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—active because it leaks, 2022
CALLY SPOONER
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—active because it leaks
CALLY SPOONER
8m 29s, sound

—active because it leaks is a sound work that operates when all available windows of a space are continuously open. The opening of the windows allows sound to spill in and out, becoming an environmental circumstance for the making of the work. —active because it leaks takes its title from Anne Carson's handling of the cinematic method of temps morts (dead time). Ostensibly a documentary technique, yet held within a fictional frame, the temps morts unfolds when a film camera runs on a scene long after the actors have finished acting so that which is unguarded, erratic, or erroneous spills into the frame. Actors' corpse, fall out of character , something rustles around in an empty doorway. Capturing everyday pedestrian activity, foregrounding that which is typically edited out, the cinematic performance cracks
For the digital exhibition with OTO SOUND MUSEUM Spooner presents the documentation of  —active because it leaks, from its installation at ZERO… Milano in September 2022, during the solo show "Two Thousand Six Hundred and Seventy-Four Seconds Wide". Also presented as a part of the installation was DEAD TIME (Melody's Warm Up), a work in which a cello meets a building — and anything that happens to be in between them. Snatches of a phone call, a pickup truck beeping, a baby crying, and the road outside become sonic visitations that spill into the gallery, via —active because it leaks, then intertwine with the sound of DEAD TIME (Melody's Warm Up), an unedited sound recording in which a cellist tries to find her "tone," colliding with an intermittent digital timer that ‘beeps’ harshly at regular intervals. Thus, in this documentation, the sound of a cello flows into the soundscape outside the open window, establishing a threshold between the internal and external that blurs into a continuous encounter of incidental listening.

Cally Spooner

(b. 1983, UK) is a British-Italian artist and a writer, whose choreographies unfold across media—on film, in text, as objects, through sound, and illustrated in drawings. Recent institutional solo exhibitions include Graham Foundation, Chicago (2024); Cukrarna, Ljubljana (2023); Museum Dhondt-Dhaenens (2021), Sint-Martens-Latem; Parrhesiades, London (2020); the Art Institute of Chicago (2019); the Swiss Institute, New York; Castello di Rivoli, Turin; Centre d’Art Contemporain Genève (2018); the New Museum, New York; and the Stedelijk Museum, Amsterdam (2016). Her live productions, plays and events have been staged at, amongst others, The Centre Pompidou, Paris (2023); Museum M, Leuven (2018); The High Line, New York (2015); Tate Britain and Tate Modern London (2014); Performa 13, New York  (2013); and the Institute of Contemporary Arts (ICA), London (2012).
Spooner is the author of recent monographs published by Lenz Press and the Swiss Institute (2024); Hatje Cantz (2020); Mousse (2018); and Slimvolume/Cornerhouse (2016). Her novella, Collapsing in Parts, was published by Mousse in 2012.  Her series of five essays on “performance”, A Hypothesis of Resistance, will be published as a monographic text book by Mousse, Milano in 2024. In each essay Spooner holds and examines temporalities which defy and eclipse the standardizations that drive individual and societal bodies to perform toward an entirely metric-oriented future. Beginning with “On Asynchronicity”* then extending to “Rehearsal,” “The Present Tense,” “Undetectability,” and “Duration,” A Hypothesis of Resistance is edited and typeset by Will Holder.