Archive by Julie Goldberg

in response to Raja Kelly's CLASS
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in response to Julie Mayo's CLASS
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Notes on a conversation about the practice of performing solos before you’re ready and without a score, with just a chair in the space (direct quotes are in quotations, the rest is paraphrased):

Julian: transformation, discerning what matters/ what keeps our attention, what the performer was being attentive too

Pepper: “What mattered most was what you were going through” compassion

Lindsay: “That person is the arbiter of my attention” “being seen not knowing”

Julie Mayo: How much you do know, drifting. Someone going through something, a set dance, etc. The chair mattered.

Lindsay: Living inside of arbitrarily chosen situations, rhythmic, ect

Pepper: Dropping a hamster into a glass box

Lindsay: “How quickly we think the situations we set up are all there are”

Today my photographs are like a flipbook of each solo, attempting to show them in order instead of just capturing isolated moments. The drawing is the journey I took during my solo as I remember it.

In response to Hilary Clark's CLASS:

In response to Corinne Cappelletti's CLASS:

Belly breathing Body Mind Centering, connecting roots to earth

Sun shining golden light into the body

Landscape improvisation, being the landscape, traveling through the landscape

Pelvis exploration with partners: grounding iliums, ASIS/PSIS compression, swiping out, greater trochanter to inner knee, greater trochanter to inner knee to outer tibia, swiping out the whole leg

Improvising with objects: bells, bones, stones

In response to ARCHIVING:

Creative Archiving­ Observations and Questions

Since I am experiencing class first hand, my archives are largely subjective. They have to do with what I remember and how I interpret the events and discussions.

As an archivist, am I in or am I out (of class)? I’m mostly in, but sometimes in my head I’m not all the way in because I’m trying to keep a record. If I step out to write things down or otherwise record I miss a part of class and it changes my sense of flow and consciousness. If I don’t step out I sometimes forget what I wanted to remember, but I have a more cohesive experience to process afterwards.

My memory changes, from what I record from short term memory during the class and immediately after, to what I might record the next day or the next week. Sometimes something happens that I find significant enough to leave class momentarily to record. Other times I do not leave even when I want to record something because I don’t want to break the energy of the group.

My long term memory is far more subjective than my short term memory. What sticks with me days after a class has to do with what I’m interested in physically and in my artistic practice at this moment in time, or subject matter that was either novel or very relevant outside of my studio practice. When recording from long term memory, details and class structure can get lost.

The amount of archival material I generate from each class has little to do with how interested I am in the class’s content and everything to do with the class structure. The structure of the class matters because it determines what I record and when. When exercises include an audience, it is easier for archives to be created during a class without disturbing its flow. If a class includes a discussion I can take notes, during a performative exercise I can sketch, take video, or take pictures while I’m in the audience. I can never archive myself in this way though. I’ve noticed that in a somatic exploration the archive is written mostly in my body. I can translate it later, though this translation rarely does it justice.

I have also had the experience of deciding how to archive a particular exercise while it’s occurring. In Julie Mayo’s class on 5/7 during solo performances, I had the idea of drawing each performance while Kay was performing. Because the idea formed while it was Kay’s turn my drawing of her solo isn’t like the rest because I did it afterwards, not during.

The composition of every class is different. Each class is unique in that it happens only once on a given day with a specific group of people. Even taking the same person’s class with many of the same people on a different day is a very different experience, though through lines start to emerge in my mind and in the archives.

Class’s reactions to the archiving project vary largely. Some groups are excited about pictures and/or video being taken, some are indifferent, and others are opposed. Each teacher has different questions, curiosities, excitements, and concerns about the project as well.

Questions I’ve had while creating the archive: Which mediums should I use? How much creative response and how much accurate record of moments, discussions, and events should I include? Where is this archive primarily and who is accessing it? Is it online or is it the compilation of the actual photographs, objects, drawings, ect that I create? What am I producing but choosing not to include and why?

I am mostly not including records that were unfinished due to class ending. Maybe including these is the most accurate archive because class is time based and we often run out of time in class.

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Julie Goldberg is a Brooklyn-based artist. Her work includes dancing, improvised performance, writing, facilitating, teaching, and experimenting with objects and colors. She has performed in works by Mark Dendy, Teresa Fellion, Alex Taylor, LJ Leach, Kate Sicchio and Alex Romania. She is currently creating with Emily Smith, Joseph Quintela, David Griess and Elizabeth Lamb (Future Death Toll) and is developing her own work. She facilitates the group Practice: Perform, a peer group and platform of support for emerging teaching practices. Julie is a regular contributor to the online journal Invisible Artists and has shown work through Smith & Jones, a pop-up gallery. Julie is also a somatic enthusiast, anatomy nerd, and Pilates instructor.

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