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Dan Auluk is an artist-curator living and working in Birmingham, UK.

 

Auluk's arts practice is interested in the making of art activity (as medium) and the experiences shared through experimental collaborative approaches. The art activity includes experimenting with text, spoken word, sound, video, performance, participation and intervention, manifesting as live art collaborative performances that invite audiences to take part. This live art attempts to blur the boundaries betweeen artist, curator and audience, exploring alternate ways of activating spaces and audiences and destablizing the conventions we are used to, when experiencing art in an exhibition context.

The exhibition flyers, printed on pink paper and folded into airplanes, littered the floor of the

exhibition space; words that flew through the air but found no safe landing.

Safe. Auluk has never been content with safe. Constantly pushing his own artistic boundaries anddisrupting the expected norms of curatorial etiquette, Auluk has exceeded all previous attempts here. WDTA#2 proved to be a hugely exciting, experimental and energetic exposition of research, performance, method and play, pushed forward by Auluk’s boundless energy and relentless questioning.

 

His vision was simple; that a group of artists could be brought together to explore the dialogue created by making without talking. The residency, over a period of three weeks, enabled the participants to further their own areas of research, to work collaboratively across disciplines, and to embrace the unexpected outcomes of that entanglement.

 

The closing event, timed to coincide with Digbeth First Friday, did not disappoint. The

exposition/exhibition space was quickly filled with an art-hungry audience bemused at the spectacle before them. As contributing artist Sarah Walden silently performed her rituals of woodworking, she invited viewers to ‘ask’ her a question – the question to be written, as would be the response.

 

“What is going on here?” one such question asked.

Music, noise, drawing, drag.

Graffiti, text, performance, painting.

Film, disruption, sound, found objects.

Photography, collage, dancing, typing.

Mending, light, sex toys, sculpture.

Touch, comedy, installation, whispers.

Glitter balls, tug-of-war and glue sticks.

It was all going on here.

 

The undeniable chaos that culminated gave a glimpse into a possible future – a world where

conversation is a lost art, and new ways of non-verbal communication are needed. This exposition allowed both artist and audience to consider how that could happen; through shared activity and experience, through gesture and touch, through suggestion and rhythm.

 

 

 

 

 

We may not talk anymore, but we have found meaning in the making.

Review of We don't talk anymore (closing event) by Sally Bailey

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