Soundings
Exhibition Piece (FluxScore) 2016, typewritten text on perforated paper, rolled onto cardboard tube, mounted on toilet roll holder for exhibition.
Exhibited in Printed Stuff, Scotch Oakburn s.p.a.c.e. Gallery, Launceston, Tasmania, 2016 [curator: David Marsden]
Exhibition Piece
(FluxScore)
Place your fingertips
on the gallery wall.
Remove your fingertips
from the gallery wall.
Your prints are now
part of the exhibition.
Keep this sheet as a
certificate of authenticity.
2016
Close the Gallery (An Instruction from the Far Edge) 2013, a score contributed to the exhibition Fluxjob: Purging the World of Bourgeoisie Sickness Since 1963, Minnesota Center for Book Arts (MCBA), USA, curators Keith Buchholz and Jeff Rathermel, 2014.
A Thousand Soundings (2012–ongoing), video
A selection of scores from the ongoing 'A Thousand Soundings' video series 2012–present. The words of each score appear slowly as if on the five lines of a music score (staff).
F.A.C.E. 2011, hand-drawn score on paper
Based on the early days of emoticons, this score was written for Exquisite Performance, Exquisite Corpse Festival, October 2011, Space On White, New York, USA [curator: Matt Taggart]
[30 Fluxus artists from across the world were invited to submit an instruction piece/score for this performance]
Finders Keepers 2014
A score-object contributed to Fluxbox/The Exhibition, curated by Keith A. Buchholz, shown at the Joan Flasch Artistbook Library at the School of the Art Institute of Chicago in February 2014, then at the Minnesota Center for Books Arts (MCBA) in Minneapolis, USA in April–July 2014.
Fluxfest Chicago Scorebook Scores, 2014
Seven PringaDa scores as printed in the Fluxfest Chicago Scorebook 2014, compiled by Mary Campbell.
Coffee and Proust 2012
Typewritten text on satin ribbon, cardboard box
Coffee and Proust (2012) is a kind of score-game-object, made for an exhibition at Puerta Tannhäuser Bookshore-Café in Plasencia, Spain. The making of this piece involved a John Cage-style chance operation to determine the random selection of words (one to be taken from each book in my collection), which I then typed onto a satin ribbon to make a long nonsensical ‘Proustian sentence’ that could be pulled out of ‘Proust’s mouth’ and read out loud or in silence. The total number of words was 443 and the ribbon length was 6.9 metres. The ribbon, after being spattered with coffee, was then packaged into a cardboard box with a label which announced in Spanish ‘Aprobado por PringaDa’ (trans. ‘Approved by PringaDa’).
FluxMusic, 2011
CD cases, pads of printed yellow stickies, text on paper
Exhibited in the Fluxus component of the Write Now: Artists and Letterforms exhibition at the Chicago Cultural Center, USA in 2011–2012, curated by Keith A. Buchholz.
The This Project, 2010–ongoing
This is an open participatory project that invites others, via a blog, to contribute a word which, when appended by the word 'this', becomes a score. When a word is contributed, I design a graphic (based on the early Fluxus graphics by George Maciunas) for that word and order pads of yellow stickies to be printed. These are then sent to the contributor, who can perform the score and record what they do, if they choose to do so. The contributors' photos are added to the blog.
Some videos of playful performances of scores from The This Project.
Multistorey Car Park with 'Go [...] This', 2011
The This Project: Go [...] This: Elevator/Lift #2, 2011
The This Project: Car Wash, 2011
The This Project: Toilet Singing (with 'Sing This', 2011
Performance of a Score by Allen Bukoff from Exquisite Performance 2012
This is my interpretation of a score by one of the other artists who participated in Exquisite Performance (curated by Matt Taggart), New York in 2011. The score, written by Allen Bukoff, is:
Put a band-aid on a rock.
Performance of a Score by Cecil Touchon from Exquisite Performance 2012
An interpretation of another score from Exquisite Performance (curated by Matt Taggart), New York in 2011. The score, written by Cecil Touchon, is:
Standing at an intersection with traffic lights,
cross the street when the sign says 'WALK'.
Standing on the far corner, turn to right,
then cross to the other side of the next street
when the sign says 'WALK'.
Continue indefinitely.
Score for Life Event, 2012
A score/work made in 2012 for Traces, Wörthsee, Germany [curator: Christina Blanks] The photograph is of an imprint of my plait on a velvet-upholstered chair, and a hair is embedded under the laminated surface of the card.
Conversation/Conversion, 2012
A score/work made in September 2012 for These Hands, Massachusetts, USA [curator: Christine Tarantino]. Artists were invited to send images of their hands [this work includes a photograph of a previous work made by slowly matting my hair over my hands; score printed on tracing paper overlay; hand stitched]
Drip Drawing III, 2013
Performance of a score by early Fluxus artist George Brecht. This time the footage has not only been slowed down but it has also been masked so that only the surface of the water is visible. This is the score:
Drip Music (Version I) (1959)
A source of dripping water and an empty vessel are arranged so that the water falls into the vessel.
George Brecht 1959
Matt Taggart as PringaDa
Scores written for performance at the First Annual Billings International Fluxus Festival, June 2012:
Curator Matt Taggart requested a photograph of each artist which he then made into masks to be worn when performing each artist's score.
In Absentia:
Sing the name of someone who’s absent.
Repeat 4 times.
(Accompaniment optional)
Change something. Change nothing. [Jacket]:
Put your jacket on back to front.
Keep your jacket on back to front.
Acceptance:
Place all performance masks in a circle on the floor.
Step into the middle.
Say thank you.
Flyer for First Annual Billings International Fluxus Festival, June 2012