Il lavoro si basa su tre movimenti che Dean eseguirà nello spazio della galleria De March come parte di una costante serie di apparizioni personali denominata ʻAcoustic Mirrorsʼ. Qui il lavoro dellʼartista si troverà temporaneamente, per il tempo in una canzone, tanto nel corpo dellʼartista quanto nel corpo del pubblico.
La scrittura inquadra il lavoro di Michael Dean. Frammenti di memorie composte di intimità vissute, momenti di intensità e di attrazione.
Il lavoro di Dean si concentra simultaneamente sulla composizione della scrittura e sulla resa calligrafica e tipografica del testo stesso. Un corpo per un altro offre questa intimità in intimità. Il corpo tipografico consegna il corpo del testo, sia questo costruito a mano, compitato corporalmente o trasmesso oralmente nello spazio.
Per Michael Dean questo concerto è una condizione necessaria e preliminare per lʼinvocazione di uno spazio che in seguito, nel novembre di quest ʻanno, esporrà una serie dei suoi lavori.

(Lʼartista desidera ringraziare Franziska Lantz (Percussioni) e Francesco Pedraglio)

Michael Dean
Born 1977 Newcastle Upon Tyne
Lives and works in Newcastle Upon Tyne and London.
United Kingdom

Selected group and solo exhibitions
(2007) all the trees bend this way GuestRoom, London UK. (2006) The leaves move the moves a wave these waves sway because they return because this tree stays the sea stays and this waves they sway E:vent Gallery, London UK. (2008) Italia Italie Italien Italy Wlochy Curated by G. Del Vecchio, A. Rabottini, E.L.Scipioni, A. Viliani. ARCOS Museum of Contemporary Art Sannio, Benevento IT. (2008) The Mythology of Everyday Matters Curated by Francesco Pedraglio Bilton Centre for Contemporary Art, Red Deer CA. (2008) Your Ramp My Slide FormContent, London UK. (2007) yours Curated by Francesca Boenzi Exposito Residency, Napoli IT. (2007) this is the time (and this is the record of the time) Curated by Carlo Fossati and Simone Menegoi e-static, Torino IT . (2006) dumb interior Curated by Simon Morrissey R O O M, Bristol UK. (2006) Social Ocean Temporary Contemporary, London UK. (2003) Contingency City Radio Cars, London UK.



INSTRUCTIONS FOR A PERFORMANCE, WHICH IS A CONCERT, WHICH CONSISTS OF A VOICE, WHICH SPELLS A TEXT, WHICH CREATES THE WORK OF THE ARTIST, WHICH IS DELIVERED TO EARS, WHICH ARE THE EARS OF THE AUDIENCE, WHICH IS ME AND YOU.

The instructions here below are forms of communicated information which are both commands and explanations for how the action – the performance – will work and which behaviour should be assumed.

First element

This is a concert as a work, a rare concert as a bodily shared event. Its rarity has been dictated by the urgency of its nature: so naked, it is dif cult to hide. You feel the voice and you feel your ears, all these ears.

Second element

It seemed that something was missing. Sometimes he is missing, covered by layers and layers of references.
Thoughts, words, actions, forms and images of these forms: he is missing by pointing at his absence.
Here it is different, here he doesnt want to lose anything else, and he will use this petrifying space of bodily proximity to deliver what otherwise would be lost.

Third element

You experience words, words he has written a hundred times, as though for the first time. The text and you, his voice and all these ears. It involves three movements as part of an ongoing series of acoustic mirrors coordinating the differences and similarities in giving and receiving. The ceremony of delivery.

Pause

Stop and look around you: a room, four walls, people, low lights and spoken words.

It is important that you contextualise. What you are looking at is different, it is a moment, a fragment of common feeling.

Fourth element

It functions primarily as audio experience through your mental memory. His voice as
urgent and democratic device, while your body his amplifier implement.

The ceremony is physical but private, you know what he means but you will not tell.

Fifth element

Hear and recollect.
Maybe you glimpsed a crystal.

Complete

London
10 April 2008 F. Pedraglio.