Wouldn't it be Nice Conceptual Tour part 4
To recap: I am describing my guided walk of the On Purpose Exhibition at the Arnolofini in Bristol which was given at the Wouldn't it be Nice Exhibition at The Embankment Galleries, London.
The models in Jurgen Bey's piece had a parallel at the Arnolofini in Yuri Suzuki's piece Sound Chaser. So I described the little models as if they were train trucks which had a stylus on the bottom and they ran over tracks made of old vinyl. The story I gave out was the Suzuki wanted to return to the physicality of vinyl. His second piece at the Arnolofini was similar here users could (if they were very lucky to work out how the system worked) a bring a MP3 and engrave the sound onto a piece of plastic jewellery - viz a bracelet which could be played on a turntable.
I asked my audience to split into two's, one of the pair to think of some wonderful music to give as a gift to their partner, and then to clap or click out the rhyme. This gave a pleasing noise. I then told the clapper or clicker to put their hands round the wrist of their partner and to stay like this for the rest of the tour. They had in effect become living bracelets. Thus player both on Abake's limb typology and sound jewellery.
The next stop was chosen by one of the group who read out one of Conroy and Young's instructions:
The piece chosen was Museum Guise 1007 by Marti Guixe. These were illustrations on the floor and on the wall with features like noticeboards. I go my teams to design their own designs as inspired by the ne
arest board to them. I had a wh
ole series of spots 
and dots, and labels as well as foam A4 pads. These are the artworks we produced.
The tour was completed with two final interventions, the first was based on Book Circle by Daniel Estock. It consisted of a set of books cited by the collaborators as their main design influences, the books were arranged in a circle. Close examination showed that it was impossible to see any of the
names of the books or their authors except two books- one refering to Bruno Mounari the other Jorge Pardo. To represent this I asked the group to split into pairs again - each person was to whisper to their partner a name of a design influence. They were then to form themselves into the form of a book but they should make sure no one else could see what was written on the spine of the book thus formed.
I was toying with the idea of secret knowledge that present but was not shared.
The final piece was Future Echo by Metahaven. These were a set of stamps based on the idea that Van Eyck's Arnolfini should be in the Arnolfini Gallery. It rethought the idea of a private view exhibition and are designed to be mailed out in future to keep the idea of the event alive and not just at the one private view. I played on this idea by asking my audience to draw their own arnolfini on a post it and put their email on the back. These were stuck on my notice board for people to choose. They had to promise to email the person in a weeks time to discuss the tour.
And that was that.
The models in Jurgen Bey's piece had a parallel at the Arnolofini in Yuri Suzuki's piece Sound Chaser. So I described the little models as if they were train trucks which had a stylus on the bottom and they ran over tracks made of old vinyl. The story I gave out was the Suzuki wanted to return to the physicality of vinyl. His second piece at the Arnolofini was similar here users could (if they were very lucky to work out how the system worked) a bring a MP3 and engrave the sound onto a piece of plastic jewellery - viz a bracelet which could be played on a turntable.
I asked my audience to split into two's, one of the pair to think of some wonderful music to give as a gift to their partner, and then to clap or click out the rhyme. This gave a pleasing noise. I then told the clapper or clicker to put their hands round the wrist of their partner and to stay like this for the rest of the tour. They had in effect become living bracelets. Thus player both on Abake's limb typology and sound jewellery.
The next stop was chosen by one of the group who read out one of Conroy and Young's instructions:
The piece chosen was Museum Guise 1007 by Marti Guixe. These were illustrations on the floor and on the wall with features like noticeboards. I go my teams to design their own designs as inspired by the ne
arest board to them. I had a wh
ole series of spots 
and dots, and labels as well as foam A4 pads. These are the artworks we produced.The tour was completed with two final interventions, the first was based on Book Circle by Daniel Estock. It consisted of a set of books cited by the collaborators as their main design influences, the books were arranged in a circle. Close examination showed that it was impossible to see any of the
names of the books or their authors except two books- one refering to Bruno Mounari the other Jorge Pardo. To represent this I asked the group to split into pairs again - each person was to whisper to their partner a name of a design influence. They were then to form themselves into the form of a book but they should make sure no one else could see what was written on the spine of the book thus formed.I was toying with the idea of secret knowledge that present but was not shared.
The final piece was Future Echo by Metahaven. These were a set of stamps based on the idea that Van Eyck's Arnolfini should be in the Arnolfini Gallery. It rethought the idea of a private view exhibition and are designed to be mailed out in future to keep the idea of the event alive and not just at the one private view. I played on this idea by asking my audience to draw their own arnolfini on a post it and put their email on the back. These were stuck on my notice board for people to choose. They had to promise to email the person in a weeks time to discuss the tour.
And that was that.
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