Emma Cocker is a writer-artist based in Sheffield and Reader in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, her 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. Cocker’s work unfolds restlessly along the threshold between writing/art. Whilst embracing the potential of the essayistic (as a tentative effort or trial), her writing includes 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; and as a solo collection entitled The Yes of the No, 2016. She is currently a key-researcher on the project Choreo-graphic Figures: Deviations from the Line, with the artistic research findings published as an accompanying artists' book/research compendium, 2017.

Essay/Text: Without Rhyme or Reason

Below is a critical response to Vlatka Horvat’s work This Here and That There, which has been commissioned for a critical journal based in Croatia called zarez (www.zarez.hr). The text follows a recent performance of the work by Horvat in the Los Angeles River, presented by Outpost for Contemporary Art. In This Here and That There, Horvat continuously rearranges 50 chairs over a period of eight hours. Each successive chair arrangement implies a set of possible relations between their imagined occupants, evoking a range of possibilities related to human interaction - dialogue, encounter, communication, and conflict. The text is used as a space to extend ideas initially developed in relation to this work within an previous essay Over and Over, Again and Again, where notions of restlessness and Sisyphian labour are explored through the prism of Horvat’s practice.

Without Rhyme or Reason