FrenchMottershead are intelligent
artists whose awareness of the innovative and irreverent possibilities
provided by social and artistic conventions is matched by their
sense of humour"
The Enarelay offered all attending the annual NRLA (National Review
of Live Art) a sequence of unique microperformance events within
the social rituals of a Saturday night at The Arches.
Drawing on queue theory, concepts of audience, the liveness of
the NRLA, and on-site research and micro-classes, The Enarelay put
the audience in the position of creator, performer and documentor.
By presenting ticket-holders with a choice of a new rubber-stamped
identity - WORK or PLAY, opposites coexisting in the communal experience
of the NRLA - the entire audience gradually became participants
implicated in their chosen factions.
As participants queued for Jérôme
Neill / Bill Jones, or socialised in the Middle
Bar, or even visited the Toilets,
they were presented with WORK and PLAY lucky dips, from which they
drew instructions suggesting actions specially written for their
chosen identity for each particular event.
Documentation also relied on audience participation. With an invitation
to 'stick this piece of paper on the wall' once their task was done,
participants collectively created an installation that traced an
alternative social network.
Commissioned by New Moves International with
elements developed during a Colchester Arts Centre commission supported
by the Arts Council England. With thanks to Nikki Milican, Colin
Richardson-Webb, Anthony Roberts and Philippa Barr for their invaluable