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l Can’t Go On, I’ll Go On. I Can’t Go On, I’ll Go On

BROWN, Ian, Campbell, David and Durden, Mark (2016) l Can’t Go On, I’ll Go On. I Can’t Go On, I’ll Go On. [Artefact]

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[img] Video (l Can’t Go On, I’ll Go On. I Can’t Go On, I’ll Go On - Dave (Wide Shot) (2016) full video)
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Abstract or description

Brief Description:

Common Culture’s videos, I Can’t Go on, I’ll Go On, I Can’t Go On, I’ll Go On (2016), strip down the conventions of televised stand-up comedy routines. The video works record two comedians performing for 40 mins, isolated and spot-lit on a small stage in an empty performance space, without an audience. Commissioned by Harris Museum and Art Gallery, Preston, where Dave was exhibited in Nothing Happens Twice: Artists Explore the Absurdity of Life the second part, Karen, was subsequently exhibited in Double Act: Art and Comedy at The Bluecoat, Liverpool.

Research Statement:

I Can’t Go on, I’ll Go On, I Can’t Go On, I’ll Go On (2016), explores the social and commercial aspects of the role of the stand-up comedian within popular televised entertainment. By deconstructing, and reconstructing, the components of the act, the structure of televised performance (editing, camera angles and setting) and the familiar mechanics of the stand-up routine (including the defining and addressing of social identity) can be interrogated.

The televisual languages of the filmed performance are established and destabilised as an enquiry into the processes by which individuals are commodified as forms of commercial entertainment. I Can’t Go On, I’ll Go On… (Karen), involves an editing process that is mechanistic and indifferent to the actions of the performing subject. The intention here is to articulate the alienation of the subject in the context of commodified television culture.

In I Can’t Go On, I’ll Go On… (Dave) the editing is removed entirely, the audience is provided with the separate material by which televised stand-up routines are formed. A wide-shot and a close-up provide the components used within the televised form but not completed. The audience acts as editor, selecting which of the two screens they wish to view at any given time, allowing for a consideration on the existing processes of dissemination.

The consequences of the change of conditions, by which the act itself is exposed, differ between the two works. In Karen the self-reflection created, results in a segment where the performer is overwhelmed, forcing a break in the routine. The confident role of performer, as commodity, is momentarily exchanged for the uncontrolled behaviour of the individual. This transgression creates a gap or subversion in the form and this displacement undermines, and reveals, the structure of the ‘product’ of entertainment.

Item Type: Artefact
Additional Information: The work has been exhibited in two different exhibitions to date: Nothing Happens, Twice: Artists Explore the Absurdity of Life, Harris Museum and Art Gallery, Preston, UK Double Act: Art and Comedy, The Bluecoat Liverpool, UK, as Common Culture The work has been reviewed in the following journals: Nothing Happens, Twice: Artists Explore the Absurdity of Life, Art Monthly, April, by Beth Bramich Double Act: Art and Comedy, Corridor 8, April, by Georgina Wright Double Act: Art and Comedy, Art Monthly, May, by Laura Robertson
Uncontrolled Keywords: INCL
Faculty: Previous Faculty of Arts and Creative Technologies > Art and Design
Event Location: Harris Gallery, Preston and The Bluecoat , Liverpool
Depositing User: Ian BROWN
Date Deposited: 04 Oct 2016 09:00
Last Modified: 11 Jun 2019 15:44
URI: http://eprints.staffs.ac.uk/id/eprint/2478

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