Hooker, Charlie (2005) Stroll on Bloomberg Space, London, London, UK.Full text not available from this repository.
Official URL: http://artsresearch.brighton.ac.uk/research/academ...
'Stroll on' was a retrospective interrogation and reworking of an installation Hooker first made for the Hayward Annual in 1979. Recognised by an eminent panel of writers and curators (Gussin, Hepworth and Craddock) for its significance in the history of British Art, 'Stroll on' was included in this important survey show funded by the prestigious London based gallery of the American Bloomberg finance company. The reinterpretation of this landmark performance raised important issues. Namely, what creative processes are required to revisit, research and update an installation that is a quarter of a century old? How might such a work be presented to a contemporary audience in a new finance driven environment, yet retain its initial values of site specificity, cyclical systems based music and performance integrity? Critically, many of Hooker’s early ideas maintain currency and relevance to recent thinking on the nature of performance and the art, science interface. These questions were addressed by a major reworking of the underlying musical structure of the work. The time-structure, visual rhythms, tempo and grid layout of its musical floor diagrams were re worked to make the music, visual and audible rhythms integrate with the internal architecture of the new space. The prints were selected for their art historic relevance and conceptual structure. The DVD ISBN 978.1.905593.19.4 recorded during the first Bloomberg re performance, included footage from the original Hayward Annual event. A stereo CD ISBN 978.1.905593.20.0 captures the work and documentation of the performance was also disseminated through the ‘1979’ pamphlet. It was featured in The Times, 3 August; The Independent Online, 11 August. The Guardian Guide 6 until 12 August. Metro, 9 August. The Spectator, 27 August and Frieze magazine, November to December 2005. The Arts Council England funded Audio Arts magazine also published a CD Vol. 24, nos 2 and 3 featuring an interview and music from the performance.
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