AUDIAanderson3 - Jerome Joy website

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!!1972-73 — Institutional Dream Series ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t Laurie Anderson qui s'intéresse aux rêves s'installe sur une plage ou un quai de métro, bien fatiguée, pour voir si les siens ont un rapport avec le lieu public où elle s'endort.{br}{br}— — En 1973, elle avait fait le pari que ses rêves seraient influencés, conduits et colorés par l’esprit des lieux dans lesquels elle choisirait de s’endormir (« 8 rêves institutionnels »). Alléger la cartographie pour toucher au plus vrai, sans conclure de pacte avec la vraisemblance ! En ce sens l’œuvre de Laurie Anderson à plus à voir avec Cervantès qu’avec Sony. — {small}Thierry Raspail - Source : http://archive.grame.fr/Biennale/MES2002/laurie.html ){/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1972_institutionallarge_400.jpg\|../files/articles/anderson/1972_institutionallarge.jpg]\|t \|t \|t \|t ---- ''A personal study of narcolepsy and dreams{br}In this performance Laurie Anderson slept in various public places to see if the place would affect her dreams. She chose places like public bathrooms, a park bench and the public library.{br}''Institutional Dreams'', took place across New York City, including at 100 Centre Street and the South Street Seaport in Lower Manhattan. For this series, Anderson would sleep in public sites, from Columbia University to Coney Island, as an experiment in gauging “if the place can color or control my dreams.” {br}{br}At the night court of 100 Centre Street, Anderson slept in one of the pews and was photographed doing so by her friend Geraldine Pontius. Her handwritten note that accompanies the slouched, sleeping portraits. Anderson notes that her dreamscape was influenced by her peaked knit cap, which alternately obscured and shown the courtroom’s light onto her face; her impressions distinctly affected by the environment in which she positioned herself. Anderson’s rather routine dream descriptions for Institutional Dreams have a resonant charge in their specific connection to impressions of place and the way they distinctly frame her memories and sensations, on both a conscious and subconscious level. Similar references to dreaming and dream states continue throughout Anderson’s work, in both her song lyrics and performances.''{br}— {small}Source : http://lmcc.net/place/creative-insiders-laurie-anderson/ {/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t '' ''The Institutional Dream Series'', and that started out by falling in sleep in art history class, and having these dreams that were personal things mixed with the images that were on the wall in a very strange way. And so I got interested in how that mix occurs, and what influence the place that you are in has on your dreams. So, at any rate, I went to about eight different places to sleep: institutional, like night court, bureau of immigration and naturalization. By doing it I learned a couple of things actually. One was that sleeping is definitely; public sleeping anyway, is a real taboo. Also I had a friend who came to take photographs of the places, and we were kicked out of night court because of the camera. People thought that they were going to be blackmailed, that we would show these photographs and take them to their bosses…” You know who is in the night courts…” The judge broke the camera. Well first he unrolled all the film, then he just dropped it like that. He said, “No cameras in the court, you knew that.” I realized then that you had to go to this real strange middle route between seeing too much, I mean the way a camera does, and not seeing anything like when you’re asleep. You had to have a certain kind of glazed look on your face one way or another, you know, seeing too much or seeing nothing. I was interested in working with cameras and sort of street situations, too; I mean taking photographs of anyone who would say anything to me. Yeah, and also I was working at the time as an art reviewer-reporter ^[for a series of different magazines, first for Art News, Art in America, Art Forum^].'' — {small}(Laurie Anderson, [Interview by Kate Horsfield and Lyn Blumenthal, 1977\|http://www.fnewsmagazine.com/2006-apr/interview_1.html], published Apr. 2006, Fnews, The School of the Art Institute of Chicago){/small}\| {br}{br} ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1972_institutional1.jpg]{br}{small}Photo by Geraldine Pontius{/small}\|t \|t \|t \|t ''Coney Island January 14, 1973{br}I lie down near the water which is at low tide. It is bitterly cold and the sand is damp. I pull my turtleneck sweater over my face. After several minutes I begin to relax and lose consciousness. I am trying to sleep indifferent public places to see if the place can color or control my dreams. At the moment this seems like a crazy idea. I can hear the tide coming in. The water is beginning to cover my frozen feet. I’m not sure whether I’m asleep or awake so I keep my eyes shut tight. After a couple of hours I hear a loud rushing drone. It sounds like giant wave is rolling toward shore. I jump up and start to run. A large helicopter is hovering directly overhead.'' ----\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- [../files/articles/anderson/1972_institutional2.jpg]{br}{small}Photo by Geraldine Pontius{/small}\|t \|t \|t \|t \| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- [../files/articles/anderson/1972_institutional3b.jpg\|../files/articles/anderson/1972_institutional3.jpg]{br}{small}Photo by Geraldine Pontius{/small}\|t \|t \|t \|t ''South Street Seaport ^\| The “Lettie G. Howard” starboard berth December 10, 1972.{br} I lie down in the starboard berth and dream about a white desert in which every plant was labeled in tiny writing.'' ----\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- [../files/articles/anderson/1972_institutional4b.jpg\|../files/articles/anderson/1972_institutional4.jpg]{br}{small}Photo by Geraldine Pontius{/small}\|t \|t \|t \|t ''Women’s Bathroom ^\| Schermerhorn Library, Columbia university April 3, 1972{br}I lie down on the couch where I can see the women coming in and out of the bathroom, I put a notebook over my face and place my contact lenses under my tongue. I dream that the library is an open air market and all the stacks are stalls stocked with vegetables. '' ---- \| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- [../files/articles/anderson/1972_institutional5.jpg]{br}{small}Photo by Geraldine Pontius{/small}\|t \|t \|t \|t ''Night Court{br}100 Centre Street, December 29, 1972{br}The first case up is Robbery and Assault. The courtroom is noisy and full of people. I rest my head against a wall running the length of the courtroom. I drift off slowly. I have the impression that dark shadows or clouds are scudding across the courtroom just below the ceiling. When I wake up I realize this sensation is produced by the peaked cap I am wearing which, with me head’s periodic bobbing, alternately obscures and reveals the bright lights which hang near the ceiling. I wake up just as the judge is confiscating our camera. “You understand of course blackmail is illegal,” he is saying. But he only makes a show of taking the film out of the camera and then hands it back.'' ----\| {br}{br} {br}{br}
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