Whereas the Saatchi visit impact centred on Tracey Emin although this is not to discount others. (I thought the physical nature of objects fun and impressive although presumed others had translated the ideas for the artists; the experience of entering the room filled with liquid and distorting balance and creating the dual image as that when looking across a lake, the underground map of people that influenced, stations, the room of distorted instruments, come to mind, as well as the brothers image of hell bringing back the Rodin Gates) however these and others had little impact on the future direction of my work, in same way the afternoon at the Tate was to have.
Top of the list must be Bruce Nauman although Sarah Lucas is close behind. On the first visit it was Good Boy Bad boy which first caught my attention but I did not stay for the full session and it was only the second visit which confirmed the impact. On the first visit it was photos of the concept where he had exchanged objects from his flat with those which he had put on exhibition which echoed my feeling that my work had to comprise everything that I had of my life, dissatisfaction with the traditional biographical work which usually centres on the aspect for which the individual had become well known. The idea of keeping and putting everything of me as one package was already there but he had done it, albeit in part. His neon light and the colours of exhibits at both places led to the use of glitter glue for the artman cards as my poor mans substitute
On a second visit I listened to the full Good and Bad Boy performance of sixty minutes, fifty two seconds, and apart from the hypnotic musicality, there was something more profound: a dialectic dialogue about gender and identity. Well that was my reaction. There was something me about his work or me putting myself into his work.
My third visit to the Tate was an exclusive for the Nauman installation in the Turbine Hall. The installation comprised speakers on either side of the long side walls fixed at intervals. I had with me a voice recorder which picked up background sounds so I walked from speaker to speaker the length wise listening to each cycle and making my comments as I walked between. I believe I have the recording on the laptop but I am too lazy now to switch off Radio Gibraltar and check.
Could it become a podcast addition to this entry. I will investigate before the nexct entry. The pictures of my progress included in 101 in Black and White are too large to upload which is odd as I thought they were the same size of those already uploaded so I will also need to investigae this aspect further. However as explained in my mother Blog on AOL which has been going for six months and where I record both the daily work erxperience and my artristic event expertience of others, these few days have been excpetionally busy with other activity. My action attracted some attention from other visitors. This was an important stage because I felt my experience was an instinctive personal performance. It was what the work needed to appreciate its experience but which also became a different work through my experience. No one directly shared this mwith me until now, except in the curiosity at my behaviour and much contemporary art and contemporary behaviour seems to me driven by curiosity.
This first retrospective account is shared with Sarah Lucas because of the video performance in small booth type area. That she went about the street performing, doing her things took great courage, more courage than I have about my work to this day. I had also experienced her work at Saatchi and found out what I could about her till that time. It was significant she had been close (perhaps remained) with Tracey Emin and the others.
Next time there is Stephen Beuys, Hanne Darboven, and more
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