Wednesday, March 13, 2013

A Demised Premise

“Text-based interventions” in 'A Demised Premise', group event, curated by Richard Crow and Lucia Farinati, Institution of Rot, London, 31st July 2009

"Myself and others originally expected I’d be available to perform in person at Richard Crow and Lucia Farinati’s ‘A Demised Premise’. ‘A Demised Premise’ was a pre-eviction “last rites” or “wake”, held to both celebrate and mourn what and where had once been Richard Crow’s 1990’s secretive, mysterious, private and hidden North London Institution of Rot performance “club” (and also living and working space, since the early 1980’s). Only, ‘A Demised Premise’ had to be rescheduled to happen earlier than Richard Crow and Lucia Farinati 1st planned –clashing with when I’d be acting in ‘Marcel’*. To solve that problem, myself and Richard Crow made advance audio recordings and footage of me; “stand-ins”, serving to represent me, whilst “in absentia”. Some can be seen on youtube

Despite ‘A Demised Premise’ being something I was involved with, at a place I’d been and known, I had to rely and depend only on other’s accounts, what documentary material there is, my own guesswork and imagination –then surrender and accept defeat to being none the wiser. I almost remember or dream ‘A Demised Premise’. In some ways, I was present and correct “there” and “then”. From what I heard and saw later, it seems the proceedings of ‘A Demised Premise’ went well, attendance was good and it worked as an event and experience. Take heed and be warned, phœnixes can and shalt arise up from out of the remaindered, surviving, leftover and dormant ashes of Richard Crow’s Institution of Rot."

©, Copyright, Douglas Park

* 'Marcel', film (and linked events) by Komplot collective, Brussels. Heavily referencing lives and works of 3 20th century avant-gardists, the 3 "Marcels"(!?): Broodthærs, Duchamp & Marien. “Avant-Premiere” (with live expanded-cinema actions by Merryl Hardt & Eleonore Saintagnan, Gregoire Motte, Douglas Park, Benjamin Seror and Pete Um) Netwerk, Aalst, 2010 — with Richard Crow and Lucia Farinati.

A Demised Premise
: Institution Of Rot: A Demised Premise 31.7.09 An Audio Document

Institution Of Rot: A Demised Premise 31.7.09 

An Audio Document

CDr, Compilation, Limited Edition 


Untitled (A Demised Premise)
Your Name Is Rottenness, Luder
Studio Classes, DNA Test, Losses & Survivals, Dhl/Scl, Losses & Survivals




IOR: A Demised Premise 31.7.09 Photo: Richard Crow

'A Demised Premise', in 'Dokument, Dispositiv, Deskription, Diskurs', 

Disembodied, free and loose, but injured and sickly voices gasp their very last breath; remains compress, adhere, fuse, solidify and fossilise; leftovers, resurrecting into cadavers and wreckage which never quite die out; instead, they stumble, falter, slow down and halt during course of duty as active bodies and live places, not at standstill.

Substance-fatigue claims derelict bodies and dead places; afflicted victims fracture, shatter, crumble and dissolve, until evaporated away; all fumes and sand survived by burns, rust, debris, stains, mould, shadows and clouds lurking behind afterwards; immortalised voices patrol, haunt and reign, becoming unhindered meteorological weather.

©, Copyright, Douglas Park

Douglas Park reading A Demised Premise (extract) at the Institution of Rot.
July 2009

still from advance film and recording committed en situ at crime-scene

The Institution Of Rot

"In history, as in nature, the rotten is the laboratory of life"

The Institution of Rot (IOR) was founded in 1992 br Richard Crow(sculptor, installation and performance artist) and Nick Couldry (writer and sound artist) and was concerned with objects and processes 'born' out of the destruction/transformation taking place within Crow's
private living/working space.
The first public performances and installations at the Institution of Rot were in June 1993.
In 1996 IOR curated the Noisiness Of Bodies - a series of site-specific work and performances (funded by the London Arts Board) that revealed multiple imaginary histories of a single private space.

"We aim to confront the paradox faced by all LiveArt/Performance - how to reconcile the privacy of its material and its processes with the exposure of public space, for 'if the age of transparency may need a theatre of secrets', so too must critical performance and installation open secret spaces, narratives of the private  and the inadmissable."

The curators presented work alongside artists working across a range of media - sound, text,video, objects and movement. Their affinity lay with the specific concerns of the IOR- the privacy of the human body and its public transformations (ingestion, expulsion, cleansing, confessions, rituals and taboos).

Admission was by invitation/membership only

Whilst Crow flies south Trina Mould is currently resident at the IOR,
hosting private conferences and opening Crows mail. (TM can reveal that Crow is the recipient of much direct mail from marketing/catalogue companies and from Islington Council and uses many pseudonyms)

The IOR remains open as a point of contact, and is interested in international collaborations.

To this end TM Exchange has been created at the IOR.
The 'artist in residence' is a  customary commission system whereby a public gallery will host an artist living and working on behalf of the gallery's  programme.
In this case TM exchange  acts as an agency for artists willing to exchange their private homes in a straight swap for a short period.  Projects are commisioned by TM Exchange/IOR and resultant work is exhibited at the homes involved and/or through Internet using WWW and email.

institution of rot
109 corbyn st
finsbury park

tel/fax  44 (0) 171 272 5816
email t_mould {AT}


Nummer 2011:2–3  (53–54)
Dokument, Dispositiv, Deskription, Diskurs
INNEHÅLL: Förord • Tris Vonna-Michell enfolds: Re-descriptions • Giles Bailey: The Nineteen sixties • Franck Leibovici: Poetiska dokument • Christophe Hanna: Dokumentfunktionen (Begreppet Poetiskt dokument hos Franck Leibovici • John Guillory: PM:et och moderniteten • Olof Eriksson: Supplement • Lina Hagelbäck: Kontaktkarta • Kristofer Flensmarck: Du har förstört mitt liv: Emil Boss & Joakim Andersson: Bilaga D. ständiga förbättringar (Kaizen) 4-M-checklista • Anne-James Chaton: Porträtt • Laurence Denimal: La (SXXX), Octobre 2007 • Cia Rinne: Indices(indicier) • Martin Glaz Serup: Bortnærværelsen af latkes HODELL, HOLOCAUST M.M. • Lotta Lotass: Ur krigsarkivet • Eva ström: Kring det dokumentära • Jena Osman: Bern Porter: Återvinna atmosfären • James Hoff: Untitled/Argot • Philippe Boisnard: Omkastningen av litteraturspridningens förutsättningar utifrån en analys av spampoetry • Pär Thörn: Letter and Package Bomb indicators • CO-OP: Brecht in Schweden/Brecht i Sverige • Ingela Johansson: Gruvarbetare i blickpunkten-igen. En berättelse om strejkkonst, solidaritet, museet, gruva och Folkbibliotekarie Henriksson • Andrzej Tichý: Bländande och dunkla spår • Henrik Andersson: Items of dual use • Sophie Berrebi: Jean-Luc Moulènes dialektiska dokument • • ”Med ett positivt sinne och en pocketkamera.” Konstnären som dokumentarist • Richard Crow: The Institution of Rot • Leif Elggren: Ät inte för mycket • Anne Bénichou: Dessa dokument som också är konstverk... • Martin Högström, Christina Kullman och Frans Josef Petersson: A Wheel has Teeth, A Pinion has Leaves. The verk av Peter Thörneby • Mathias Kristersson: Statement • Ida Börjel: Rosa X (Warf die Kissen) • Bokbål: Esthetik und logistik • Lili von Wallenstein: Ästhetik och logistik • Jean-Francois Chevrier och Philippe Roussin: Att ta ställning för dokumentet • Bertrand Gauget: Om några dokumentrelaterade problem inom konstnärlig praktik på internet • Jorge Ribalta: Dokument, historieskrivning, montage • Laura Marcus: Mass-observation-projektet • Dorothy Sheridan: Charles Madge och mass-observationsarkivet en personlig anteckning • Rod Mengham: ”Bourgeois news” Humphrey Jennings och Charles Madge • Geoffrey Batchen: Guilty pleasures • Vardagliga-lokala fotografier • Cecilia Grönberg: Photography, history, curating a conversation with Geoffrey Batchen, CUNY Grad Center, New York, May 5, 2010 • Harold Garfinkel: Vad är etnometodologi? • Bruno Latour & Steve Woolgar: En antropologi besöker laboratoriet ur Laboratory Life • D Graham Burnett: Det objektiva fallet-en granskning av objektiviteteten • Tobi Maier: Notes on works of Franz Mon • Hans Christian Kosler: Språkkritik och språkerotik i den experimentella litteraturen. Franz Mons poetik i ljuset av en möjlig varseblivning • Jonas (J) Magnusson & Cecilia Grönberg: Other ways of reading • Astrid Wege: Kriwet Publit • Ute Meta Bauer: Black Gate Cologne • Ola Ståhl: Film • Gabriele Jutz: Dispositiv och Index • Giorgio Agamben: Vad är ett dispositiv? • Jeffrey Bussolini? Vad är ett dispositiv? • Bernard Vouilloux: Om dispositivet • Philippe Ortel: Mot en dispositivens poetik • Thomas Dahl: Pennvässlappar • Christophe Hanna: Våra poetiska dispositiv • Franck Leibovici: Kinesiska porträtt • Meira Ahmemulic: Ur M:s perspektiv • Paul Sharits: Martin Grennberger • Anna Ådahl: Work in progress • Allan Sekula: Detta är inte Kina: En fotoroman (1974) • Lotta Lotass: Dokument: Alexander Kluge • Maryanne amacher: City-links. Documents from the Amacher Archive selected by Tobi Maier, Micah Silver, Robert The and Axel Wieder • Peder Alexis olsson: 15:34-15:59, 16:03 • Sten Sandell: En sonisk triptyk musik och bild • Stefan Klaverdal: Consensus Music • Drone Music • Tuning music • Dissention Music • Lina Nordenström: Poetikens mekanik. Mekanikens poetik. I form av tre vokaler-en vokalensemble (I,II, II) 2009 • Éric Houser: Je bande toujours • Helena Holmberg: KwieKulik • KwieKulik: Activities with Dobromierz (1972-74) • Activities with the unknown (1974) • Ileana Pintile: Konceptkonst on the edge. Några rumänska exempel från 1960- 70, och 80-talen • Paul Neagu: Guide to generative arts (1977) • Generative art Group: (Neagu, Belmood, Honeysuckle, Larsocchi, Paidola) • Paul Neagu och Generative Art Group: Gradually going tornado! (1977) • Elena Hamalidi, Maria Nikolopoulou & Rea Walldén: Det verkliga bortom realismen: Collagets många ansikten i grekiskt 1960- och 70 tals avantgarde • Real beyond realism: The multiple faces of collage in greek avant-garde art in the 60s and 70s • Freke Räihä • Franck Leibovici: Redeskription • Philippe Hamoon: Ur Du descriptif (”Om det deskriptiva”) • Jean Ricardou: Den skapande deskriptionen: Ett lopp mot meningen • Alain Robbe-Grillet: Tid och deskription i berättelsen idag (1963) m.m.

 OEI Œi, Stockholm, 2011

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