name | St Peters Seminary_JHenthorn |
---|---|
copyright | Jaimie Henthorn, all rights reserved |
license | All rights reserved |
usages | picture |
name | Bevin Court and Sivill House |
---|---|
copyright | Jaimie Henthorn |
license | All rights reserved |
usages | video |
name | Bevin Court still3 |
---|---|
copyright | Jaimie Henthorn |
license | All rights reserved |
usages | picture |
name | Bevin Court still2 |
---|---|
copyright | Jaimie Henthorn |
license | All rights reserved |
usages | picture |
name | Trisha Brown - Man walking down the side of a building |
---|---|
copyright | Aliceson, via Flickr, some rights reserved |
license | All rights reserved |
usages | picture |
name | Razmi Roof Piece Tehran |
---|---|
copyright | Anhita Razmi all rights reserved |
license | All rights reserved |
usages | picture |
name | Man Walking Down the Side of a Building |
---|---|
copyright | Robert Kilman Raethier, flickr, some rights reserved |
license | All rights reserved |
usages | picture |
name | Gunning CAMR |
---|---|
copyright | Lucy Gunning all rights reserved |
license | All rights reserved |
usages | picture |
name | Sivill House exterior |
---|---|
copyright | Jaimie Henthorn, all rights reserved |
license | All rights reserved |
usages | picture |
name | Jump roper still |
---|---|
copyright | Jaimie Henthorn, all rights reserved |
license | All rights reserved |
usages | picture |
name | bevin court stair |
---|---|
copyright | Steve Cadman, flickr, some rights reserved |
license | All rights reserved |
usages | picture |
name | lubetkin talking |
---|---|
copyright | Open University broadcast, all rights reserved |
license | All rights reserved |
usages | video |
name | st-peters-interior |
---|---|
copyright | Fraser MacDonald all rights reserved |
license | All rights reserved |
usages | picture |
name | St Peter's ceiling like Ronchamp |
---|---|
copyright | Mark Hazel, All rights reserved |
license | All rights reserved |
usages | picture |
name | Ronchamp |
---|---|
copyright | MakGuitarPhoto's, flickr, some rights reserved |
license | All rights reserved |
usages | picture |
name | La Tourette Balcony |
---|---|
copyright | Herman Mao, some rights reserved |
license | All rights reserved |
usages | picture |
name | st peters balcony |
---|---|
copyright | Karen Breneman, all rights reserved |
license | All rights reserved |
usages | picture |
name | Maisons Jaoul |
---|---|
copyright | seirer+seier, via Flickr, some rights reserved |
license | All rights reserved |
usages | picture |
name | Carpenter Building |
---|---|
copyright | M, Raeburn and V. Wilson, all rights reserved |
license | All rights reserved |
usages | picture |
name | St Peters curved wall |
---|---|
copyright | Stevie Douglas, all rights reserved |
license | All rights reserved |
usages | picture |
name | Pleasure Scene |
---|---|
copyright | Jaimie Henthorn, all rights reserved |
license | All rights reserved |
usages | picture |
name | John Michael Gandy, John Soane's Rotunda of the Bank of England in Ruins, 1830 |
---|---|
copyright | Sir John Soane's Museum, Lincoln's Inn Fields, London |
license | All rights reserved |
usages | picture |
name | St Perts Seminary installed at Laban |
---|---|
copyright | Rachel Cherry, all rights reserved |
license | All rights reserved |
usages | picture |
name | Bevin Court and the Sivill House video still |
---|---|
copyright | Jaimie Henthorn, all rights reserved |
license | All rights reserved |
usages | picture |
name | Laban staircase |
---|---|
copyright | Keith Winter, all rights reserved |
license | All rights reserved |
usages | picture |
name | St Peters Seminary |
---|---|
copyright | Jaimie Henthorn |
license | All rights reserved |
usages | picture |
name | Bevin Court still4 |
---|---|
copyright | Jaimie Henthorn |
license | All rights reserved |
usages | picture |
This exposition is interesting in how it explores ‘architectural movement intervention’, interweaving knowledge of specific architectural design components, use value of spaces and the enactment of performance interventions. The exposition contextualises the artistic works through reference to theories of Adorno and Husserl, along with the history of architecture. The author’s in-depth knowledge of architecture is extremely useful in excavating how space links with human participation and bodily performance. Particular elements that inspired me as a reader include the artwork Bevin Court and the Sivill House, where a resident starts jumping rope in the space as the performance intervention takes place. This clearly connects with the author’s discussion of how architectural design encourages communities to interact with and inhabit spaces. I was also drawn to the ‘context of reception’ which explored the setting of the artworks in different spaces, examining how changing ‘site’ can impact the artwork but also how it can further the research ideas on the relationship architecture and artwork.
This is a very interesting and engaging exposition of a site-based creative process. The artist's engagement with Husserl and Adorno's theories, in particular notions of intersubjectivity and 'pairing' help to articulate the creative approach and inform the reading of the performance work. The artist's knowledge of architectural practice is usefully employed to inform the development of the practice-based research that questions and interrogates body-architecture relationships and explores the emerging findings through movement and dance. The artist's reflection on the work is critically informed and some interesting insights are presented, the visual material and performance footage presented helps to create a clear picture of the work and situates the reader / viewer well within a particular performance / research 'world'. I enjoyed reviewing this work and welcome this type of discursive documentation as a valuable record of site-specific dance / movement practice that clearly explicates a particular practice-based approach.