[Frameworks] Barrie, Tuohy, Martin, Trinks

[Bernard Roddy]

(Just out of the shower . . , no classes to prepare for, . .)



It’s interesting how networking becomes gendered.  The gallery scene, which
is much more interpersonal, would be domintated by women if they weren’t
always interested in others.  The email list requires a moderator who has
an agenda concerning representation.  Trebor Scholz used to initiate an
email conversation with someone before posting it onto the email list I was
a subscriber of.



Why am I thinking about this?   Let’s ask instead, Who is Dianna Barrie?
Before I answer, I remember seeing John Colombo of the Black Maria tour
through Rochester, NY, with a program of 16 mm films back in the mid-90s.
Apart from a book or two , that was my introduction to experimetal film..
He showed a Martin Arnold (Life Wastes, I think, . . the one that reuses a
scene at a kitchten table), but he also showed a film that was about a
woman who surfed and had a masectomy.  I remember Arnold’s name, even the
film title, but I could never begin to identify the other film.



Barrie made the sound for works she created in collaboration with Richard
Tuohy.  They screened their work last night at the Nightingale.  The
program uses the term “hand-made,” but this is a misnomer, if I may take
the liberty of writing in a such a programmatic way.  The works are
master-works of a lab technician who is also very strong in his
aesthetics.  The aesthetic is that of Martin Arnold and, let’s say, Pax
Deux of Norman McLaren.  (I don’t know French, I’m not googling, you’ll
have to guess if that title is wrong)..



Sound and the womn artist is not a new question for  me.  Barrie’s work is
strong because of something I can only describe by reference to work I did
with ieke Trinks in sound, work that amounted to me watching her think
about sound, think aloug, think by doing, think by listening.  Barrie works
with Tuohy, and for you historians the question (one question, just one, of
course) will be what ever happened to Dianna Barrie?



I am writing because I have to rely on a list.  I have the advantage of
being some kind of writer.  But it is not an advantage if one is interested
in practices of a certain kind.  Let’s call them, roughly, “studio” – but
they’re not in a space or anything.  It’s a practice that calls for a
certain kind of capacity, one I would describe as, in a certain way, the
exploitation of the live, the who you know, but live.


(Please forgive me for not reading replies.  Or for coming back way too
late to take this as a real exchange.)



BErnie
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