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spacer Talking to Tania
Dialogue 1
Dialogue 2
Day 1 17.09.04
Day 2 18.09.04
Day 3 19.09.04
Dialogue 3
Dialogue 4
Dialogue 5
Dialogue 6
Dialogue 7

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spacerarrow Dialogue 9
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The Room of Freeflow
—A performance / installation which formed part of Nightwalking, Sept 2002

The Room of Freeflow was shown as a theatre performance / installation at the Powerhouse Brisbane and as a site-specific performance / installation as part of the National Review of Live Art in Perth, Oct/Nov 2002

—The installation Tania’s Space at Firstsite, Colchester, UK


window (London) 2004
> click to view
Richard Layzell – Talking to Tania 2
Day 2 • Saturday 18 September 2004 • London

TK Is this too close for comfort?

RL How do you mean?

TK We’re in your studio space for real, both of us, not like the Room of Freeflow at Greenwich Dance Agency, which was a neutral space, with lots of stuff introduced. Or in Australia, with stuff assembled to ‘represent’ the three studios. Here we’re actually in one of them, or two of them. My pieces were actually stored in here, in boxes, for real.

Like, is there a reason why there hasn’t been an International Cleaning in London?

RL You mean too close to home?

TK Yes

RL I think the stakes are higher. This is where it all began, the ideas for Firstsite, an awareness of studio-as-process, tools as archaeology, etc. It’s easier sitting in a beach bar in Skyros discussing ideas, there’s less at stake, less revealed maybe. It’s no coincidence that we’re talking more conceptually, less anecdotally.

To be honest, I’ve begun to see this as a possible format for a gallery show, a framework that could hold many smaller elements, like International Cleaning for example, where process and studio hold it all together.

TK What happens at the end of Day 3?

RL Good question. One to ponder. Private and public. Exposed and revealed.

TK I’d like to go through my contribution to all this.


TK The Takeaway Table. The Tepee. The use of materials and the line between studio and work. The social side – how people have reacted.

RL For me it’s been: titling things, especially Kite Fragments, Fireside Chair and Red Box.

TK My choices of music. Encouraging you to do the Window Piece here and now, rather than putting it off.

RL Pieces I never did, never looked at again, forgot about. Including Handles for Didcot.

TK Treading that line. I sound like you now.

RL Which line?

TK In and out of behind the scenes, in the public eye, the visitor crossing the threshold, in the work, at the typewriter, London 2004, Toronto 1984, two studios, two windows, views almost the same, now, not then, your grandfather’s chair that your father sat on that’s become the focal point of the tepee structure, the varnished oak, the cans of paint strewn around, the work in progress. Are you working or performing? Am I there or not? Are you feeling tired because you’re trying to think what to write as you sit and type, or because you’re on display, another element in the work, a weird host?

RL It never stops, I’m more than tired, I’m drained. It doesn’t stop 'till I walk out at the end of the day. It starts as soon as the door opens.

TK The maker welcomes you. Come in to my home. Come in. Look at me. Look at her work. Don’t look at me. Talk to me. Don’t talk to me. Talk to her. You occupy the space. But don’t be surprised who comes through the door. Your door. Your privacy doesn’t exist. Don’t kid yourself.

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