BEHELD

BEHELD

 

 

Graeme Miller began work on BEHELD in 2006. This ongoing project involves visiting sites around the world where people have fallen from the wheelbays of aircraft and recording the sound there while capturing an 180º image of the sky.

These fisheye images are projected into fragile glass bowls with the audio activated within the glass by the act of lifting it. In this moment the holder becomes both physically and poetically connected to the anonymous individual who has fallen, and to the colliding resonances of place, geopolitics and history in the global landscape.

BEHELD focuses on a small aspect of the largely hidden narrative of the thousands who routinely die in migration. Through evocation of place and in the gesture of holding, it connects to the few who physically fall from the sky into the peripheries of international airports, mostly in economically fortified countries.

As an installation, BEHELD can be shown at two different scales and can adapt to gallery and black box contexts. It was first presented at Dilston Grove, London (now Southwark Park Galleries), and has since been exhibited across Europe and Australia.

Graeme continues to visit, photograph and record places around the world where people have fallen from aircraft; this is an ongoing and expanding work.

 

By connecting you so resonantly with the subject matter, Miller offers a poetic interlude for reflection.  Martin Coomer, Big Issue

An exquisite, desperately moving piece of work.  Lyn Gardner, Guardian

 

BEHELD has been presented at Performing Mobilities RMIT Gallery Melbourne Australia (2015); Belluard Bollwerk Festival Fribourg, Switzerland (2015); University of Jena, Germany (2013); On Taking Care Symposium, Queen Mary University of London (2012); Hellerau – European Centre for the Arts, Dresden (2010), Teatro Laboral, Gijón, Spain (2010), Stephen Lawrence Gallery London (2009; The National Review of Live Art, The Arches, Glasgow (2008), Tarsaskor Gallery, Budapest Hungary (2008), Le Quai, Angers, France (2007); Theatre Workshop, Edinburgh (2007), Rotterdamse Schouwburg Netherlands (2006). Dilston Grove (now Southwark Park Galleries), London (2006).

BEHELD was originally produced by Artsadmin and created with financial support from Arts Council England and the Henry Moore Foundation.

VIDEO BEHELD DILSTON GROVE 2006

LINKED

LINKED


In 2023 – 24 we hosted 23 public events for audiences to experience the LINKED audio trail. The first of these were an offsite commission in the Morris Gallery’s Radical Landscapes programme

We are currently working towards LINKED being available in 2025 and beyond

Open days at Leytonstone Library
25 November 2023
20 January 2024
17 February
22 & 23 March
20 & 21 April
18 & 19 May
22 & 23 June (in collab with The Demolition Project)
6 July (Leytonstone Art Trail)
14 September (Wanstead Library, Wanstead Festival)

Other events
31 January 2024: at Morris Gallery: Abel Holsborough, Zaiba Jabbar, Graeme Miller, Hadrian Garrard

9 February: featured on Radio 3 Late Junction ‘Pipe Dreams and Radio Ghosts’ produced by Reduced Listening

18 May: Sound Table participatory conversation at Leytonstone Library hosted by Lydia Newman

11 July: screening & talk at Filly Brook, Leytonstone Art Trail

17 September: Leytonstone walking group for over 60s

 3 October: FRIENDS of LINKED gathering at Fillybrook

28 October: guided walk, London College of Communication

7 November: streamed talk from London College of Communication

Commissioned by the Museum of London and launched in 2003, LINKED is a radio installation installed on lampposts across 3 miles of East London. It is an artistic response to the creation of the M11 Link Rd in the 1990s which involved the demolition of over 400 buildings, including my own home, amid dramatic and passionate protest.

Now in its 20th anniversary year, LINKED is fully technically restored and made available to the public again as a free audio trail.

Along a route between Hackney Marshes and Redbridge Roundabout (adjacent to the Link Rd) analogue radio transmitters reveal the voices and stories of 60 people who once lived and worked in the area – families, road protestors, railway-workers, teachers, disco-goers, and artists from the substantial community living in houses destroyed by the road – among them Cornelia Parker, John Smith, Christine Binnie and Ian Bourn. Together the assembly of voices evokes a fascinating and moving cross-section of East London life.

LINKED has endured as perhaps the largest sonic installation and sculptural entity in London for 20 years, broadcasting over a million times the voices and stories of people who lived or worked in the area impacted by the road. 

CREDITS

LINKED was originally commissioned by the Museum of London in 2003 and produced by Mark Godber, Judith Knight and Gill Lloyd of Artsadmin. The making of LINKED was generously supported by Arts Council England (ACE), Heritage Lottery Fund, London Boroughs Grants Committee part of the Association of London Government, Calouste Gulbenkian Foundation and the London Boroughs of Redbridge and Waltham Forest. The restoration of LINKED (2022 – 2024) is supported by ACE.

With thanks to all the many interviewees, production teams and friends involved in developing LINKED and to the researchers who developed the interview content for LINKED (2003): Lucy Cash, Myra Heller, Dan Saul, Michael Sherin, Helen Statman. Original technical design by Simon Beer of Integrated Circles.

Production (2023/24): Steve Wald, Mike Harrison, Lydia Newman, Chris Warner, Lou Doyle
Executive Producer: Nikki Tomlinson

 

More about LINKED

LINKED was intended to remain unseen, an almost secret layer of the geography of the communities where it transmits. It is in perpetual dialogue with the walker/listener who animates the work with their attention, finding their own narratives and in this sense, it is a social sculpture intended for a dynamic and changing area.

The transmitters broadcast on a single frequency and with a receiver the walker is able to navigate the neighbourhoods adjacent to the motorway, finding pools of sound that relate to the specific locations.

Over the passage of time this work about the politics and poetry of place has come to reflect issues relating to community, environment and protest and the impact of sudden, top-down developments on people and place.

5min video about LINKED by Dan Saul

Listen to audio excerpts

Read 2003 Catalogue Essay THE ARITHMETIC of BELIEF by Alan Read

Lost Chord

LOST CHORD

Lost Chord is a social musical work currently being researched. Sets of organ pipes are carried through the landscape, each pipe resonating with its own voice. It is a relational work at both a sonic and human level with the drift of travel, the constraints of landscape, the labour of the task and the collective process of the group all determining the nature of an unrepeatable band of sound. The work exploits the psychoacoustic effect of the drone on the carrier and the observer alike and inevitably, while taking place in the secular world, has magical and religious resonances.

 Lost Chord is supported by Arts Council England

VIDEO LOST CHORD STUDIO

Track

Track

 

Track is an environmental work and moveable participatory installation that throws landscape through 90 degrees and sets it in motion. Face-up and camera-style, the viewer is gently pushed by their individual “grip” on a slow journey along a 150 metre length of dolly track and invited to gaze upwards.

For the participant, the work creates a shift in relationship with its environment.  For the onlooker, that space is transformed by the vanishing tracks and the continuous, hypnotic motion of the viewers and the people pushing them. It has been installed in locations that range from tree canopies to motorway flyovers.

Track was co-produced by Artsamin and Entre Cour et Jardins and originally commissioned by Home live Art and Wandsworth Council Arts Team for The Shimmy.

A chance to embrace a vivid re-orientation, to look up and wonder at our earth-bound clumsiness
Louise Gray

Track has been presented at Home Live Art (2010), Entre Cour et Jardins, Dijon (2010), Théâtre de la Cité Internationale, Paris (2011), Fermynwoods Contemporary Art at Lyveden New Bield (2011), Festival Internazionale della Creazione Contemporanea, Terni (2011), Spaghetti Junction, Fierce Festival, Birmingham (2012), Forêt Régionale d’Etréchy (2012), Parc Jean-Jacques Rousseau, Ermenonville (2013), Les Tombées de la Nuit, Rennes (2013), Imaginarius Festival, Santa Maria de Feira (2014), Serralves em Festa (2014, Perforacije Festival, Zagreb (2014), Domaine de Chamarande (2014), Festival de la Cité, Lausanne (2014), Winchester Hat Fair (2015), Giardini Pubblici, Cagliara (2015), WOMAD, UK (2016), Festival of Thrift, Redcar (2016)

VIDEO TRACK SPAGHETTI JUNCTION

VIDEO TRACK DIJON

Moth Theatre

Moth Theatre

 

Moth Theatreis a small-scale freestanding plywood theatre fitted with a video feedback system and ultra-violet lighting. Standing in a pool of its own radiance, it is theatre for moths by moths.

Insects are drawn to the miniature cinema where their image is filmed and fed back to the same screen, generating pattern and unwitting choreography. Moth Theatre plays with the nature of spectacle across the species divide. Drawn by the same light and image as the insects, the human observer is able to eavesdrop on this evolving and autonomous performance.

Moth Theatre was commissioned for the Latitude Festival 2010 in Suffolk, UK and was the first winner of the Latitude Contemporary Art Award. It was show also at Serralves em Festa, Porto.

VIDEO MOTH THEATRE LATITUDE 2011