THE HUT PROJECT CONVERSATION 4

JS: Do you think that the lens is manipulative?

THP: To be or not to be, that’s not really a question. Cinema is truth 50 times a second

THE HUT PROJECT CONVERSATION 3

JS: True! I like this idea of recognising the boundaries of our own personal experience. One of the pieces of work which I came across recently which makes this idea very explicit is Mehmet Sander’s ‘Single Space’ (above). I was wondering if you have a reaction to this piece in reference to the work that you are developing for Assembly?

THP: Long ago, I pointed to the lens and said the trouble was here!

THE HUT PROJECT CONVERSATION 2

JS: Thanks, I like your response, sometimes collaboration is put forward as a ‘cure all’ to a whole host of different situations. There are many instances when maybe solitude is just as important.

When I came across your piece Un-fair (bronze cast of a stone from outside the artists’ studio, worn in the Assistant Director’s shoe during installation of ‘The Fair Show’) it also got me thinking about ‘peas in princess’ beds.’ I wanted to ask you if the idea of irritation or deliberately working against the grain is something you continuously work towards in your practice to perhaps upset this cosy notion of collaboration?

THP: There is no self-knowledge except historical self-knowledge. I itch therefore I am.

THE HUT PROJECT CONVERSATION 1

JS: It is my desire to begin these three email conversations with exactly the same question. This is not to suggest that your practices are in any way identical, but to stress the point that an exhibition is a shared environment for a moment in time, from which the ideas will ‘distribute’ themselves through the different ways that people experience and engage with them – be it online or in physical actuality. With this in mind I would like to begin by asking about your experiences of working collaboratively, why do you employ it and what advantages does it afford your practice/s?

THP: One should drill the hole where the board is thickest. We collaborate so you don’t have to.

Camera
Kim Coleman & Jenny Hogarth, video still 3, 2012, Courtesy the artists
Kim Coleman & Jenny Hogarth, video still 2, 2012, Courtesy the artists

KIM COLEMAN & JENNY HOGARTH CONVERSATION 1

JS: It is my desire to begin these three email conversations with exactly the same question. This is not to suggest that your practices are in any way identical, but to stress the point that an exhibition is a shared environment for a moment in time, from which your ideas will ‘distribute’ themselves through the different ways that people experience and engage with them – be it online or in physical actuality. With this in mind I would like to begin by asking about your experiences of working collaboratively, why do you employ it and what advantages does it afford your practice/s?

KCJH: It’s fun, we like making work in tandem, it also means immediate feedback on ideas. Our work has always been the result of on-going conversation and often reveals this. Our video ‘If you can’t see my mirrors I can’t see you’ was of a Skype conversation we had about making the work. The call was recorded on the computers’ inbuilt cameras and on our own video cameras, and reassembled to reveal the dynamics of the set up. Our new blog is an even more structured insight into a dialogue. With the blog we are taking turns to post videos (in response to the other’s previous post) to create an evolving video conversation.