On False Tears and Outsourcing - musicians respond to emails and manufacture a pop song, just in time, daily (The No. 1 Hit)
In On False Tears and Outsourcing - musicians respond to emails and manufacture a pop song, just in time, daily (The No. 1 Hit), Cally Spooner presents a new chapter in her On False Tears and Outsourcing project, in which she examines how strategies to maximise productivity and profit by outsourcing activities to the global market have been applied, at the microeconomic level, to human relations in companies. In Faisons de l’inconnu un allié, the artist becomes a music producer and, with the help of Lafayette Anticipations, brings together a group of professional musicians and singers to help to create a hit song. She set out to demonstrate that there is a clear distinction between the writing and production of a song (usually by music production factories), and its embodiment by musicians (sometimes only through lipsyncing), whose role is to embody the image of a product. To do this, she set up a writing process to explore this power dynamic between the two entities. Every morning, she emailed instructions for the musicians to work on during the day, then once the song was recorded, she and Peter Joslyn directed its post production. Each of the participants in this project is then bound by a contract, which clearly establishes the distribution of the intellectual property of the object produced, which then becomes an integral part of the work.
Née en 1983 à Ascot (Royaume-Uni), Cally Spooner vit et travaille entre Londres et Turin. Issue d’une formation en philosophie, son œuvre fortement ancrée dans la discipline accorde une grande place à l’écriture qu’elle transcrit en un vocabulaire visuel et vocal. Sa pratique se déploie sous la forme de performances, puis prend la forme de films, de sons, de sculptures, de dessins ou de partitions. Les mots qu'elle active, incarnés par le corps et la verbalisation, sont une invitation à l'action adressée au spectateur statique. Ses performances intègrent la durée et la répétition comme actes de résistance aux climats corporatifs, numériques et performatifs dans lesquels il est difficile de faire la différence entre ce qui est vivant et ce qui est mort.
