1. W.I.H.E. Festival - Fran Cottell - London, England

 Why I hate England Literary Festival

Another  Forced Entry 

Fran Cottell’s House Projects 2001-17

The frustration with the distancing and cerebral,  often enjoyable experience of many gallery shows being an adequate response to political and environmental events and conditions in ‘England’ and ‘the west’, originally led to the stepping back further from the outside, public, performance, institutional, exhibition space to the house as a situation to be recon-figured as an ‘art’ work. However extreme a public action/performance etc. is afterwards the participants and or artist and audience then ‘go home’. The house has become a pre-occupying entity/structure/situation that has been re-visited and re-worked every few years. Platforms (of increasing height) like catwalks have been built, running through the rooms, circling objects, a hole still punctures the ceiling. Concerns have shifted from the focus on the quality of disorder to relative power relationships between visitors and inhabitants, art and liveness. It is a multi-layered project, its complexity reflecting life.  Patricia Ellis described this approach to architecture as creating ‘a platform for intimacy’ 1. 

After climbing through the window at Stable Cottage at Nottingham Manor, for a ‘house talk’: a contribution to the Literary Festival, with some difficulty, the audience clambered in, to stand on tables and chairs and were restrained from their desire to be comfortable, jump down and properly inhabit the room. This small action: a postscript to/ reflection on the most recent house project: Forced Entry 3. For this latest intervention windows were removed in the double fronted Victorian facade and high platforms were constructed spanning the outside/inside spaces. The visiting public then entered three rooms of the house walking across an occupied bed, sink and living space whilst being too high and removed from joining the inhabitants and entering the rooms themselves. The aim in both cases on the back of an extreme but strategic intervention was to create new perspectives both literarily and metaphorically by re-configuring conventions/ re-mapping routes.

Katy Deepwell .... Habitus –  ............

1. Pentagon Petal Camberwell Press 2016

2. Forced Entry: an offsite project for Raven Row’s: 56 Artillery Lane 2017

3. From Display to Back to Front ktpress 2012




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