shade clinging to arrows in the quiver, 2023, installation view

salt water collected from the Pacific Ocean, black lava salt, salt, cnc-engraved aluminum plate, transducer, contact microphone

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shade clinging to arrows in the quiver

[logan wolfe  |  clemente ciarrocca]

salt water collected from the Pacific Ocean, black lava salt, salt,
cnc-engraved aluminum plate, transducer, contact microphone

performance (2hs duration)

February 3rd, 2023

Annex 20, Santa Clarita, CA

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shade clinging to arrows in the quiver, a collaboration between Logan Wolfe and Clemente Ciarrocca, begins with a recording made on November 13th 2022 on the Northern coast of California, along the path of a fault line, by one of the artists. On the same day, in Southern California, words were noted by the other artist, an elegy, on the impossibility of saying. Both ‘recordings’ are materially transubstantiated into vibrations and sound and played in a room where salt water collected from the ocean touching both coasts is slowly drying.

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Trying to continuously hold contact and/or pressure between as much of their body surfaces as possible, holding in between their joint hands a contact microphone amplifying the slightest friction as they move down the full perimeter of the space, the continuous contact and movement of the performers function at scale in both redimensioning and concretizing the fault line’s, vividly relocating it within an intimate dimension.

The only element of rule and prescription in scoring the movement was a commitment to be strictly non-linguistic. Deprived of the ability to tell, to argue, to contend, suddenly realizing the other couldn’t be reduced to one through the regulatory action of dialogical reason and ‘clear’ language, one was constantly subject to and subjecting the other’s movements, caught in the overall intention of moving ahead while always trying to maintain as much contact as possible.

In the course of two hours, the artists trace the perimeter of the room, move towards the center, and separate. The microphone’s sound replaced language in expressing rupture and the loud negativity of an impossible, constantly re-attempted synchronicity.

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Performance stills courtesy of Yun Gin Ahn.

The documentation of shade clinging remains ongoing.

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