Get documents about "CREDO I BELIEVE
Shared by: gdf57j
-
Stats
- views:
- 9
- posted:
- 7/28/2011
- language:
- English
- pages:
- 1
Document Sample
quite the same again… Eds. Mark Muller QC and Kerim Yildiz tea in the city of Erbil. at a wedding in the mountains.
Information taken from Kurds, through the Photographers Lens Local Life Snapshot. Afternoon Traditional clothes and dancing
experience of visiting Kurdistan and returning never
Photo: Manuel Vason part protest Credo attempts to communicate the personal were killed in a single onslaught.
Part photography installation, part performance and Iraq. In one attack on Halabja between 4 and 7 thousand
systematic chemical attack on the Kurdish people in
Credo is exactly about that mix of experiences. Ba’athist military executed eight stages of AlAnfal a
humorous, and sometimes they were shocking and brutal. In spring and summer of 1988 Saddam Hussein and the
revelatory and fascinating, sometimes they were
Sometimes the juxtapositions I experienced were 1990s
destroyed by Turkish security forces in the 1980s and
confined to history. 3,500 towns and villages in the Kurdish regions were Building reclaimed from Saddam. in Sulaymanya.
Amna Suraka the Red Security Crazy Hitler grafitti on a wall
the political and social context, and not all of it
met on my journey, there was also the stark reality of East Turkey.
culinary delights, warmth and beauty from the people I their homes during the 1980 and 1990s conflict in South
Whilst there was a rich culture to experience and enjoy, Between 3 and 4 million people were displaced from
abuses on human rights. Turkey (23%).
backdrop of some of the most difficult to comprehend Iraq (22%), 6.5m in Iran (15.5%) and 15m living in
those that were made manifest forever against the Azerbaijan (2.8%), 1m living in Syria (8.5%), 5.5m in
the wonderful personal experiences and anecdotes, but 100,000 living in Armenia (3.3%), 200,000 living in
wanting to share some of the truth of my experience; of 40,000 living in Georgia (0.8% of total population)
Sulaymanya.
for this piece began from working with the paradox of Over 1.5 million Kurds live in Europe: The city wall to the centre of City Life in Erbil.
Credo has developed out of this inspiration. The seeds
dialects and rich variations that exist off these.
(south)are the main branches, but many,many more local
them.
variations. Kurmanji (norther Kurdistan) and Sorani
centuries to have their rights heard and returned to
There is no single common Kurdish language but
millions of Kurds who have struggled for decades and
understand the political and social reality for the rivers.
culture, and a continuing growth and passion to plain including areas of the Tigris and Euphrates
experiences. I had beautiful memories of the people and Taurus Mountains and south across the Mesopatamian
region, I returned home with a wild array of Turkey. It also reaches the eastern extension of the Kurdish women at a wedding. high in the mountains.
IraqiKurdistan and after spending ten days in the Zagros mountain chain between Iraq, Iran, Syria and Beautiful headscarves worn by The stunning villages built
In April 2009, I was invited on a trip with Artrole to The heart of the Kurdishdominated regions is in the
Kurdistan. contentious issue.
Middle East, and in particular the region of Iraqi the geographical borders still today remain a
organization that develops cultural exchanges with the The borders of Kurdistan have fluctuated over time and
work with Artrole, a UKbased contemporary arts
through my role at the Live Art Development Agency to century AD.
I have been fortunate enough over the last three years, The use of the name ‘Kurd’ dates back to the seventh
Artist Statement Jack of hearts A deck of cards, a list.
The slow release of blood as a needle breaks the skin.
Mitch is an interdiscplinary artist working across You like to take it slow, to last a long time and to do The audience are met by these images as they enter the
performance, video, Live Art and installation. In it with lots of people
starting out on the long road to performance, Mitch has performance space, and so begins Credo, a meditation on
I hope I am next personal experience, injustice and protest.
to date, made solo work for Duckie, and now this MA
piece Credo. Mitch works predominantly in collaboration You ask me if I care enough. If I have ever crossed a
with Owen G Parry as one half of Mitch and Parry and border Kurdistan is a region divided. A land that many of us
the two have been making work together in and for a If I have ever walked for 90 days through arid will probably never visit. Andrew had the privilege to
variety of contexts since early 2008. Mitch also works landscapes do so, and wanted to share his experience. When I spoke
under the alterego Andrew Mitchelson at the Live Art If I have the information to him earlier in the year he told me about his interest
Development Agency and was producerinresidence with in the Middle East and its potential as a starting point
Duckie for a season in October 2008. Mitch enjoys
persuing performance and making work, as much as
CREDO / I BELIEVE Tell me a little story about a man in a town far away,
A man who doesn’t want to leave home, but did
for making work. However, he seemed to be struggling
with the enormity of a situation that is constantly in
helping to make it happen for others. A man who trusts shit the media, but that he had no personal experience of. He
Selected Performance/Live Events/Club Performances was interested in feelings, stripping back Western
This time is small time
MARCH 2008 Performer for Claire Blundell Jones’ preconceptions to discover first hand what life is like
Intricate sugar lumps pave the way to horizons never
Kissing at Tate Liverpool by Mitch learned for the Kurdish people, without victimising them.
JULY 2008 Andrew Mitchelson and Owen G Parry Anger
Management Olypics at Duckie’s Gay Shame 2008 You mark them in sweet blood.
His sensibilities as an artist have enabled Andrew to
OCTOBER 2008 Mitch and Parry I Host You, Now
Tonight Let Me Show You How (work in progress) at Shunt You are modest and careful in crafting your minimal create an aesthetically beautiful piece of work that is
Vaults spectacle loaded with meaning. The precise nature of his imagery
OCTOBER 2008 producer for Duckie Does De Trop You don’t want me to forget. Or, like the man reveals his desire not to overload the audience
including the performance Toot Toot Beep Beep, a taxi I can’t forget visually, but to create a succinct, sometimes brutally
oustide the Royal Vauxhall Tavern, South London honest depiction of his experience. With the emphasis on
NOVEMBER 2008 Mitch and Parry I Host You, Now What happens over there. On the other side of the live performance, and in this case a live protest, Credo
Tonight Let Me Show You How at ACT ART 6, The Arches curtain
highlights Andrew’s tendency to work ‘in the moment’ and
NOVEMBER 2008 Mitch and Parry I Host You, Now I feel like peeping, like a pervert
Then you tell me it is ok to peep and invite me to watch at the very edges of the inside and outside of the body.
Tonight Let Me Show You How at AIM Gallery, Tower
Bridge curated by George Chakravarthi you in the As a performer Andrew’s nerves are often on show,
NOVEMBER 2008 Mitch and Parry I Host You, Now horizon heightening the emotional power of his work, and adding
Tonight Let Me Show You How at TransKabarett Maximus, an element of chance and risk in this particular
Resistence Gallery performance. Without overwhelming his audience,
APRIL 2009 Mitch and Parry I Host You, Now Tonight Text by Owen G Parry Andrew’s frustration at the Kurdish situation is
Let Me Show You How at SPILL Festival National evident, and is underlined by the emotional and physical
Platform, National Theatre Studio demands of the piece. His bravery as an artist has
With spcial thanks to: enabled him to create an important, memorable and moving
Bernd for your unconditional love and proofreading. reflection on his experiences as a person.
Owen G Parry for being a wonderful p(art)ner in crime.
Adalet Garmianay for inviting me to IraqKurdistan and Live Art
Development Agency/Visiting Arts for supporting the research trip. Text by Edie Crowe
Lois Weaver and Oreet Ashery for artistic and sanity support and
Tracey Hammill and the QMUL Tech Dept.
