Although the books act as objects and as sculptures in their own right, the interplay between the text and images in the books is really interesting. Reminds me a little of John Stezaker or John Baldessari work.
2. We will not talk about the works to each other
3. We will not give any clues about the works to the other (not be covered in it, leave bits of it around the house, etc)
4. We will not speak to anybody else about what we are making
5. The works must be finished by Friday at 1pm
6. The works must not relate to any other works we have made together
7. We must not spy on each other
On Feb. 28, 1953, Francis Crick walked into the Eagle pub in Cambridge, England, and, as James Watson later recalled, announced that "we had found the secret of life." Actually, they had. That morning, Watson and Crick had figured out the structure of deoxyribonucleic acid, DNA. And that structure — a "double helix" that can "unzip" to make copies of itself — confirmed suspicions that DNA carries life's hereditary information.
The two men collaborated together were both an odd pair, the British Crick, at 35 still had no Ph.D. The American Watson, 12 years younger than Crick had graduated from the University of Chicago at 19 and his doctorate aged 22. They both shared an indifference to boundaries, and the bring together of their two mind revealed one of natures greatest mysteries. One colleague described their collaboration as "that marvellous resonance between two minds-that high state in which 1 plus 1 does not equal 2 but more like 10."
UK based artist and performer Susannah Hewlett makes work which tranverses gallery, theatre and other performance contexts, often playfully disrupting the structures of venues in which it takes place. In the Live Art Generation Game Hewlett subverts the challenge from the bygone Saturday night television show - The Generation Game - where the contestant must memorise all the objects passing on the conveyor belt in order to win them.
The ideas of popular culture and ridiculous competitions relate well to the current body of work TurnHurst are undertaking, in both live performance and video we chanllenge each other through absurd competitions such as how many crackers can be eaten in a minute, or who can make the best origami crane to an instructed video.
Much of Hewletts work deals with the absurdity of television and popular culture and the frames that are subconciously hidden within television and visual media. She also touches upon how humour can be used within art and work up until the poinbt the audience feels uncomforatble or irritated.
In 1976 Marina Abramovic met Uwe Laysiepen from West Germany. He went by the single name Ulay. They were both born on the same day.
Jackson Webb is a collaboration between British artists Mark Jackson and Charlotte Webb.
It is comforting to find another collaboration which focuses on the actual idea of the entity that collaboration produces. They, like TurnHurst explore the complexities of co-authorship, and set no definitive rules for their practice. They see their collaboration as:
'a changeable, fluid entity that is a product of our collective cosciousness. The objects we make often become something outside of our individual authorial control, perhaps more like the product of a third, invisible collaborator'.
TurnHurst are planning to create a blanket mold of their own bodies in plaster. Creating both an interior and exterior mold of their frames which will hopefully be exhibited in Kingston Project Space.
The Paper Wall which is typical of their recent, performative work. The artists are seperated by a thin wall, but are painfully aware of - and emotionally involved with one another.
By taking their married relationship as a focus is normally seen as very brave by art critics and artists alike, it's normally a taboo subject matter in contemporary art. The Pyes use it as a metaphor for power struggles and communication issues between two individuals. By blurring the borders between their lives and their art they tackle the poetic issues that arise from their own relationship. But it's not self-absorbed. The work becomes a representation of the things that can go wrong in a mutually dependant relationship.
Couples that address issues from their relationships are uncommon in contemporary art given the prevalance of the situation in modern life. Marina Ambramovic and Ulya collaboratively devled into performative rituals that explored individual artistic identity, creative ego and innate power struggles in a close relationship. Gilbert and George have for decades used their life within their art, performing together and designating themselves as living sculptures.