A Proxy for a Thousand Eyes

Fahd, C

A Proxy for a Thousand Eyes

Fahd, C

Permalink

Publication Type:: Creative Work (exhibition)
Citation:: A Proxy for a Thousand Eyes, 2020
Issue Date:: 2020-11-29

Closed Access

	Filename	Description	Size
	Proxy Thousand Eyes-Curators Essay.pdf	Supporting information	848.51 kB	Adobe PDF	View/Open
	Fahd_A Proxy.pdf	Supporting information	13 MB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Fahd, C https://orcid.org/0000-0002-3404-1535
dc.contributor.editor	Do, M
dc.date	2020-11-29
dc.date.accessioned	2021-03-29T08:04:57Z
dc.date.available	2021-03-29T08:04:57Z
dc.date.issued	2020-11-29
dc.identifier.citation	A Proxy for a Thousand Eyes, 2020
dc.identifier.uri	http://hdl.handle.net/10453/147619
dc.description.abstract	A Proxy for a Thousand Eyes (2020) was commissioned by Sydney Opera House for Antidote Festival of Ideas. It consists of a live performance and video work. Performed on 29 November 2020, the live performance took social distancing as an instruction for choreographing a series of intimate touch moves. Five cameras, along with a cleaner and a bell ringer were employed as co-performers. In the quiet of the Utzon Room I staged strangers' safe touching through a series of designed timber and plastic screens. The design and performance of this work used the Opera Houses' social distancing rules to every aspect of the project. In other words, Covid-safe protocols offered a productive framework from which to generate and enjoy intimacy with strangers while promoting dialogue between myself and the public about the experience of not being able to touch. The performance was undertaken with fifty participants in front of a small live audience across three discrete sessions. Footage from the five cameras have been developed into a video work. It will be screened in April 2021 as part of 'Returning' and online exhibition (Sydney Opera House) and toured across regional galleries in NSW during 2021-2022.
dc.format	Live performance & digital video
dc.format.extent	2
dc.language	en
dc.relation.ispartof	A Proxy for a Thousand Eyes
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	A Proxy for a Thousand Eyes
dc.type	Creative Work (Exhibition)
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2021-03-29T08:04:47Z
pubs.finish-date	2020-11-29
pubs.place-of-publication	Sydney Opera House
pubs.start-date	2020-11-29
dc.location	Sydney Opera House

Abstract:

A Proxy for a Thousand Eyes (2020) was commissioned by Sydney Opera House for Antidote Festival of Ideas. It consists of a live performance and video work. Performed on 29 November 2020, the live performance took social distancing as an instruction for choreographing a series of intimate touch moves. Five cameras, along with a cleaner and a bell ringer were employed as co-performers. In the quiet of the Utzon Room I staged strangers' safe touching through a series of designed timber and plastic screens. The design and performance of this work used the Opera Houses' social distancing rules to every aspect of the project. In other words, Covid-safe protocols offered a productive framework from which to generate and enjoy intimacy with strangers while promoting dialogue between myself and the public about the experience of not being able to touch. The performance was undertaken with fifty participants in front of a small live audience across three discrete sessions. Footage from the five cameras have been developed into a video work. It will be screened in April 2021 as part of 'Returning' and online exhibition (Sydney Opera House) and toured across regional galleries in NSW during 2021-2022.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/147619