.
When the weather is good, we sleep outside, far away from other people. There are enough of us to feel safe. Sometimes, in the morning, we would tell each other our dreams. Sometimes our dreams shared characters, the same characters would leave one dream and enter another. We would talk about these dream people, try to describe them to each other, try to ensure they were actually the same figures. That our dreams were falling into sync. Over time we gave these figures names. We argued playfully about what their names might be:
There was The Slickster, who smoothly entered into any dream situation and worked his way through it and into prominence. Other names for The Slickster that we considered and rejected: Mr. Busy, Hungry Guy, Don’t Like Him and Politician.
There was Lady Fighter, who would stand up against any injustice and hold space for others to do the same. Other names for Lady Fighter that were considered: The Organizer, Public Good, Solidarity 101 and When We Fight We Win.
There was New Romantic, who spent most of each dream explaining various genres of music, and the soundtrack of each dream would shift to correspond, like an in-progress personalized mixed tape. Other names considered: Adam Anti, Fade to Grey, Bron Area and Floppy Haircut.
There was The Quiet One, who was often unnoticeable in the background of a scene until some unexpected moment they suddenly became helpful. Other names: The One Who Knows, Catches Everything, Wallpaper Boy and Easily Forgotten.
There was the Irrepressible Being, a kind of ghostly presence that possessed an omnipotent overview of all that happened and therefore could give startling insights at key moments. Other names quickly rejected: Golden Spirit, Imaginary Figment, Dream Dream Dream Figure and Lost Forever.
And then there was you, the protagonist of your own singular dream. There is almost always you.
[I'm gradually realizing that Desire Without Expectation might be the final part of a planned trilogy based loosely around questions concerning the desire for utopia.]
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June 21, 2024
An excerpt from Individualism Was A Mistake (But We’ll Miss It When It’s Gone)
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The excerpt from Curieux manuel de dramaturgie pour le théâtre, la danse et autres matières à changement, from my text Individualism Was A Mistake (But We’ll Miss It When It’s Gone), that I read at the launch:
“With every collaboration I’ve ever been a part of, the overarching goal was to make something that would be performed in front of an audience. Collaboration was never an end in and of itself. For me, the idea of art has always been connected to the idea of an audience. I’m attracted to the possibility of making something and keeping it secret, but I’m attracted to it mainly because it undermines most of my key conceptions regarding art. For me, art is when you make something and attempt to show it to a large number of people over time. When you do so, you put your name on the line. You invite judgement. People can say you’re a good or a bad artist. (Or a good or bad collaborator? But since they weren’t present during the process how could they actually know.) As the prospect of an audience grows closer, this sense of an impending judgement always creeps into the process of the collaboration and often begins to dominate.
As we know, this business of the “artists name” is deeply connected to capitalism. An artist puts their name on a work so that they are able to profit from it. It is significantly more difficult to profit from a highly collaborative work. And the more artists involved in the work, the more difficult it is for each individual artist to profit from it. However, what I have found most depressing over the years is how difficult it is for a collaborative group to collectively profit from their collaborative work. Art institutions almost always gravitate toward presenting art as something made by a single name, no matter how many people worked on it. And despite all my longing for collaboration, I cannot deny the incredible charge I get from seeing my own singular name printed on a giant poster or on the cover of a book. For me, every time this happens, I feel a little bit like my ego is on cocaine (followed by the slight hangover of guilt for having such a big ego in the first place.) I worry this feeling is a large part of what has undermined my ability to make collaboration a more satisfying and effective part of my artistic life. Even though so much of my life has been dedicated to artistic collaboration, the cocaine-ego feeling of pushing my singular name too often wins out. I realize that many (or most) artists don’t even question this aspect of the state of things. Never question their name on the poster. Never question why their name is a priori the most important one when others worked on the project alongside them. I have questioned all of this a great deal but with what results? Nonetheless, I simply can’t live with the fact that so often the underlying meaning of art is that people accomplish things alone, that the artist makes the work and has a final say in its authorship. Since no one does anything alone. Everything is part of an interrelated web.
[…]
What is an artistically productive compromise? What does it look and feel like? I still don’t really know. But I do know that I absolutely don’t want it to be about sanding down your personality or your desires to suit the needs of the group. I am hoping for strong individual personalities that together search for, and hopefully often discover, a multitude of different ways to effectively work together. And find equally useful ways to manage the many conflicts that arise along the way. I don’t need to be less of myself in order to connect with your point of view. A compromise is not that I have to completely give something up, but rather that I come to see the value, in the moment, of doing something differently.”
*
[As well, as some of you might already know, Individualism Was a Mistake is also the title of a performance PME-ART made in 2008.]
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The excerpt from Curieux manuel de dramaturgie pour le théâtre, la danse et autres matières à changement, from my text Individualism Was A Mistake (But We’ll Miss It When It’s Gone), that I read at the launch:
“With every collaboration I’ve ever been a part of, the overarching goal was to make something that would be performed in front of an audience. Collaboration was never an end in and of itself. For me, the idea of art has always been connected to the idea of an audience. I’m attracted to the possibility of making something and keeping it secret, but I’m attracted to it mainly because it undermines most of my key conceptions regarding art. For me, art is when you make something and attempt to show it to a large number of people over time. When you do so, you put your name on the line. You invite judgement. People can say you’re a good or a bad artist. (Or a good or bad collaborator? But since they weren’t present during the process how could they actually know.) As the prospect of an audience grows closer, this sense of an impending judgement always creeps into the process of the collaboration and often begins to dominate.
As we know, this business of the “artists name” is deeply connected to capitalism. An artist puts their name on a work so that they are able to profit from it. It is significantly more difficult to profit from a highly collaborative work. And the more artists involved in the work, the more difficult it is for each individual artist to profit from it. However, what I have found most depressing over the years is how difficult it is for a collaborative group to collectively profit from their collaborative work. Art institutions almost always gravitate toward presenting art as something made by a single name, no matter how many people worked on it. And despite all my longing for collaboration, I cannot deny the incredible charge I get from seeing my own singular name printed on a giant poster or on the cover of a book. For me, every time this happens, I feel a little bit like my ego is on cocaine (followed by the slight hangover of guilt for having such a big ego in the first place.) I worry this feeling is a large part of what has undermined my ability to make collaboration a more satisfying and effective part of my artistic life. Even though so much of my life has been dedicated to artistic collaboration, the cocaine-ego feeling of pushing my singular name too often wins out. I realize that many (or most) artists don’t even question this aspect of the state of things. Never question their name on the poster. Never question why their name is a priori the most important one when others worked on the project alongside them. I have questioned all of this a great deal but with what results? Nonetheless, I simply can’t live with the fact that so often the underlying meaning of art is that people accomplish things alone, that the artist makes the work and has a final say in its authorship. Since no one does anything alone. Everything is part of an interrelated web.
[…]
What is an artistically productive compromise? What does it look and feel like? I still don’t really know. But I do know that I absolutely don’t want it to be about sanding down your personality or your desires to suit the needs of the group. I am hoping for strong individual personalities that together search for, and hopefully often discover, a multitude of different ways to effectively work together. And find equally useful ways to manage the many conflicts that arise along the way. I don’t need to be less of myself in order to connect with your point of view. A compromise is not that I have to completely give something up, but rather that I come to see the value, in the moment, of doing something differently.”
*
[As well, as some of you might already know, Individualism Was a Mistake is also the title of a performance PME-ART made in 2008.]
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June 5, 2024
Lancement de RICHES ET PAUVRES et de LA JOIE CRIMINELLE DES PIRATES
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Le jeudi 20 juin, joignez-vous à nous pour célébrer la parution des deux plus récentes œuvres de Jacob Wren, RICHES ET PAUVRES et LA JOIE CRIMINELLE DES PIRATES, traduits de l’anglais (Canada) par Christophe Bernard.
Plus d'informations ici: https://www.facebook.com/events/7405869036189772
Nous en profiterons pour souligner la sortie en poche de nos titres du printemps dans la collection Écho : MILLE SECRETS MILLE DANGERS d’Alain Farah, TESTAMENT et DRAMA QUEENS de Vickie Gendreau, JARDIN RADIO de Charlotte Biron, ORNITHOLOGIE de M.K. Blais, et MARCHE À VOIX BASSE de Nelly Desmarais.
Des rafraîchissements seront servis. Au plaisir de vous revoir et de trinquer avec vous!
Portrait de Jacob Wren : Justine Latour © Le Quartanier
*
The original English versions of these books are Rich and Poor and If our wealth is criminal then let’s live with the criminal joy of pirates.
A review in Le Devoir. A review in La Presse. And Jacob Wren's books at Le Quartanier.
Thank you to the translator Christophe Bernard and to everyone else at Le Quartanier.
.
Le jeudi 20 juin, joignez-vous à nous pour célébrer la parution des deux plus récentes œuvres de Jacob Wren, RICHES ET PAUVRES et LA JOIE CRIMINELLE DES PIRATES, traduits de l’anglais (Canada) par Christophe Bernard.
Plus d'informations ici: https://www.facebook.com/events/7405869036189772
Nous en profiterons pour souligner la sortie en poche de nos titres du printemps dans la collection Écho : MILLE SECRETS MILLE DANGERS d’Alain Farah, TESTAMENT et DRAMA QUEENS de Vickie Gendreau, JARDIN RADIO de Charlotte Biron, ORNITHOLOGIE de M.K. Blais, et MARCHE À VOIX BASSE de Nelly Desmarais.
Des rafraîchissements seront servis. Au plaisir de vous revoir et de trinquer avec vous!
Portrait de Jacob Wren : Justine Latour © Le Quartanier
*
The original English versions of these books are Rich and Poor and If our wealth is criminal then let’s live with the criminal joy of pirates.
A review in Le Devoir. A review in La Presse. And Jacob Wren's books at Le Quartanier.
Thank you to the translator Christophe Bernard and to everyone else at Le Quartanier.
.
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