posted: 25/09/20 11:28

' hold me beside you ' A Site Specific Installation at Plymouth Art Weekender, 24 -27 September 2020

hold me beside you is a unique installation by Still/Moving for this year's Plymouth Art Weekender: 24 -27 September 2020.

The 2-metre distanced illuminated words respond to the experience of the COVID-19 pandemic. The site-specific installation explores the tension of proximity and risk in the physical structure of the Plymouth Citadel’s former gunpowder store. Originally created for The Box's 'State of Emergency' micro commission the words have been reconfigured to magnify our state of isolation and our dependence: our need to keep distanced, coupled with our longing for interconnectedness, revealing a shared vulnerability in the face of the unknown workings of the virus.

The work hangs on the north wall of Duttons Cafe, located above Elphinstone carpark which is one of the best places to see Still/Moving's other project Speedwell, on the Mount Batten Breakwater.

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posted: 07/09/20 15:38

Speedwell is Live!

Speedwell is exploring the idea of 'no new worlds'.

For the settlers on the Mayflower who felt they were sailing to a new world, it was a world that had been inhabited for many thousands of years by indigenous peoples who were greatly impacted by the arrival of the Mayflower and subsequent ships that followed.

We wanted to challenge that idea and to uncover previously overlooked stories of the Mayflower sailing but also to remind people that we only have this world and we need to look after it.

Come and add your voice to the structure either by filling in a tag with one of our volunteers or by adding your voice on our text and audio link

Speedwell's Poignant Message - Plymouth Herald

Re-Informed on the Mayflower 400 website.

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posted: 29/08/20 08:30

Speedwell, A Mayflower 400 Commission to Open on 4th September 2020

Speedwell, a large scale light installation funded by Plymouth Culture and the Arts Council, will open on Plymouth's Mount Batten Breakwater at dusk on 4th September 2020. Currently under construction it can be clearly seen growing on the horizon from the Hoe and the Barbican. See Speedwell Project page for more info.

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posted: 19/08/20 11:30

'touch' by Still/Moving, "A State of Emergency Commission" by The Box, Plymouth's new Museum

Still/Moving have been awarded a State of Emergency Commission by The Box, Plymouth's new museum, art gallery and cultural centre. The project titled 'touch' explores the two metre distance of safety forced under the pandemic regulations, a distance which paradoxically shows care through remoteness while enforcing isolation, yet in cases of coercion, hides from view those subject to a cruelty of touch.

The work explores these spaces, navigating from the distance of the horizon to the proximity of the home; the local. Moving through levels of intimacy and forms of touch from the caress of a lover, the lifting of a child to sharing a companionable proximity, the phrases ‘HOLD ME’, ‘TOUCH ME’, ‘BESIDE ME’ will be created using a low voltage LED technology.

The Box will open to the general public on Tuesday 29 September


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posted: 19/08/20 00:21

Léonie Hampton commissioned to create new work in response to seeds in Exeter Museum, RAMM’s collection

Still/Moving's co-founder Leonie Hampton new commission from RAMM, will explore the Exeter museum’s collection of seeds and herbarium sheets in dialogue with her own photographs of seed experiments, the garden and family. Creating a ‘story about love, growth, family and the archaic wisdom of plants’ the new artwork will place Hampton’s photographs of living and growing plants alongside that of the collected, dried seeds in the museum.

See: RAM Museum for more info


The Yes of the No

Emma Cocker

No - look up the word in the dictionary and be told of its negative connotations, how it functions as an interjection that refuses, denies or seeks to cancel out.

No is an utterance that stands in the way of things or that declines to participate. It is a form of obstacle or dampening down like the stubborn voice of the party pooper or killjoy for whom the glass remains half empty, never half full. Or else it expresses nothing but a deficiency or dearth, a lack or absence, the failure of something to materialise. It is the response dreaded by the unrequited lover, the puncture wound by which a proposal gets let down or loses its verve. It is the final call that brings about an end; the cruel cut that nips things in the bud, the blow by which hopes and dreams and fledgling possibilities are dashed and then wither. Functioning as a measurement, it is the marker of that which is nonexistent, missing or simply not allowed. Taken as an instruction or rule, it is the governing voice of restrictive authority that tells us what not to do, which attempts to silence or stop us still in our tracks. Or maybe it is the calling out of the mother whose child’s hand draws too close to the fire. How quickly a term can turn. As a protective intervention no wishes to keep the other from harm’s way, it is an act of care or of responsibility, a pledge, a promise, a commitment made. No stops one flow of action allowing another to develop. It is an interruption based on being able to see an imagined future, the consequences of each individual act. Whilst the yes of surrender can signal the passive and acquiescent acceptance of the seemingly inevitable, no is a defiant gesture of protest that refuses to give up, give in. it is the rally cry of dissent, the declaration that enough is enough, that a line has been crossed. Things have gone too far. The binary logic of opposites collapses in on itself. Here is the yes of the no, through which no allows, opens up or enables things to move forward, to move on. No stalls, taking time (back) to re-think or re-imagine the trajectory of future action. Look up a word in any dictionary but remember that definitions can be irredeemably imprecise, for meaning is rarely still, nor ever wholly certain.

‘The Yes of the No’, extract from Emma Cocker, The Yes of the No, (Sheffield: Site Gallery, 2016), p. 6. The text (previously titled Non) was originally commissioned by Terry O’Connor as a response to the performance Non (2008–2009), part of a Creative Research Fellowship funded by the AHRC (2009–2014).

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