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Three Duets (2003)
An Arnolfini Breathing Space commission.
On film Robert Pacitti performs three duets, one each with Sheila Ghelani, Juliet Robson and Angela Rodaway. Made to be shown simultaneously in a gallery environment Three Duets is a game of and looking, and challenges assumptions around sex, difference and time. Premiered in the main gallery of the Arnolfini Bristol as part of the 2003 InBetweenTime Festival. Also shown in the main gallery space of the former Castle Fields Gallery, Manchester, England.
Click here to go to Current Projects Three Duets
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Finale - Curated Environment (2001)
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When Finale was initially devised and performed it was sited within a large wooden structure erected within black box theatres. The structure provided an interior performing space and audiences were restricted to just 35 viewers at a time. Upon entering the theatre the audience was initially kept outside of the performance space for 20 miuntes, with the outside of the structure displaying curated work in gallery conditions. Given that Finale was based on the Emile Zola novel Therese Raquin this spatial experiment with theatre was a deliberate attempt to blur the lines between gallery and page, activity and stage. Pacitti Company curated the work of three artists for the exhibition - Ease (2001) a commissioned video work by Ju Row Farr of Blast Theory - Whore (2001) a commissioned series of performance installation photographs by Sara Nind - and Performance (1999) a pre-existing installation piece utilising polaroids and orthadentic mirrors by David Falkner. A framing text, written by Robert Pacitti and contextualising the project as a whole, also appeared on the walls.
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Suspended Sentence (2000)
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'Suspended Sentence' was a covert public project about rumours and falshoods and a contribution to the book Small Acts: Performance, the Millennium and the Marking of Time. At an untold time, at a series of unknown sites, an unspecified number of texts, objects and images were deposited by invisible hands and left in public spaces throughout the country. Once read, seen, talked of or simply noticed these artifacts were intended to forge a series of untruths in the minds of their finders. The hope was for the found stories and falsehoods to slowly infiltrate the pages and airwaves of the nation's regional press, unsettling the relation between fact and fiction and raising public questions around truth and origin. A 'Small Acts at the Millenium' Commission through the Live Art Development Agency
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An Increased Sensation of Weightlessness (1999)
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Installation performance placed in a corridor arrived at by lift.
Shown as part of The Building Show at the People Show Studios, London. Funded as part of a Live Art Development Agency One to One Bursary
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Evidence of Life After Death (1999)
A collection of research ephemera, marginalia and soundwork produced as an in-house publication Evidence of Life After Death and including the essay Living But Knowing by editor Andrea Phillips. commissioned by Pacitti Company. Funded by The Arts Council of England and the London Arts Board
To read the essay Living But Knowing by Dr. Andrea Phillips
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Precious Thing (1999)
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A pilot website exploring the potential of an online support and information exchange resource for older lesbians and gay men aged 70+ Pacitti worked as lead artist on the project, developing research territories, interviewing older lesbians and gay men, recording and transcribing testimonials, generating image work, then collaborating with web design company 'emote' on the sites structure and design. Commissioned by Fierce Earth,Birmingham Precious Thing was premiered at Wolverhampton Arena. (www.preciousthing.net)
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Self-Elimination Phase 2: Flirt (1998)
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Large scale outdoors projection - shown nightly for 2 weeks on the Arndale Centre exterior, Manchester, England as part of Virtual Billboards. Funded by Digital Summer and Manchester City Council. Produced by the International Symposium on Electronic Arts (ISEA) and hAb
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Self-Elimination Phase 1: Redundant (1998)
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Residual installation of previous nights performance relics, at The Green Room, Manchester. Funded by Digital Summer and Manchester City Council for the International Symposium on Electronic Arts (ISEA), produced by hAb
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Bum-boy (number five - the Showroom exhibition) (1998)
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(Joint collaboration with artists Michael Atavar and Pascal Brannan)
Robert Pacitti made Family Portrait - a life size photographic nude family portrait mounted onto MDF for group installation, with assosciated programme of invited gallery talks, including Catherine Ugwu. Commissioned by the Showroom Gallery, Bethnal Green, London. Funded by Arts Council England New Collaborations Fund
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Bum-boy (number four - wallpaper for freedom) (1997)
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(Joint collaboration with artists Michael Atavar and Pascal Brannan)
Wallpaper for Freedom was an installation in Freedom Cafe - a large cafe, theatre and bar in London's Soho. Bum boy installed handmade radical wallpaper throughout the space which stayed in place for one month. Self funded by Bum-boy
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Bum-boy (number three - the pull-out poster) (1997)
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(Joint collaboration with artists Michael Atavar and Pascal Brannan)
Bum-boy three took the form of a large scale pull-out poster on which each of the collaborating artists worked. In line with the previous two editions the pull-out poster was sold packaged in a clear plastic casing with free gifts inside. Handmade and independently distributed in Britain, Europe and North America. Self funded by Bum-boy
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Bum-boy (number two - the casette tape) (1997)
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(Joint collaboration with artists Michael Atavar and Pascal Brannan)
An open submissions audio cassette project where adverts placed in the queer press invited audio contributions from anyone who wished to participate. Entries were mixed into a running order and reproduced on audio cassette tapes. Sold packaged in a clear plastic casing with free gifts inside. Handmade and independently distributed in Britain, Europe and North America. Self funded by Bum-boy
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Bum-boy (number one - the magazine) (1996)
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(Joint collaboration with artists Michael Atavar and Pascal Brannan)
Handmade magazine exploring the potential for three artists known primarily for their live practices to collectively produce a radical queer act of publishing. Sold packaged in a clear plastic casing with free gifts inside. Handmade and independently distributed in Britain, Europe and North America. Self funded by Bum-boy
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