Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research enquiry focuses on the process of artistic endeavour, alongside models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's recent writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; Reading/Feeling (Affect), 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection entitled The Yes of the No, 2016.

Interview with Vlatka Horvat

In November 2007, I interviewed artist Vlatka Horvat in New York as part of my research for the essay 'Over and Over, Again and Again', which will be included in a forthcoming anthology on Contemporary Art / Classical Myth 2009: A collaboration between Department of Art History, Maryland Institute College of Art, Baltimore and Department of Art History, Lamar Dodd School of Art, University of Georgia, Athens, Greece. (Click here for more information)

Image: Vlatka Horvat, This Here and That There, A proposal for a performance by Vlatka Horvat, An 8-hour performance, August 24, 2007, 10am-6pm, A commission by the Haus der Kulturen der Welt (HKW) Berlin for 'nomadic new york' - curated by Andre Lepecki

An interview transcript based on a series of conversations is going to be published in the Dance Theatre Journal, in the Spring Issue, 2009. The essay 'Over and Over, Again and Again' (which the interview formed part of the research for) will be published in 2009, and aims to explore the notion of Sisyphean repetition in relation to a number of artistic practices from the late 1960s onwards. I am proposing to use the Myth of Sisyphus as a form of exploratory or curatorial framework through which to discuss a range of practices that appear to be played out according to a model of purposeless repetition; non-teleological performativity, or in relentless obligation to a rule or requirement that seems absurd, arbitrary or undeclared.