The artists’ studios where I have my office, Primary, recently staged its annual Open event, and it so happened that our turn to deliver another part of the ongoing programme in the building coincided with it. Early in 2013, a series of public events titled Old School Breaks was launched, pairing the 30 or so artists who work here into fifteen randomly selected partnerships, each to create some kind of collaborative event on whatever terms seemed to work best in one of fifteen randomly allocated months. Some gave talks, others collaborated over a whole month then showed the work they’d made at the end, others delivered a performance or small exhibition and discussion. As I’d been teamed up with the performance artist and pug painter Simon Raven, we decided to create an immersive environment inside the semi-derelict Blue Building (a disused modern school block) and then explore it over five hours, spread across the three nights of the Open Studios event. With no budget and not much time, the fact that we’re both, if nothing else, hoarders of vaguely interesting things – slide projectors, masks, 78rpm records, BBC radiophonic LPs, a toy Tardis, perspex mirrors – meant we managed to suspend fabrics, build a hidden Ubu room, set up projectors and light sources, installed record players, negatives, light-boxes and detuned radio sets…then waited till it got dark and opened the doors.
On the first night, a big crowd arrived at the start and watched our inhabiting of the space as if it were a performance, which slightly missed the purpose of the exercise, which had always been more intent on generating an atmosphere to be explored rather than a spectacle to be watched: fortunately, once that initial crush subsided, the smaller groups of three or six tended to enter the space as required, watching us for a bit, then making their own way around all the nooks and crannies of the building: a small installation of modified record sleeves under the stairs, labelled ART GALLERY: MIND YOUR HEAD. The Ubu room, with a seven foot figure of Alfred Jarry’s anti-hero staring down at whoever entered like a gigantic crowned bird surrounded by dunce’s caps (and with one or two photocopies of Alan Dixon’s woodcuts on a nearby shelf). The old toilets, with a laptop playing a loop of rehearsal footage from a choral collaboration with composer Hilary Nicholls called ‘Breath‘ while candles flickered on a cistern. Simon’s film of himself as a grotesque blue grub, The Bookworm, crawling through London towards a library. But most of the activity was in one particular space, where it seemed, over the three nights, we moved from ghosts, haunting the space under sheets, to something like Batman villains’ henchmen in face masks, to just doing strange and (hopefully) visually interesting things with mirrors, light and the room we were in.
Was it a performance? Yes and no. With its ambition to be immersive, to generate an atmosphere rather than a meaning or narrative, it was probably closer to the old 1960s arts lab style of improvised happening than anything more formally categorisable, and perhaps the mostly analogue tools reinforced that link. Either way, it was an interesting experiment and certainly produced a result that neither of us would have come up with individually, and I suppose that’s most of the point of the Old School Breaks series (next up in the Primary Old School Breaks series, incidentally, are Frank Abbott and Lauren O’Grady – there’s more information on their collaboration here).