Speaking of that Kaprow statement, my ongoing work Musica Practica is programmed for Tate Britain’s Late at Tate event in February. Moving the performance into a museum makes a change from its original South Bank location, where it took place both outdoors and outside of a designated art space. It meant people stumbled upon the work without any preconception that it could belong to an art context, and as a result, for many people it never did: it was just a thing that had happened to them that day – or perhaps they had happened to it?

Putting the performance into a museum makes it clear from the outset that we’re dealing with an art thing, and there’s no doubt this will substantially change the work. Mindful of its original location, we’re moving the performance through the Tate Britain galleries from space to space over the course of the evening so visitors might encounter the conductor unexpectedly in multiple locations, and might even miss him altogether. Among them I’ve chosen as many “lifelike” places as “artlike” ones (to borrow from Kaprow again) – a cloakroom, an info desk, an entrance way – which more closely recall the work’s original attachment to everyday life. With these adjustments keeping time with the adjusted context of the work, I’m interested to see whether the result feels more like a new work altogether or an adaptation of the original.

From the Tate Britain website:

A lone orchestra conductor translates the gallery’s ambient sounds and everyday movements into real-time orchestral choreography. Shifting the traditional relations of authorship, score and performance, conductor and audience simultaneously direct one another’s actions.

Tamarin Norwood with conductor Anthony Weeden

Musica Practica will be part of Late at Tate Britain: Diffusions
Friday 4 February 2011, 18.30–21.30
Part of the Great British Art Debate

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