I was fortunate enough to be asked to perform as one of the editors for Rogue Game’s iteration @ Spike Island, Bristol. Rogue Game was in full flow between 8 to 30 September 2012.
Rogue Game is an ongoing project devised by Bristol-based artist/architect collaboration Sophie Warren and Jonathan Mosley with Turkish artist Can Altay. The game brings together three different sports staged simultaneously in the same arena, with each game played according to its own rules. In doing so, Rogue Game constructs a setting that gives rise to moments of improvisation, subversion, ingenuity and chance, proposing itself as a metaphor for how we might share the urban realm.
I live edited for 3 sessions, a first for me to be on display to the public while editing video, a figure sat at a screen in the midst of the architecture of the exhibition, inside yet simultaneously outside in the sound/image time of representation. It was a fascinating exercise in discovering and inventing trajectories through the recordings made of the games, the image space became a zone of free play for me and the interplay of formal elements came to the fore – colour, movement and repetition. I made great use of the opportunity to re-shoot images from both the projection screens and computer monitors, trying to bring the image -as-image into sharp focus and building on the work of other editors with the awareness that the sequences I produced could become raw materials for other editors coming in after. The desire to create while releasing all ownership was incredibly liberating as was the freedom to indulge tangents as and when they arose.
The following is a statement from Warren & Moseley, quoted from their website
Our practice is based on a mutual contamination of art and architectural processes and concerns. We continually and incrementally shift our position in relation to these disciplines, testing, playing and ‘worrying’ at their borders and intersections. We respond to architectural and city space; the way that it is occupied, adapted, perceived and regulated. An insistence on back and forth, observation of places on the point of change and an examination of aspirations for these environments alongside realities initiate the terms of our engagement with the city landscape. We encounter situations and through our work provoke the imaginary, introducing an ‘other-world’ of play, resistance and dream. We use text and publication, event, still and moving imagery, installation and construction. With these media we collage compositions and spatial configurations of which the gallery or the city may be a part. We construct situations, an informal architecture of possibility, moving between material fact and the fiction of our imagination.
Here’s an example of the image flows that I contributed to: