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.

(UN)Folding Zagreb

I am going to be participating in this research-creation workshop as a way of developing and extending some of the performance ideas developed in collaboration with Open City. I am in the process of developing further research – entitled Between Wandering and Waiting – which continues to investigate the creative and critical value of strategies such as wandering, waiting and performed stillness within an artistic practice, by asking how they might contribute towards the production of pragmatic models (‘tactics’) for interrogating contemporary forms of subjectivity. As part of this research I am in the process of developing critical connections with other artists, performers and theorists interested in similar concerns. Whilst my practice is primarily theoretical/writerly I am interested in opportunities through which to (tentatively) test out some of these ideas through practice.

(UN)Folding Zagreb is a three-day collaborative workshop that will take place during PSi15 directed by Sara Wookey, Bianca Scliar Mancini and Christopher Brunner

In a format that resembles a workshop but that aims at a collective research-creation process participants will use movement and rhythm as techniques to explore how to know Zagreb through affects. Participants will share a short reading pack, which includes philosophical texts, as well as other relevant writings and images that will set a common ground of knowledge about the city.

With three molecules of actions, each one with a specific focus on either movement, visual or sound elements, this method of approaching the city is strongly based on improvisation techniques, both from dance and music, which priories flow and process; it is anti-flaneur as it proposes participation and movement of the body as a tool for engagement with the others in the space of the city, exploring the notion of gestural contamination.

(Un)Folding Zagreb consists of intense work during the three blocks of three hours of  activities in the studio (physical propositions), outdoors (tasks of collecting) and on mapping techniques ( collective composition).