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spacer Talking to Tania
Introduction
Dialogue 1
Dialogue 2
Dialogue 3
Dialogue 4
Dialogue 5
Day 1 02.04.05
Day 2 04.04.05
Day 3 05.04.05
Day 4 06.04.05
Day 5 07.04.05
Dialogue 6
Dialogue 7
spacerarrow Dialogue 8
spacerarrow Dialogue 9
spacerarrow Dialogue 10
spacerarrow Dialogue 11
spacerarrow Dialogue 12

Richard Layzell – Talking to Tania 5
Day 3 • 5 April 2005 • New York

RL Sorry

TK What for?

RL Pre-planning, thinking overnight, having a plan before the day had even started

TK I tried

RL I realise

TK You must be telling me this for a reason, in this way

RL The idea was sound. It was a leftover from the day before and I was wanting more

TK Carpet?

RL Piano. It’s first thing in the morning. The house is empty. Such a great opportunity. But it felt manufactured.

TK It was

RL How do you know?

TK The signs are there. And likely you were hanging on to the boundaries of a defined space, a location, the house.

RL I could have based myself there all week

TK But chose not to. You’d arranged to meet people in New York for a start. And was that a hangover from Bangkok?

RL Gosh, maybe you’re right.

TK So you were hanging on to the comfort of Day 2 and the symbolic confines of a secluded house in Manhattan. Safe.

RL You’re on form today. It took me an age to get out the door.

TK I know the feeling

RL You do? I thought you always knew what you wanted.

TK I do with my work, but sometimes I don’t want to leave the flat. Did it change as you hit the streets?

RL I had the feeling that maybe I wouldn’t ‘do’ anything at all for the rest of the day

TK Nice. Hang on to that one.

RL I thought of you, and tried to stay in the present, not in planning mode.

TK Which is really security mode.

RL I guess. I walked past the New York School of Interior Design. The kind of place I’d never normally go into. There was an exhibition on and they had a café, so I signed in.

It was a strange state of being, hovering. I could see what you’re getting at.

TK Could you keep it up?

RL After half an hour I had the video camera out and was choreographing an action around a semicircle of designer chairs in the café, again reminiscent of Lillehammer. It was a bit subversive. Thought they might throw me out. But the tiny tripod and small camera are so discreet that people often don’t notice. And I think/hope I look like I have a purpose or belong.

TK Like a good criminal

RL Probably that’s how they work

TK Self-consciousness creates suspicion. You were off by the sound of it.

RL I think I was. Better?

TK What do you think? Sure. Never mind the video footage, the action is the thing.

RL You’re sounding like Ivan Curtin

TK He’s got a point

RL You’re ganging up on me

TK Maybe we’re trying to tell you something

RL It was hard to break off and I was after more subversion, so I went to the Asia Society thinking there’d be possibilities but had to check in the cameras to the cloakroom.

TK I can’t believe I’m hearing this

RL What?

TK We were just talking about the essence of the action, now you’re thrown off because you can’t switch your camera on. Jesus.

RL You mean I could have been interventionist anyway?

TK Yes

RL But I did fumble with the camera in the toilets. And seemed to be back in the groove as I came to Park Avenue, with its central aisle, and could visualise a framing shot that would complement an action, a ‘standing still’, allowing both to have integrity.

TK What time was your meeting with Caroline?

RL 3pm

TK Was that next?

RL On the way to the subway I walked past Hunter College and noticed they had an exhibition on called White on White. Not my thing but I went in for you.

TK Lucky me

RL There was a nice Robert Ryman lithograph but not much else. I bought the catalogue.

TK Let’s move on to the meeting. This was another first, talking to Caroline about us, then we talk about the talking.

RL Another first.

TK And it raises more questions about the status of the ‘work’ of Day 3.

RL Because this was the key event of the day?

TK Yes

RL It’s always good to see her.

TK Our mentor, Caroline Bergvall.

RL Maybe it was being in an unfamiliar place, but I looked at her on the other side of the table and realised I hadn’t acknowledged her impact on the whole project, in person.

TK It’s worth waiting most of the day for a realisation.

RL We talked about your aesthetic of absence and how this might be represented in our future meetings with curators.

TK What did she suggest?

RL There could be silences that represent your part of the ‘triangulation’, your side of the triangle, and we could cultivate a general awkwardness that’s found in situations where communication is difficult.

TK So long as it doesn’t jeopardise the gig. And is part of the work.

RL You trust her don’t you?

TK Absolutely. I like her. But I have to be represented, that’s all, in every sense.

RL We talked more about you than me.

TK It’s not a competition, it’s about the future, and my status.

   
 

 

 
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