CHRISTOPHER BRADDOCK

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Artworks

Skull Acoustics (2016) [performance still]. Chris Braddock & Olivia Webb. PSi22. Melbourne 07.07.16. 577 Skull Acoustics (2016) [performance still]. Chris Braddock & Olivia Webb. PSi22. Melbourne 07.07.16. 569 Skull Acoustics (2016) [performance still]. Chris Braddock & Olivia Webb. PSi22. Melbourne 07.07.16. 564 Skull Acoustics (2016) [performance still]. Chris Braddock & Olivia Webb. PSi22. Melbourne 08.07.16. 625

Chris Braddock & Olivia Webb, Skull Acoustics (collaborative live performance), 12:30-13:00, Thursday 7 July and Friday 8 July, University of Melbourne Law Quad, Melbourne. Performance Studies International PSi#22

Olivia Webb is a Ph.D. candidate at AUT University. Her research combines her experience as a choral singer with various time based art forms.

Olivia and I had been discussing the First Workset (1963- 1969) of 58 objects by the sculptor Franz Erhard Walther. He was creating objects from fabric and other materials that spectators could interact with, sometimes in pairs or groups. We were looking with interest at a long fabric ‘hood’ that covered the heads of both participants.  At the same time we heard news items about how the Queen’s plastic umbrella ‘acted like a satellite dish’ and amplified her rebuke of ‘rude’ Chinese state officials, reported by Australia’s Daily Mail on 12 May 2016. Apparently, her majesty was clutching a clear plastic brolly in the drizzle which amplified her comments and sent them towards a sensitive directional microphone belonging to her BBC cameraman. An insider told the Telegraph: “Because it’s plastic, it reflects the sound like a satellite dish.” Olivia and I went immediately to Smith & Caughey’s department store on Auckland’s Queen Street and tried out identical clear plastic umbrellas imagining that we might use them to reflect the humming voice in Skull Acoustics. They didn’t work! It was not the umbrella! But what transpired was a hybrid of a Franz Erhard Walther First Workset object and the Queen’s umbrella.

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Repeating Silence, 2015, performance with live stream video, in ‘Performing Mobilities’, Melbourne, 8-11 October 2015, RMIT & VCA. Project assistants Ziggy Lever and Travis Cox. Curator Mick Douglas and shadow curator David Cross.

Repeating Silence 2, 1.00-2.00pm 9 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location RMIT University Gallery, RMIT & VCA, Melbourne. Video documentation: Travis Cox.

Repeating Silence 4, 2.30-3.00pm 11 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location riverside by Federation Square, RMIT & VCA, Melbourne. Camera: Travis Cox.

Repeating Silence 3, 1.30-2.00pm 11 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location Flinders Lane, RMIT & VCA, Melbourne. Camera: Travis Cox.

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Repeating Silence 3, 1.30-2.00pm 11 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location RMIT Design Hub lecture theatre live streamed from Flinders Lane, RMIT & VCA, Melbourne. Photo: Monique Redmond.

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Repeating Silence 1, 9.00-10.00am 8 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location RMIT Design Hub, RMIT & VCA, Melbourne. Photo: Travis Cox, Monique Redmond.

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Repeating Silence 2, 1.00-2.00pm 9 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location RMIT University Gallery, RMIT & VCA, Melbourne. Photo: Travis Cox.

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Repeating Silence 5, 3.30-4.00pm 11 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location Flinders Street Station, RMIT & VCA, Melbourne. Still from video – camera: Travis Cox.

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Repeating Silence 4, 2.30-3.00pm 11 Oct 2015, performance with live stream video, in ‘Performing Mobilities’, performance location riverside by Federation Square, RMIT & VCA, Melbourne. Still from video – camera: Travis Cox.

‘Performing Mobilities’ is the 2015 Melbourne response to the worldwide Performance Studies International event ‘Fluid States’. There is a strong emphasis on performing in the public realm and relationships to passage and circulation i.e. how does public mobility manifest and operate?

Chris Braddock performs live at RMIT University Gallery and the busy lane ways of Melbourne’s CBD completely stationary and with his eyes closed for an hour at a time. He turns his head very slowly from left to right as if surveying the scene. Video images (from above and close up) are live streamed to tablets in close proximity, lecture theatres and to christopherbraddock.com.

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