![Le Va ran back and forth between two opposite walls 15-m [50 ft] apart, impacting violntly against the walls before hurling himself back into space, until he was no longer able to go on. After the performance, evidence of the piece was visible on the blood-spattered walls and in the stereo sound recording. As Le Va explained to curator Liza Bear,
“The energy drain was one of the main purposes of this piece, and that of course increased with time until I was worn out and couldn’t move at all…every part of me ended up being used.”
[Barry Le Va. ‘…a continuous flow of fairly aimless movement’. 1971]
Investigating the relationship between his physical energy and endurance and the external space of an architecturally constructed environment, Le Va used the sound recording to expand the viewer’s perceptual awareness of this relationship.”(Warr, T. & Jones, A. [eds] (2006) The Artist’s Body. London: Phaidon Press Ltd.)](http://25.media.tumblr.com/tumblr_m4uolx8Agh1r0yz5to1_250.png)
![sidetrackedmeanderings:
Senegalese children run as locusts spread into the capital Dakar September 1, 2004. Source: Reuters.
The third element by which the swarm constitutes a war machine isits relationship to weaponry. Nomad war machines have a specialrelationship with projectile weapons, and ‘anything that throws or isthrown is fundamentally a weapon, and propulsion is its essential moment’(ATP, p. 395). As the locusts are themselves thrown forward, both undertheir own power and that of the wind,
the insects and their weapons cannot be differentiated between; they are one and the same thing. This makes the locusts flatter with the war machine than their human counterparts.7[7.The closest comparison with human weaponry, in terms of affect, wouldbe area impact munitions, such as cluster bombs, which generate antipersonnel metal storms over large areas. However, whilst the metal stormsthemselves are completely indiscriminate and indeterminate, cluster bombsstill have to be aimed and released by human operators. In contradistinction, the affect and the mode of dispersal of the insect war machine are inseparable.]
Nomadic Trajectories, Sellars, J. PLI Warwick Journal of Philosophy Volume 7 1998 ://web.warwick.ac.uk/philosophy/pli_journal/pdfs/pli_7.pdf](http://24.media.tumblr.com/tumblr_m1txy6Ya7x1r4m5pao1_400.jpg)
![News.Bullets.In!
May > June 2012
Dearest Shrapnel,
We’re half way through this month of May, and it’s been quite some time since the [collective] have been in touch to bring the latest on what we’ve been up to, and what’s coming up in the following few months! Click on the names and underlined texts to find out more!
May 2nd/3rd/4th > theRunningofWriting : 3 Days of Intensive Workshops at University College Falmouth, Cornwall. Workshops lead by CLUSTER BOMB [collective] founder and director Sebastian Hau-Walker, visiting lecturer at UCF. The focus of the workshops was to develop as a [collective] running as an artistic and performance practice to outline an understanding of the intimate relationship between the physical and the textual in the performance of art and sport, by exploring running as a process and practice towards writing. Read some wonderful reviews from participant students and [collective] members here!
May 5th > You Can’t Run [Like That]at Arnolfini, Bristol. In association with Performance Writing Weekend 2012 Festival, the [collective] formed from participant students and veteran past CLUSTER BOMB members devised and developed a performance intervention for the festival weekend based on the following eponymous quote:
“Is performance a noun pretending to be an adjective - i.e. is there a kind of writing which is performance writing?
Or it is an ordinary noun, followed by a verb, in the form of a present participle - as in ‘performance running’ or, tautologically, ‘performance performing’? More likely ‘writing’ is a gerund - that is to say, the noun form of the verb; an action caught as a thing.” [Hall, J. (2007) Thirteen Ways of Talking about Performance Writing. Tavistock : Plymouth College of Art]
The [collective] were: Alice Eagle, Sebastian Hau-Walker, Chloe Smith, Jacob Woods & the unruly gang of Bristol teenage tearaways whom followed us into the gallery, before we promptly raced them up and down the staircases of the Arnolfini.
As expected, we were informed to cease our performance by the gallery wardens, being told “You can’t run like that in here”. Emphasizing both the disruptive, unwanted and unpredictable of excessive energy within the controlled, sterile environment of the white cube gallery, and the successful blending of the everyday breaking through the barriers of high sports and high art, the borders between street performance and performance art.
The [collective] began their performance prior to entering the Arnolfini foyer and site of the expectant audience, by running around the local area surroduing the Arnolfini, in the city of Bristol, collecting texts, words, phrases and sounds from their individual journey, before returning, running, into the gallery and projecting their textual urban microcosm into the white wash space, causing a maelstrom of unexpected energy and commotion. As Katrina Brown, Movement Artist & Lecturer at UCF described:
“[the] group animated and energized the whole space inside and outside…the power of movement to make things happen, shift, change, communicate is really quite amazing.”
Perhaps our most exciting news is that we have been accepted onto the following Olympic Legacy schemes!
Somewhereto_ : With over 600 free spaces available for all kinds of creative projects across the UK for 16 to 25 year olds have the [collective] been successful in their application to devise and develop performance in the following sites and spaces around the Olympic Boroughs for their continued performance in progress Run!City!Run! :
Mabley Underpass
The Scoop, More London
Gillet Square
View Tube
Oxford House Dance Studio
UEL Outdoor Space The Green
Hide&Seek - Sandpit: The [collective] are delighted to be under the wing of the pervasive game designers and interactive experts Hide&Seek who run the Hide&Seek Weekender, on London’s South Bank, where the [collective] have been invited to run a ‘Sandpit’, a series of events for audiences by a thriving network of artists, game designers and players. We plan to devise and develop running into a playful participatory experience for our audiences which will undoubtedly find it’s way into our overall production process towards Run!City!Run!
As a [collective] we have recently applied for the following scratch nights, performance platforms, grants, commisions and bursaries:
Live Art Development Agency DIY 9 application: Running:Free[?] : Developed with Manick Govinda, artist advisor at ArtsAdmin, the [collective] have rewritten the workshops from UCF into a large-scale series of workshops over a month to explore the internal and external contradictions and contexts of the physical freedom of running in relation and juxtaposition to the site, space and place where people are allowed to run. How is the freedom of expression, movement and association of running, runners, joggers and athletes affected by the social, political and geographical context in which it traverses? How can live artists make work and develop a practice using running as a medium? How can live artists express critically their concerns, questions and statements about freedom in their practice in relation to the assumed freedom of running? How free is running?
HATCH, Nottingham : the East Midlands’ leading performance platform, is looking for the most exciting artists and performance makers from around the country to share new works-in-progress with a friendly audience. The [collective] have put in for a proposal of developing the ‘messenger’ and the ‘courrier’ within contemporary performance and sports within the social urban context.
In other CLUSTER BOMB [collective] news:
We also planning to submit our feature film “…after my desireing to be forgott…” into the following video art and contmeporary cinema competitions and showcases:
11th Cornwall Film Festival, 8th>11th November - Entry Categories: ‘The Edge’ & ‘Made in Kernow’
Lausanne Underground Film & Music Festival: October 17-21 2012
If you would like to know more about all or any of these exciting new projects we have planned in the next month, then get in touch!
Till next month!
Simul Cadere > Solum Firere![Together We Fall > Alone We Strike!]CLUSTER BOMB [collective]
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Copyright © 2012 CLUSTER BOMB [collective], All rights reserved.Our mailing address is: clusterbmb@gmail.com
Visit our new HQ! CLUSTER BOMB [collective] HQ ]performance s p a c e [6 White Post Lane Hackney Wick London E9 5EN](http://25.media.tumblr.com/tumblr_m4jmzqSz651r0yz5to1_400.jpg)
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![“The concept of ‘strolling’, amiless urban wandering, the flâneur, has been superceded. We had moved into the age of the stalker; journeys made with intent - sharp-eyed and unsponsored. The stalker was our role-model: purposed hiking, not dawdling, nor browsing. No time for the savouring of reflections in shop windows, admiration for the Art Nouveau ironwork, attractive matchboxes rescued from the gutter. This was walking with a thesis. With a prey… The stalker is a stroller who sweats, a stroller who knows where he is going, but not why or how.”
Sinclair, I. (1997) Lights Our For The Terriroty. London: Granta pp. 75 in Coverley, M. (2006). Psychogeography. London: Pocket Essentials pp. 120
“The concept of ‘strolling’, aimelss urban wandering, the flâneur, has been superceded. We have moved into the age of the rûnneur, journeys made with motives - wide-eyed with sponsorship . The rûnneur is our role-model: purposed jogging, not walking, always browsing. Between time for the savouring of reflections in shop windows, admiration for the Brutalist concrete works, attracting the beautifully injured rescued from the gutter. This is running, without prothesis. The predator and prey… The rûnneur is a stalker who reslishes her sweat, a jogger who knows where she is going, and why. There is no how, that is as simple as one foot in front of the other, just the speed at which they achieve this is the matter at foot.”
CLUSTER BOMB [collective] rewriting of Sinclair, I. in draft for their manifesto for Run! City! Run! and Running as an Artistic Practice.](http://25.media.tumblr.com/tumblr_m4bxfxWrFB1r0yz5to1_400.jpg)
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going for a run. jbohbih:
sometimes its all I can do to put on my sneakers and run for a while.
run like you’ll never make it fast enough, run like you’ve got nowhere to go.
run to something, run from everything.
run like nothing means anything.
run til you’re drenched in your own sweat.
run til your legs are fire, your lungs are ice, your heart is lightning.
run til you find something new.
run and love every tree that you pass by.
run and don’t ever wonder why.
just run.
going for a run.
sometimes its all I can do to put on my sneakers and run for a while.
run like you’ll never make it fast enough, run like you’ve got nowhere to go.
run to something, run from everything.
run like nothing means anything.
run til you’re drenched in your own sweat.
run til your legs are fire, your lungs are ice, your heart is lightning.
run til you find something new.
run and love every tree that you pass by.
run and don’t ever wonder why.
just run.
♥ 3
