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Erin Manning holds a University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the director of the SenseLab


Goat Island, anarchive

The anarchive has a pull and it is a pull to immediacy. It wants to activate, to orient. Or, better said, it is always already activating, orienting. This makes it a collaborator in all takings-form. Thinking of it as the event's anarchic share allows us underscore its role in all experience, human and more-than-human. It also allows us to place it on the register of the immanent rather than transcendant. The anarchive is not something "we" do. It is something that catches experience in the making. It is something that catches us in our own becoming.


9 videos of Goat Island performances; velum, cotton batting, canvas - 3 meters of each.


-Watch all videos (1 of each performance).

-Allow the videos to facilitate a movement of the pencil on paper. Select qualities of movement-repetition and movement-tendency from the drawings of movement and transcribe onto layered transparencies (never discounting that language too is a movement), always beginning with the diagram of the stage-space as drawn by Goat Island. Choose one sentence from each performance that captures the quality of the work and embroider it onto the 4 layers of velum. Repeat for each of the nine performances.

-Once all the drawings are made, select two strong movement-tendencies. Compose with the shapes to make a cloth sculpture. Repeat for each of the nine performances.

-Once all the sculptures are made, create a procedure for each piece based on the drawings and the sculptures.

-Locate 9 quotations from Arakawa and Gins on Architectural Procedure and create a book-like proposition for each of the works.