1. MONA
MOCK
PRESENTATION

2. MIXED
MEDIA
:
VIDEO
:
DIGITAL
IMAGING
:
PERFORMANCE

3. Performance
and
interven@ons,
and
their
documenta@on
on
video,
as
the
chosen
modes
of
art
produc@on.
These
interven@ons
intend
to
intervene
with,
and
produce,
socio-­‐poli@cal
commentaries
within
the
public.
The
images
or
ac@ons
produced
within
these
interven@ons
are
socially
cri@cal
performances
to
meaningfully
engage
in
the
ideological
and
cultural
struggles
embedded
within
the
everyday.
Interven@ons
and
performances
ac@ng
as
a
‘reality
hacks’
to
speak
back
to
the
func@onality
and
order
of
the
city,
the
copyright
spectacle,
utopian
sen@ments
for
tourists
and
their
merchandise,
the
over-­‐abundance
of
signs
in
an
age
of
deregula@on
and
semio@c
warfare,
technology
and
virtual
reali@es.
Each
interven@on
and
performance
seen
as
acts
as
a
non-­‐violent
form
of
resistance
and
an
explora@on
of
chance
encounters
and
happenings.
Each
interven@on
aims
to
transform
exis@ng
structures
and
visual
codes
in
the
city,
disrupt
and
rid
life
of
its
mundane
and
ordinary
monologue,
and
humorously
play
with
percep@ons
to
offer
alterna@ve
real@es

4. Photography
is
used
to
document
‘reality’,
and
the
manipula@on
of
these
images
in
post-­‐
produc@on
also
produces
fic@onal
or
hyperreal
reali@es.
Digital
imaging
is
used
to
detour
media
to
produce
a
socio-­‐poli@cal
message
and
tamper
with
reality.
Pop
culture
symbols
and
references
are
appropriated
to
create
new
meanings.
Sculpture
is
used
to
demonstrate,
glorify
or
highlight
phenomena,
or
is
used
as
an
interven@on
prop,
i.e.
an
oversized
Facebook
placard.
Performance
is
used
to
ac@vate
and
actualise
all
interven@ons.
Video
is
used
to
produce
media
hoaxes
and
document
all
interven@ons
for
presenta@on
and
display,
or
a
second
audience.

5. THEORETICAL
INTERESTS
:
FIELDS
OF
ENQUIRY:

6. Finally, nothing to say from Hackney Council, 2014,
photograph, colour ink on paper, 297mm x 210 mm

7. PUBLIC
ART
:
Interven@ons
as
a
public
act.
Demanding
engagement,
par@cipa@on
and
dialogue
with
the
general
public,
a
dialogue
with
the
city.
The
public
as
a
ready-­‐made
audience.
Produced
in
urban
landscapes
of
ci@es
and
public
life.
Re-­‐claiming
the
‘public’
in
‘public
space’.
Create,
perform
and
explore
the
world
of
social
and
poli@cal
reali@es.
Intervene
with
the
priva@sa@on
and
control
of
public
spaces
and
the
regula@ons
and
rules
imposed
onto
society.
*
One
mandatory
element
is
that
the
audience
is
a
member
of
the
general
public
*

8.
The
Real
Snow
White
Pilvi
Takala
“So
there
is
another…there
is
a
Snow
White
dressed
like
this?”

10. SOCIALLY
RESPONSIVE
ART
:
The
social
relevance
of
art.
Re-­‐claiming
the
gallery
space
with
healing
and
rehabilitory
func@ons.
Dematerialised,
an@-­‐market,
poli@cally
engaged
projects
in
the
form
of
public
acts.
Meaningful
and
socially
engaged
artworks.
As
a
series
these
interven@ons
are
a
cri@que
of
modern
society,
and
an
explora@on
of
socio-­‐
poli@cal
reali@es.

11. The law of vibration states that nothing rests;
everything moves; everything is vibrating.1
Introduction
The Unity Stone sound sculpture at the October Gallery, London, is an
archaeoacoustic exhibition studying the sonic nature and healing properties of a
stone located from Stone Age chambers in the 4th
millennium BC. The stone,
located predominantly from Ireland, emits an average resonance frequency of
111Hertz, which Curators Flinton Chalk and Brian Barritt present to the viewer as
an interactive object.2
Brian Barritt and Flinton Chalk, Unity Stone, sound sculpture, 2009.
Igneous Granite, 111 x 37 x 37 cm
Curator Flint Chalk spoke passionately about his research trajectory, his devotion
to the frequency 111Hertz’s, and its medicinal application for healing. 3
Subsequently, Flint currently works with autistic children in North London in an
‘Unity
Stone’
The
Unity
Stone
sound
sculpture
at
the
October
Gallery,
London,
is
an
archaeoacous@c
exhibi@on
studying
the
sonic
nature
and
healing
proper@es
of
a
stone
located
from
Stone
Age
chambers
in
the
4th
millennium
BC.

12. POLITICAL
ART:
EXAMINATIONS
OF
ART
AND
AGENDA
POTILITICAL
ART
:
THE
POLITICS
OF
NON-­‐VIOLENCE
ART
AS
A
TOOL
FOR
ACTION
:
HOW
ARTISTS
HAVE
ATTEMPTED
TO
INTERVENE
WITH
‘KNOWLEDGE’
AND
‘AUTHORITY’
WITHIN
SOCIETY
:
THE
THEORY
AND
RHETORIC
OF
SOCIAL
PRANKS
:
EXPOSE
THE
RIDICULOUS
:
CULTURAL
HIJACKING
:
GUERILLA
TACTICS
:
POST
MODERN
NOTIONS
OF
ORIGINALITY
AND
APPROPRIATION
:
MEDIATE
BETWEEN
ART
AND
POLITICS

13. “What we want is to change is the entire system of corporate control over our
lives”.
Acting as a modern day Diogenes of Sinope from Greece (412 BC) the Biotic
Baking Brigade are art-activists who are famous for throwing pies in the faces
of public figures. Bill Gates is seen below being ‘pied’; a clear public
disapproval of ‘authority' through strategies of ridicule and public humiliation.
“Trickster has been with us from the beginning. Trickster will be there at the
ending…trickster is a creator, a transformer, a joker, a truth teller, a
destroyer6
.”
Figure 1. Biotic Baking Brigade
“Art should deal with reality, grapple with political circumstances, and work out
proposals for improving human co-existence”.7
Wochenklasuar, an Austrian
collective, take direct action and stage social interventions to reverse-
engineer social problems.
The
BioBc
Baking
Brigade
are
art-­‐ac@vists
who
are
famous
for
throwing
pies
in
the
faces
of
public
figures.
Bill
Gates
is
seen
below
being
‘pied’;
a
clear
public
disapproval
of
‘authority'
through
strategies
of
ridicule
and
public
humilia@on.

14. THE
ELDERLY’S
REPRESENTATION
IN
ART
:
AGISM
IN
CONTEMPORTARY
ART

15. ! 22!
URBAN INTERVENTIONS
Angie Hiesel’s x-times people chair intervention,20
Wrinkles of the city by
street artist JR,21
, and Lata 65’s graffiti workshop for senior citizens22
were
presented to the interviewees.
Angie
Hiesel’s
‘X-­‐Times
People
Chair
Interven@on’

16. SONIC
ARTS
:
LISTENING
PRACTICES
:
THE
ROLE
OF
SOUND
IN
CULTURAL
PRACTICES

17. ! 5!
Luke Jerram in process, recording plant sounds.
10
The sound art collective Ultra-red ‘studies, develops, and tests procedures for
collective listening that contribute directly to political struggles and create counter-
discourses to dominant social concepts’.11
One enriching example is their curation
of a soundscape responding to ‘What is the sound of the war on the poor?’
The Exhibition of Chinese, Japanese and Indian musical instruments at The
Brooklyn Museum presented instruments as objects, silent and on display, like
Luke
Jerram
in
process,
recording
plant
sounds

18. SERIES
OF
WORKS
:
A
culmina@on
of
public
interven@ons
choreographed,
performed
and
installed
in
Europe
and
Australia,
at
site-­‐specific
loca@ons.
Staged
ac@ons,
photography,
video,
digital
imaging,
sculpture
and
performance,
used
to
invite
civic
par@cipa@on,
the
coaxing
from
spectator
to
par@cipator,
and
foster
new
dialogues
with
members
of
the
public
through
direct
ac@on
and
collec@ve
authorship.
……REALITY
HACKS…..

19. YOUR
HYPERREALITY
WAS
MY
HYPERHELL
DRY
PAINT
&
CAUTION
DRY
FLOOR
I
LIKE
YOU,
ADD
AS
FRIEND
SMALL
BIG
BEN
GOOCHI,
SHANEL,
ADIDAS,
POOI
VUITTON
THE
BOO
BRIGADE
SOCK
MICROPHONE
SOCIAL
EXPERIMENT
GRAFFITI
REMOVAL
TEAM
SPOOF
METRO
NEWSPAPER
DEAR
THE
LOUVRE
PERFORMANCE
DOCUMENTATION
ICE-­‐CREAM!
A
HAIRY
BEARY
FAIRY
TALE!

20. YOUR
HYPERREALITY
WAS
MY
HYPERHELL
A
photographic
performance
and
urban
interven@on
Spain,
England
(2012
-­‐
in
process)

21.
DRY
FLOOR
&
DRY
PAINT
Defaced
‘Health
&
Safety’
signs
and
objects,
a
mock
profile
on
Wikipedia,
fake
news
reports,
downloadable
PDF
s@cker
campaigns.

22. DRY
PAINT

28. CAUTION
DRY
FLOOR
is
a
site-­‐specific
exhibi@on
of
defaced
Health
&
Safety
signs
inserted
into
gallery
spaces
and
the
general
public.
This
social
prank
is
for
your
safety,
to
warn
you
about
dry
floors
and
so
as
to
prevent
you
from
slipping
and
falling.

32. I
LIKE
YOU,
ADD
AS
FRIEND
A
Facebook
cyber-­‐
urban
social
prank
A
‘second
life’
meets
‘first
life’
social
prank.

35. SMALL
BIG
BEN
Mock
tourist
postcards
inserted
into
site
specific
loca@ons

40. GOOCHI,
SHANEL,
ADIDAS,
POOI
VUITTON
Goochi,
Shanel
and
Adidos’
t-­‐shirts,
fake
authen@city
cards,
a
‘Goochi’
flash
mob,
a
counterfei@ng
sculptural
demonstra@on,
a
‘United
States
of
CChina’
flag,
subverted
an@-­‐counterfei@ng
propaganda,
a
‘Pooie
Vuimon’
flushing
toilet
sculpture,

46. THE
BOO
BRIGADE
An
An@-­‐Mobile
Phone
Art-­‐Terrorist
Performance
Collec@ve
“The
great
paradox
of
the
21st
century
is
that,
in
this
age
of
powerful
technology,
the
biggest
problems
we
face
interna@onally
are
problems
of
the
human
soul”
Ralph
Peters
BOO
is
an
onomatopoeic
word
for
a
loud,
startling
sound,
as
an
exclama@on
intended
to
scare,
or
as
a
call
of
derision.

47. HE
BOO
BRIGADE
is
an
An@-­‐Mobile
Phone
Art-­‐Terrorist
performance
collec@ve.
THE
BOO
BRIGADE
believes
that
mobile
phones
are
making
humans
an@-­‐social.
THE
BOO
BRIGADE
believes
that
a
tree
seen
on
Google
maps
is
not
really
a
tree.
THE
BOO
BRIGADE
believes
that
a
'Smartphone’
should
be
re-­‐@tled
'Dumbphone’.
THE
BOO
BRIGADE
believes
that
mobile
phones
de-­‐evolve
human
posture.
THE
BOO
BRIGADE
invites
you
to
be
social,
stand
up
straight,
look
at
real
trees,
wear
fluorescent
yellow
t-­‐shirts,
and
chant
"Boo...”
when
you
see
someone
on
their
Dumb
phones.

48. SOCK
MICROPHONE
SOCIAL
EXPERIMENT
A SOCK MICROPHONE SOCIAL EXPERIMENT
2014; Urban Intervention
Performance still, 2014
A social investigative prank involving a fake microphone, headphones, an umbrella, an interviewer, an
interviewer’s assistant, a camera operator, a video camera and pedestrians in East London was
performed.
Entering the general public, as the performers held a fake microphone constructed from cardboard and a
sock, they approached strangers to discuss the bilingual and aging population of Whitechapel.
It was of interest to observe how the general public interacted with a fake microphone.
The interviews were intended as an absurdist video performance and a ‘BBE TV' news report
summarised that the senior citizens of Whitechapel had limited visibility, whilst the bilingual population
was flourishing. Nobody noticed that the sock was a microphone.
ENTATI…
CIAL E…

51. GRAFFITI
REMOVAL
TEAM

53. SPOOF
METRO
NEWSPAPER

54. The image part with relationship ID rId3 was not found in the file.

56. The image part with relationship ID rId3 was not found in the file.

58. DEAR
THE
LOUVRE
‘Dear
the
Louvre,’
was
an
anonymous
socio-­‐mockologist
lemer
sent
to
the
Louvre
Museum
with
the
Interna@onal
Postal
Service
as
my
medium.

60. PERFORMANCE
DOCUMENTATION

61. ICE-­‐CREAM!
A
HAIRY
BEARY
FAIRY
TALE!

62. PERFORMANCE
DOCUMENTATION
To
document
performances
and
interven@ons
so
that
they
are
immortal,
if
desired,
and
transferable
to
a
gallery
context
or
wider
audience,
offseong
their
ephemeral
and
transitory
nature.
two
separate
audiences;
the
original
audience
experiencing
or
witnessing
the
interven@on
and
a
second
audience
experiencing
the
interven@on
through
its
documenta@on

63. NEXT:
SONICS
ARTS
:
LIVE
ART
GONG
LIVE
BUTOH
PERFORMANCE
:
RON
ATHEY
:
TONIGHT

71. NEXT
GONG-­‐BUTOH
PERFORMANCE
IN
SEPTEMBER
AT
THE
HOXTON
HALL.

72. TONIGHT:
RON
ATHEY’S
FAREWELL
LONDON
PERFORMANCE
(SEBASTIANE)

76. THE
END
(Where
dreams
can
come
true)