Update, June 15 2015
Ok, so.. CPH STAGE swooshed away very fast
I think we should write something about it
Mr. Rice will be busy with TRANS (Det Frie Felts festival) this week but maybe SHARED BLOG can be the place for reflections?
What do you say?
The urge to express
Update, June 2 2015
Check it out now http://risk.nu/event/small-teateroen-cph-stage/
Update, May 25 2015
“Mr. Rice & peanuts”
“Come again? Mr. Wise with a big penis?”
“No, Mr. Rice & peanuts – don’t ask me how that name came to be what we call ourselves when working artistically. It just happened. As so many other random things in life”
We, Mr. Rice & peanuts, come as one package – one that has grown strong over the past 6 years. Our work is opening up already existing phenomena and riding the residues. Emerging artists and part of the rising generation – if so in the shadow land of rejections and conflicts between being or not being categorized. Moving from subject to object, working in the land of otherness and causing confusion when program texts are being printed.
“We don’t understand”
Well, should we change our artistic agenda, outcome and expression so you can understand? Or should we simply continue working, stubborn as we are, believing in what we do and see how future times will develop; welcome or not, we exist and perhaps some future historian will evaluate us when our time has passed. Maybe they will even refer to us in history books, who knows? But we don’t really care about that now.
Update, May 19 2015
One after the other, slowly piling up like a huge pancake mountain.
Mr. Rice stays positive and I’m trying not to care about that warm fuzzy feeling vibrating inside of me, eager to formulate something unpleasant in here or out there. We’re working with no, Mr. Rice says. At the moment collecting all of them to later on push and pull against.
No to no’s
No to rejections
No to not caring
No to impulses
No to desicions
No to to be continued.
Update, May 6 2015
What comes up must go down, ey?
An e-mail from Yvonne Rainer popped in
She went like → Hello Sanna: What do you have in mind? Yvonne
I went like → *starstruck* Formulated and re-formulated e-mail(s) and replied
She went like → Sanna: All I can do is attach a revisionist version of the No Manifesto that appeared in an exhibition in London some years ago. Good luck with your work. Yvonne
I went like → What to answer now?
And yesterday was a bit of a downer.
Malmö Stad rejected our application for “Event Lady Rainer”.
So now we’re looking in to other ways of funding this project, as we have everything set and ready to go, Inkonst is on board, me and Robert are ready with clear calendar.
Money be bitching like painkillers with hungover thoughts
Update, May 4 2015
Hmm.. I thought the process of writing the application for HAUT – the festival would be more complicated, as usually. But this time it went smooth, I posted something here, Mr. Rice answered and I replied and then we had an IRL meeting and later on some organization and wrapping up the text and voila, application sent in! Now all we can do is await HAUT‘s curating meeting and see whether or not we’re part of the festival in late August.
Update, April 28 2015
Ey, didn’t know you could write in colors. Nice stuff!
~I say potatHOE,
you say potatYOU~
Mr. Rice, let’s do this, break it down, itsy bitsy like a mini bikini
– So, shall we have chairs and tables or soft material close to the floor?
– How do you want to display the live documentation? (just curious) And where? Will it distract us in the room? Shall we make it even more distractive? Like a large piece of old bread to chew on without water to swallow...
I see the whole act (exhibition/performace/pre-evaluation) as collective. A conversation, where the people (just a side thought here; a bit funny I’m just assuming that there will be people. maybe no one will come, but we will at least keep ourselves busy and work in companionship as always, right) shall feel invited and welcome to join and therefore no need to arrange “other collective activities” such as “a dance”. Maybe a dance will happen, but no need to push it, aight? (maybe because I, me n myself, feel a huge contraction in my attraction by the thought of arranging a danceoke-like kind of happening. no, i don’t wanna do it.)
check it out yo → 2:44 ← PRESS HERE FOR SOUND (think Bill would like this tune actually, you should try it)
Update, April 27 2015
Hello Mr. Rice,
comments? things to adjust? are you with me?
Hollar for a dollar!
Yo! mr rice steppin in the picture! That originated from a rap battle (my one and only) outside nemoland “yo yo yo, homo thuurteen steppin in the picture..” then blank.. jaja. ima do dis now
List of technical requirements
- 2 microphones (preferably able to stand on table, or attached to clothing)
- Light; ingen dikkerdarer, just simple, nice and easy
- 1 overhead (if possible, if not we might find one ourselves)
- 2 chairs
- 1 table
- 2 bottles of water
- 2 glasses
Motivation for participating in the community around the festival
Mr. Rice & peanuts likes HAUT. It is a great initiative and also a super nice place, and it would be amazing to keep on being part of the community; to come back with new projects more or less formulated, as well see how HAUT is growing, changing and keep on challenging the stage/art in Copenhagen/Denmark. We’re also eager to see how the relationship HAUT + Mr. Rice & peanuts will unfold and take on new outcomes in the future.
Update, April 21 2015
Hereby peanuts open up for how Mr. Rice & peanuts usually write applications when apart.
Hey Mr. Rice,
Please read and respond as you wish
But let this text be saved from your edition and post another one here in the blog so we can compare them later on. Fun fun fun n stuff!
Initial comments by rice: will be in pink, will add on without removing, will focus on the what
Mr. Rice & peanuts wish to be a part of young choreographers
– the festival @ HAUT
Our proposal includes an exhibition and a performance. Structured so that a situation where a discussion with the audience can take place simultaneously with “it” being performed. It happens completely ad hoc from the point of perspective of solidifying vagueness. “It” presupposes discussion, thats for sure..
We wish to perform an exhibition by having a pre-evaluation in a lecture like setting, where we will discuss how our trilogy SOLID IS THE NEW VAGUE unfolded.
SOLID IS THE NEW VAGUE haven’t actually been presented yet as the first module will happen during autumn 2015 at Inkonst in Malmö. So this pre-evaluation will contain speculations and fictitious descriptions of what we can imagine happened – or not. Did we like it? Were we nervous? How did we deal with the fact that we only got 25% of the funding applied for?
The conversation will probably circle a lot around formats, objects and decay. And the sixties! In Ny, and the 00´s in Brussels. We will work towards having movement in space almost constantly in an effort to instigate continuity. No, not like musical chairs, more like mingling with nice folk at a nice party. Should there be drinks? Music? Guess we need to pre-evaluate that.
We deliberately carry on a conversation about what we do not yet know, but potentially want to happen. This pre-evaluation is a kind of elongation of the ideology of “Vague Assumptions”, our working method and artistic practice. We’re assuming a future position, as well assuming an historical one, in order to dissolve our habitual modes of producing and address the potentiality of pre-writing history.
You see, the work aims at dealing with historical objects in a way that diverts from accurately presenting facts about Rainer and Ingvartsen. It´s more like
The conversation will not be pre-scripted but rather accumulated in the present time. Challenging? For sure! Not only for the audience but also ourselves. We will finally, after 2 years of thinking, writing, re-writing and applying for funding, open up and invite you to our intimate process of working towards the next step of producing.
Space, setting, time.
Soft material close to the floor, like grassy meadows in Scotland that one sunny day. Over head (or f it, projectors..) moving the point of focus around. Texts, media. The conversation is not pre-scripted but time is pre-moderated. We also need to thoroughly document it all, the documentation needs to be displayed live. It needs to feedback to whatever is going on. It is a one night thing with audience preceded by a couple of days prep. I also think we should propose a collective act. A little dance.. Almost regret that as i write it, got this image of me like “ok so if you all want to join this dance thing..” and everybody is like.. eh, no? But why then? good question . Maybe one for the peanut to crack.
Update, April 14 2015
I have no idea how to structre this page in an appealing aesthetical yet representative way.
Still searching for strategies, concepts or tacticts in how to handle a square format with as much plasticity it seems frightening.
a little thought popped in to my head; am I always this insecure and scared for changes? or when did I start to lose trust?
Update, April 1 2015
Mr. Rice & peanuts apart
without Rice, no peanuts
without peanuts, no Rice
without Rice, no peanuts
without peanuts, no Rice
Seems to me that Mr. Rice & peanuts are very good (urh, yeah but you know, words and text all boiling down to the most easy and preferrably most cheesy commons) at working when a deadline and kind of guidline is given. 3 is the magic number and same size works is the umbrella where Mr. Rice & peanuts take cover from windy witty sandstorms, also where peanuts
writing from a bed, not mine, not very comfortable just changed position from side-laying to stomach also not very comfy. out of my comfort zone, LOL and other meaningsless words comes flying as if they never knew where to land but POFF there comes another one and BAM here to stay it seems. words and feelings, always fighting and who gets to sit on the front row?
dead – line
pea – nuts
to be continued, always and forever
Document a) Solo?
The following text addresses Mr Rice´s so-called solo work. With thanks to: Sanna Blennow (peanuts), Kaspars Liepins (kvällens gnistor), Fridolf Lundmark, Emma cecilia Ajanki, Poul Helmar Laursen, Janna Dyst, Bill Tell Logrell Dyst, Viktor Strand, Pavels Liepins, Daniel Karlsson (Ateljekollektivet), Ryan Donnely (Ateljekollektivet), Maria Dahlgren (Ateljekollektivet), Zacharias Blad, Vera Liepins Orman.
For a quick summary, read bolds only.
The project is an installation that escapes through process into behavior. It arose in my atelier(plus an additional cubical). I invited collaborators from other constellations. The invitation sounded something like- hey Im doing this solo and I would love for you to enter it. To do-? Well, we´ll figure that out. And as time closed in on the date, things self organized. Of course not random, things had been decided in the non spoken over time.
The choreography was and is, a connector of spatial logics that separate practices brings with them.
In short, this particular process’s modus operandi was a daily routine starting and ending with skateboarding, holding the other activities in the center. Drumming, vocalizing, painting, hammerin´ n´ nailin, yielding, slow moving, moving with artifacts, performing in solitude and eating. Most of the time alone. Solo.
Sometimes the night was used as labor time. Occasionally it ended up in party like situations. Total fucking release! And then it re-assembled into 12.00-17.30 again and on the way all previous thought no longer made sense. Nothing besides the traces– that´s why recording on surfaces is tha bomb!
All in all- hangin out while laboring. When in solitude longing for others and consequently falling into labor. As to escape longing. Escaping, someone else? Scapegoat. Scapegoating. To scapegoat performance for exhibition, I paint in order to perform live. I skate as an escape from concentration, aka “physical practice”. I concentrate in order to escape.
I wrote the following sometime before Christmas ( I think a day or so after Ingvartsens workshop in Cph) and it served as sort of a manifesto:
“Scapegoating”. The practice of responding to the internalized sense making devises with productive escapism, rather than applying a fixed set of known logic structures. Scapegoating is for people who consider themselves inadequate in verbalizing their content due to inconsistencies of thought, but never the less endures. It is the continuous practice of exhausting a multitude of activities, each as an escape from the other. One must then start to ponder on escape, and so comes the inner negotiations on space. From what, to…? Perhaps a variety of intermediates that connects differently, but still relate to a core subject, can reflect and express the negative mass left behind by habitual processes? I choose to consider choreography as the core subject of my work. Which in this respect acts as the collaborative element, as it provides tools and strategies for unfolding connectors between entities and perhaps a little something on the style in which they connect.. Where is what produced, and what produces what-and how?
The project has now publically been shown and about the debate on what it is, should it be performed in a different space, I write:
What moves is essentially pre-consciousness, the now that happens but takes a fraction of time to be operated by the mind. It distributes itself through an array of systems differentiating in global awareness. The endocrine system in interplay with the sense of empathy, visceral coding onto sonic experience and the self onto the global.
The fraction is what gives space to everything human. All we can do is contextualize spaces, in between actions or in between words. Pretty much what “Trans” (two women machine show and Jon Bonnici) does. Re-mediation as a prosperous model of coming to terms with “sense” (of).
There is something about letting the transfer between medias be the thing itself. Where the investigation can be formalized and serve as motor for building self continuity. The urgency as such is then encapsulated in the act of transforming and the rate of change the narrative. The project itself is an attempt to transcribe as much information in regards to flow as possible. The setup is based around a core, the gut of the monster. A place of lying down surrounded by options of visceral and sonic input. Like a bed of nature that directs the gaze upwards where it meets a range of screens located in star formations. Iphones, laptops and other portable devices hang on top of a vault of paintings. Mixing inputs is made possible through a computer connected to audio output selectors.
Around the core erects a structure in the center of the space connecting physically to all corners of the room. Activities such as recording sound, writing actual codes or leaving traces on canvas take place in a structured manner.
There are no formal rules, no generic code that controls the flow. The one unifying factor is the documentations that exist in space and the request that the participants of the project somehow take them into account while pondering on potential add ons. It is a system in the making, one unaware of itself being systematized.
Its blurry now.
BACK TO PRESENT TENSE
I consciously write as Mr Rice, meaning peanuts is omnipresent. For various reasons this project just didn´t include so much of her carnal being.
I do however predict that the future will make Mr Rice & peanuts a unified mass in the flesh once more. Hejdå