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Solidarity Line, 2018


Proposition No. 27.

Dimensions: 30 x 21cm.

Materials: Multiple copies of printed paper in the form of a tear-a-way pad.

Exhibited: Days of Action at Tate Modern, London, 2018.

From the series ‘Days of Action’ that explores the affective force and political unconscious of architecture. Text of the proposition includes:

Call to the building’s community for action. Form a line linking arms with your neighbours and take a tight hold of your wrists. Resist the urge to talk. Focus on sensory experiences, feel the tension of the line – a force larger than one’s self. As one line: move with the topography of the architecture / stop / start / find highs and lows / map dimensions and respond to built geometries / trace tangents / fold / flex and reflex / pivot from the centre / pivot from a corner / explore closed volumes and open spaces / enclose / lean / pack / press / adapt to disequilibrium and the unevenness of planes / reverse / ripple and surge. Navigate with collective intelligence. Maintain the formation of the line and a common feeling.

#daysofaction #solidarityline #warrenandmosley


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What is the Building Calling For? 2018


Proposition No. 26.

Dimensions: 30 x 21cm.

Materials: Multiple copies of printed paper in the form of a tear-a-way pad.

Exhibited: Days of Action at Tate Modern, London, 2018.

From the series ‘Days of Action’ that explores the affective force and political unconscious of architecture. Text of the proposition includes:

WHAT IS THE BUILDING CALLING FOR? (as a power house) (as a social force) (as a space of display) (as a discipline) (as an icon) (as an idea)

An invitation to address the building: Write on the cards provided, a few lines or few words in response to the question. Your ideas and observations form the content for a vocal and spatial action. Collectively address the building by relaying each other’s words through its architectural spaces, across voids and inclined planes, along corridors and down sweeping stairwells, until the building resounds and reverberates with one collective voice.

#whatisthebuildingcallingfor #daysofaction #warrenandmosley


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Game Over, 2016


from the new series Desktop Tactics.

Materials: Polished and brushed stainless steel reverse etched, white and black ink.

Dimensions: 440mm x 360mm x 161mm.

Edition: 9 (plus 1 artist proof).


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The Interpreter, 2016


-from the series Desktop Tactics.

Materials: Polished and brushed stainless steel reverse etched, white ink.

Dimensions: 467mm x 269mm x 63mm.

Edition: 9 (plus 1 artist proof).

Text: THEY BLOCK YOU FEIGN WE PASS THEY INTERCEPT YOUR GAZE HIS TAUT OUR WHISTLES THEIR INSULTS YOUR CALL ONE TOUCH HOLD OUR BREATHING THEIR JEERING OUR ATTACK CENTRAL AND DEFENDING.


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Stay Alive, 2016


-from the series Desktop Tactics.

Materials: Polished and brushed stainless steel reverse etched, black ink.

Dimensions: 297mm x 210mm x 56mm.

Edition: 9 (plus 1 artist proof).


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Agonistic Vocabulary 2012


Collaborators: Lee Stickells

Dimensions: 47cm wide x 3cm deep x 190cm high

Materials: Digital print

The agonistic vocabulary is a litany of engagement, a set of terms extracted from Beyond Utopia – the screenplay.

Published:

Sophie Warren and Jonathan Mosley (eds) Beyond Utopia: Surface Tension Supplement No. 5, Los Angeles / Berlin: Errant Bodies Press, 2012


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Genius Cheat Hero, 2012


Dimensions: 125 x 13 x 13cm.

Materials: Vinyl, opal acrylic, fluorescent tube.

Exhibited: Spike Island, Bristol, 2012.


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Broken Circuit / Playing Dead, 2012


Proposition No. 25.

Dimensions: 38 x 27cm.

Materials: Multiple copies of printed paper in the form of a tear-a-way pad.

Graphic Design: Warren & Mosley with City Edition Studio.

Text on pad reads: BROKEN CIRCUIT / Playing dead.

Mark out a single lane circuit with no start nor finish line. Begin running or walking around the circuit at your own speed. At the right time fall down like you are dead. Break the circuit – one half of your body is on the circuit, the other half off. Remain motionless for some time. Get up and complete the lap.

The irregular sound of a gun may trigger your actions.

Exhibited: Rogue Game at Spike Island, Bristol, 2012.

 

 

 


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Walk Out, 2011


Proposition No. 24

Collaborators: Toby Huddlestone

Dimensions: 23 x 21cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad

Text on pad reads: WALK OUT (an interlude after John Cage)

Proposal for a speaker for a lecture. WALK OUT of the lecture suddenly for an interlude for 4 minutes and 33 seconds, return and resume exactly.


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Word Play, 2008


Proposition No. 22

Dimensions: 23 x 21cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad

Exhibited: Gradcam, NCAD, Dublin, 2008

Text on pad reads: WORD PLAY

Event for a seminar. Say a ‘one word rhyme’ that rhymes with the last word spoken.


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Unstable Grounds for Play, 2008


Proposition No. 20

Dimensions: 23 x 21cm

Text on pad reads: UNSTABLE GROUNDS FOR PLAY

Search out a demolition site. Observe the dismantling and felling of buildings, and the processing of materials into mounds, heaps, piles and stacks. Appropriate the demolished site for an interlude as an unstable ground for play. Allow this time for turning over stones, building rudimentary structures, spoiling and corrupting, getting lost, being found, mapping the land mass, finding areas where it is no longer possible to see any part of the city, racing to the summit, to look out, for advantage, jumping descent for slippage and subsidence, weighing the excess, tracing viable limits, watching the sun go down.


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Rogue Game, 2007


Proposition No. 17

Collaborators: Can Altay

Dimensions: 27 x 21cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad

Text on pad reads: ROGUE GAME.
Event.

Seek out an indoor sports hall with markings of at least three different game courts or pitches overlaid.
Enlist teams of players for each game.
Assemble the players on court dressed to indicate team and game.
At the whistle, simultaneously all games begin.
Each game is played for its duration.

Characteristics of Rogue Game –
playing amongst obstacles / advance and advantage / negotiation / collision / fracturing of order / stalling / stops / starts / feinting / indecision / clashes between balls / swapping of games by players / interruption / rhythm and counter-rhythm / synchronization / syncopation / redundancy / non-accidentals / contra-action / contingent moves – liable but not certain to happen

Exhibited:

Massachusetts Museum of Modern Art, North Adams, 2011

Showroom, London, 2010

Smart Project Space, Amsterdam, 2009


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Nothing Special, 2003


Proposition No.15.

Collaborators: Claire Doherty

Dimensions: 21cm x 24cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad

Nothing Special, Proposition No. 15 was developed in conversation with Claire Doherty as a proposal to FACT, Liverpool for an exhibition setting for artist video and mediated reel, Summer 2003

Text on pad reads: NOTHING SPECIAL

Collect and assemble the contents of five car boots and five household clearances in a designated exhibition space.  The sort should consist of: Upholstered furniture, wardrobes, bed-frames, chairs, sideboards, sofas, electrical goods, white goods, books, boxes, mirrors, records, prints of old masters, china, glassware, and an assortment of televisions and video/DVD players.  Stack household contents into orderly and disorderly piles.  Select a number of artist video works influenced by broadcast television.  Simultaneously screen the video works on the found televisions located within stabilised stacks.  Allow the light emitted from each television monitor to navigate the viewer through the space.  Allow the sound and silence from each looped sequence to interrupt all other sounds for the duration.  After a period of viewing advertise a day of sale.  Clearance begins.  Negotiate prices at all times.  Make a record of the day’s sales.


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