Art of Survival conversation (continued from B+B’s introduction)
Halt+Boring: Why do you call it “strategies for survival” and not strategies for living?
Sophie Hope: There is a certain urgency to survival, isn’t there?
H+B: Yes, but living is urgent as well.
Sean Parfitt: It’s more of a framework through which to view our practices;
H+B: But it’s a strange self-understanding if living is surviving.
Paula Roush: That’s a good point. I recently presented a proposal to do a project in a city, in a public space. I met to discuss the proposal and the
conclusion was that they thought what I was doing was interesting but somehow it was very similar to what another person or researcher could do and that it wasn’t really art. I didn’t understand this because my life is my art. I don’t make any differentiation. One of my strategies consists of using msdm (mobile strategies of display and mediation) as a label. The notion of mobility is central to the practice as it depends on the flexibility to move transversally in between different institutions and disciplines. In this very interstitial manner, we try to occupy vacant spaces where we can survive.
Sarah Carrington: Which makes it very vulnerable in a way as well.
PR: But it’s true that we can survive and somehow infiltrate.
(continues on Alasdair Hopwood’s page)

Gibbs combines collaborative and research approaches in her work, providing platforms for a range of activities from live events to archiving, placing emphasis on unpredictability of process, on possibility, dialogue, and exchange.

Selected projects: 2003: Spare Time Job Centre, Chisenhale, London; 2002: Fish Island: The making of a radio show, commissioned by Space Studios, London; Residency, Upriver Loft, Kunming, China; Programme, commissioned by Whitechapel Art Gallery, London; Night Stop Cinema, commissioned by London Musicians Collective, River Lea Valley, London.