But I Guess, In The End, We Just Moved Furniture Around (Video Version)

This is a collaboration with David Pocknee and Richard Craig. It’s definitely David’s piece but he invited us into the compositional process with him. We met several times over the span of two years to come up with what this work ultimately became. It was just a lot of trying things out; a lot of looking at stuff and a lot of moving stuff around. David is good at combinations. I just love him. We You can find the score here (on David’s website). 

Not the Rodrigo Constanzo Story

My new comic is ready to be held by your delicate reader hands.

It’s about Jason Biggs running lines with his agent, in order the land the part of Rodrigo Constanzo, in a movie about Rodrigo Constanzo.

Rodrigo Constanzo wrote the script.

We didn’t give it a title, but it’s NOT The Rodrigo Constanzo Story. It’s printed on 32 “silk coated” pages and is A5 size (if you fold a piece of printer paper in half, that’s about the size). It will come with a few stickers and Rod’s fantastic mac n’ cheese recipe on the back cover! 

Here are some pics. Enjoy.

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Lines and Panels

Some folks on llllllll.co (the lines forum, and thus the ^ title) are helping me with ideas for 3 panel comic strips. I made a post on there and just asked if anyone had any ideas, because I’m just in that mood to draw comics. They’re a great group of people and I’ve been really inspired by what they’ve written thus far.

Field Recording – written by Jason Wehmhoener

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[ factory ] a long rope

A living score asks you if you’re interested in realizing a work she’s the archive to.
This video is my yes.

[factory] is a proposal for collaborative performance action(s).
This video realization–“[factory] a long rope”– was created by me and  features Mira Benjamin performing sections of her own realization of [factory]. She would normally do this in live performance settings so working on this video with me was a deviation from that too.

[factory] began as a set of 22 texts written by Luke Nickel. These texts—or verbal scores—were linked by a geographical map, with each text representing an individual conceptual area or room. Luke and Mira Benjamin (the original performer) agreed upon a risky proposal: she would read the texts only once and then delete them, allowing the work to exist solely in her memory and inviting forgettings and linguistic permutations to infect the ephemeral score-object itself. Mira is now the living score for the work, voluntarily responsible for its transferral, transformation and translation.

The History of Visual Art

A look back at the 10 year collaboration between Rodrigo Constanzo and I.