Maphead Productions Present: Archive
Maphead Productions Present: Archive
In Performance (October 1995) Combining fact, fantasy and fiction, Rilke’s two semi-autobiographical text-based performances share the common themes of memory, loss and identity; the recurring motifs of much of Rilke’s work. Though vastly different in subject matter - the disappearance of his father, the Holocaust - both pieces are concerned with asking questions about desperate situations, only to find answers in the poetic interpretations of seemingly unconnected stories of childhood.
In ‘Parting from the Neverman’, these memories are used in an attempt to accept his relationship with a father he hardly knew. In ‘Writings from the Wall’, they become metaphors for an outsider’s tragic attempt to relate to the horrors of the Holocaust, in order to reach a closer understanding. Both works were presented as introspective monologues within a sculptural tableau, underscored by Rimbaud’s melancholic instrumentation and sombre samples.
Finding Place (May 1997) Nick Rilke’s deeply personal words and visuals are interwoven with Tony Rimbaud’s evocative layered soundscapes for two thoughtfully provocative performances that explore themes of memory, loss and identity both here and abroad.
In ‘The Sorrow Resort’, Rilke uses poetic invention to dramatise and reflect on the suicide of the grandmother he never knew. In ‘The Wrestling Game’, a 1960’s cine film of a wrestling bout is used as both starting point and backdrop to Rilke’s melancholic monologue on why people watch, and the actions of the audience.
Schmappenings (June 1997) As part of the "Les Sixties" Festival, Maphead paid homage to their performance roots, by re-creating and re-interpreting key ‘Happenings’ of the decade from both sides of the Atlantic. Including works by Manzoni, Yves Klein and the Fluxus movement, alongside original pieces influenced by performance art of the sixties.
Houyhnhnmtours (May 1996 to May 1998) The Houyhnhnmtour of Brighton takes the traditional form of the guided historical or themed tour and turns it on it’s head. It is inspired by the immediacy and independence of the taped exhibition guides now commonplace in many galleries and museums. Maphead have taken the concept and expanded it to the street, dispensing with the human guide and arming the tourist with cassette, book and map.
Drawing upon childhood memory, local history and myth, geography, people and places, Houyhnhnmtours is a personal, poetic and oddly affectionate portrait of a town rich in the inspirational. Written by Rilke, with soundtrack by Rimbaud.
Club Fabryka (November 1995 to October 1997) Brighton’s original night of music, actions, sights and sounds began as a space for peripheral performances against a backdrop of ambient DJing and visuals, with work ranging from the solemn to the surreal. It gradually developed a lighter tone, with Rimbaud and Rilke’s unintentionally humorous conceptual cabaret. Whilst retaining the alternatively experimental and relaxed elements, they created a more interactive relationship with the audience, culminating in their FluxusTheatre Performance Menus.
"do tongues" (October 1996 to June 1997) Maphead’s Club Fabryka policy of music, actions, sights and sounds came of age at Brighton’s premier spoken word club. The do tongues philosophy of combining established - if controversial - writers, artists and musicians with local heroes of all art forms was transformed within the splendid domed Georgian ballroom of Brighton’s Arts Club. Against a backdrop of DJ Camus’ dope beats and scratches, Messrs. Rimbaud and Rilke have performed around the likes of Kathy Acker, Will Self and Howard Marks, mainly with their FluxusTheatre Performance Menus.
FluxusTheatre Performance Menus (ongoing) Showcased at Club Fabryka, Downstairs and ‘do tongues’, the FluxusTheatre Performance Menus enable the audience to select an action from a menu; the action is then performed at the table. Each menu contains about 15 actions, which run the gamut from the subtle and surreal to the stupid, some utilising props, others not.
Downstairs (August 1998 to May 1999) Downstairs continued the Club Fabryka tradition of conceptual cabaret, with a night of actions, antics, song and dance, reaching new heights of interactivity and absurdity.
Tongue ‘n’ Bass (July 1997 to January 1998) Maphead’s foray into the club scene combined the musical policy and DJing of Paul Camus, with spoken word acts chosen by regular collaborator Alison Barry, including Q and Pink Sly, along with guest DJs and musicians such as Cleveland Watkiss and Russ Dewbury. Tongue ‘n’ Bass offered an exciting mix of decks, live instrumentation, rappers, singers and spoken word; it also featured the improvised actions of Rimbaud and Rilke.
Underlounge (September 1996 to May 1997) Underlounge combined the hip hop beats and scratches of DJ Paul Camus, the brooding basslines, subtle samples and eclectic electronica of Tony Rimbaud with the floating vocals of Asa Funcke and the darker, near spoken delivery of Nick Rilke, the lyricist. The mostly melancholic lyrics, from the universally personal to the privately political, were accompanied by soundscapes informed by dance, trip hop, funk, jazz and film scores.
‘Radio Fabryka’ (May 1997 to October 1998) Maphead’s regular contribution to the occasional station Radio Activ 106.6 FM, presented Live Art for the Airwaves, in a format which played with the nature of the medium itself.
‘Interactive Art Radio’ (May 1998) Five specially written pieces exhorting the listener to interact with their radio, wrapping it up as a gift, using it to send telepathic messages, or even worshipping it; commissioned for Surf 107’s "Fringe Art Radio" series.
‘Radio Sanctuary’ (August 1998 to February 1999) Brighton’s first in-house cafe radio show, broadcasting to and from the Sanctuary Cafe; an eclectically chilled music policy, mixed with spoken word shenanigans and interviews with audience and guests.