bernard charnley visual artist

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performance text/notes

 This performance was enacted in the gallery. The use of an alter ego is a way of extending the explorative format of the exhibit with its use of different modes of communication.

(Stacatto) Well, my children, divine children of varied and energetic talent from what I see around me, I am here as the artists (raised sung) ALTER EGO. (Stacatto)As those who have read my meditation in the exhibition text, the artist has (slow) nothing to say about this work. (Sing) But as his guardian angel, he is happy for me to step in on these occasions. As I love him (slow) d-e-a-r-l-y, despite his admittedly (go deep) s-t-r-a-n-g-e w-a-y-s, I also am pleased to fulfil this role. But first I should (high pitch) introduce myself.(high pitch) Today (italian stereotypical accent) I am Fra Angelico, a name with rich associations that you can access again in the aforsaid (deep) text.
(mad cheery ) Now, it struck me that 5 minutes is the same time as the Radio 4 Thought for the Day, (The goons) a favourite programme of mine in my present persona, ( deep) but not of the artist (haha). (silly talk) But I know he is happy for me to talk in any way I wish and so it is with that (high) ungodly but well meant permission that I deliver this short sermon (deep) which has now been reduced to three minutes due to the inexorable march of time on this (doom deep) m o r t a l earth.(High falsetto) So, upping the pace a little and referring to the exhibition text, the conception is rendered through the prism of (slow mad gleeful) ENTERTAINMENT.

(Deep stacatto) In the painting, The Margate Dreamland Cinema of the 1930’s is the main setting. The chief characters are (booming presenter) MIRANDA and ALFIE, (goon) blessed beach donkeys on Margate Sands. Here we have the main depiction of the event. The (high boom presenter) comic strip (singing) switches us from this SPECTACLE to the personal (deep) drama while the postcards render this (sharp extend) T_R_A_U_M_A as a persuasive commercial proposition. (sing up and down) I wish to focus for this brief moment on the tri-part structure, with the modest aim of raising a number of questions.(Stacatto to singing) What interests me is that you have here three versions of an event. The event is violent and yet the representations in each part are radically different in their mode of delivery and invitation to engage with the work.(Extreme high falsetto american ) WHAT DOES THIS TELL US ABOUT REPRESENTATION ITSELF?
If we consider the devilish dastardly ungodly act as a real life happening,.(american accent) it is clear that such violence would not have the appearance shown here, SO WHAT HAS BEEN SHOWN?(Pious rythm stacatto) Here I defer to greater minds than my own, acting through the heavenly distribution of labour, who argue that (slow loud emphasis) representation is the ELABORATION OF SIGNS. Well my children, we all know that signs are there to point out or signal a presence or direction. It is my view, (goons accent) not I hastily add, necessarily that of the artist - he does get heated about these things - (deep scottish stacatto) that in this three stranded work you have an elaborate signage that de-configures the usual frames of reception for such a (sing) t-r-a-g-e-d-y . (Pompous singing) Well, here I have to tread carefully as I wish to serve the beloved artist in future and there is always the danger of a (deep) s-a-c-k-i-n-g; (high note singing) not a feature I’m glad to say of the celestial sphere that I hope to inhabit one day!
(German gutteral stereotype)
Now, to return to my sermon and the final questions? Is this work perhaps offering a different violence, that of the slow (female scottish stereo type) 'HARMLESS TERRORIST;, a phrase borrowed for this occasion from one of those noble thinkers on these earthly matters. (slow dramatic italian stereotype) Does the suspension of the normal offer an u-n-d-e-f-i-n-e-d POLITICAL SPACE, a space where even ANIMALS CAN SPEAK/? Is it then a space that undoes the powerful and releases the excluded so that they are no longer heard as a (emphasise) NOISE but a (emphasise) VOICE?These are the questions I leave you with as these moments on this venal earth are momentary and I feel (Iincreasing hesitancy) disturbing signs of the end of this particular (emphasise) REPRESENTATION Bless you ALL! Aghhhhh! (throw of cloak and speak as artist to cloak on floor: "Thanks Fra, over the top as usual.(turn to audience). "I take it all with a pinch of salt!" (chuck imaginary salt over shoulder) Exit.