrne, Oonagh Kearney, Dylan Haskins and Bisi Adigun.

In Appropriate Contact, the Demonstrator interrogates the Institution, concerning its role as a political site or actor. The Legislation touches both the Institution and the Demonstrator in a sequence of moves that mimic gestures of intimacy and trust. Built around memories of Bertolt Brecht’s The Caucasian Chalk Circle as performed at Project in 1983 by Rough Magic, and drawing on sources from Desmond Morris’ Manwatching: A Guide to Human Behaviour, to letters of complaint written to Project in 2016, to a ballad by Billy Bragg sung at the end of Rough Magic’s production, a sequence of events unfolds, conclusions are drawn, and moral judgements ensue.

Part of Inappropriations, a series of spontaneous collaborations between Claffey and Pierce that takes various forms, Appropriate Contact is presented in the gallery on 21 January 2017, as part of The Wild, an exhibition celebrating the networks and communities, friends and co-conspirators, memories and visions of Project Arts Centre by the creatives and artists at the heart of our organisation.

Find out more about The Wild here

Join in the conversation:
#Project50
#TheWild

The Wild is presented as part of Project 50, a season of work celebrating 50 years of Project Arts Centre

Image caption ‘The neck embrace is so similar to a throttling action that it is rarely used’ Inappropriations, 2017

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