disclosure happens :: project of place

Seldom, very seldom, does complete truth belong to any human disclosure; seldom can it happen that something is not a little disguised, or a little mistaken.

-Jane Austen




DISCLOSURE HAPPENS was shown as a multi-media, interactive installation on December 10, 2008, in the event space Lalita’s Loft on Clinton St., NYC.

The work of Caitlin Scholl (writer, artistic director), Yilis Carmen Suriel (paper maker, painter), and Joey Carey (filmmaker) combined to create a display of neighborhood disclosures, as well as interactive opportunities for onlookers to disclose among each other, in real time, via the 'disclosure booth.'



THE PROJECT:

This project is all about disclosing disclosure. In this sense, it folds in on itself, as does a nightshade bloom, having issues with light & dark, the seen & unseen, the apparent & the obscure.

It is a multi-media collaboration between three individuals — Caitlin Scholl, visual artist Yilis Del Carmen Suriel, filmmaker Joey Carey — in hopes to reveal something in the process of uncovering what disclosure means to themselves, as artists, and to the Lower East Side community of Manhattan, NY, where this project is centered.

The choice to extend our own musings on the ramifications of disclosure to a local community was simple: this inquiry is about real life, about the neighborhoods where we tread in and out of our lives each day. This project was born here, as one of the collaborators resides in this neighborhood, and because of this, the inquiries, creative acts, and aesthetic of the project MUST reflect its local environment. To ignore the disclosures happening all around the project’s center would be to ignore the essence of what this project is trying to approach, to grasp, and to approximate through research and artistic interpretation.

THE PROCESS:

THE POSTCARDS

  • DISCLOSURE postcards are distributed pervasively throughout the Lower East Side neighborhood in Manhattan, NY.
  • The postcards present a medium for disclosures to begin—they present blank space for community members to write or draw or fill-in their ideas on disclosure, or to disclose stories themselves.
  • They are distributed and collected on foot, on the streets, as community members participate in disclosure by sharing their thoughts.
  • The responses on the postcards are used in the writing parts of this project, either as cut-up material, direct text, or inspiration for the creation of new narratives on disclosure.
  • ALL MATERIAL FROM THESE CARDS IS USED ANONYMOUSLY. .
  • Actual postcards received are displayed at the show, as part of the installation.

4 dis scan13 dis scan14 dis scan15 dis scan16 dis scan17 dis scan

THE NARRATIVE/THE FILM

  • As the postcard responses flow in, the project writer uses the material generated from the community to create narratives that reflect the tenor of these responses.
  • The text/narratives that evolve in this process becomes a framework or series of frameworks from which a film evolves. As the intertwining of so many disclosures, there is an inevitable overlapping of narratives that happens within the film, as each story and voice discloses something to the others.

SCRIPT

no body on the floor
secret body no, no more
no trace of what came before
trouble brewing in the district

***

sólo en el caso
que una loca persona viva al lado de usted,
des acuerdo con todos los que conozca,
ocúltate, en el interior

***

no me mires a los ojos, no
digas nada, yo no te creeré;
cierras la boca brevemente
y todos los secretos de su fuga por los lados de tus labios

***

new face on the block
sock it to ya
your old hood is still old
like the shoe on the other foot

it could be
is possibly
a chance
to start over

***

my client at the shop, yes it’s that kind of shop
she ain’t a reader, she’s a mother
trust her man
trust her kids

tell them to fuck off
those assholes on the corner
they don’t own that piece of land
they don’t benefit from this geography

***

secretos tienen una forma de filtrarse en el suelo
seguro bajo del cemento en un montón de tierra profunda
con gusanos, que puse allí, mi amigo,
ahora ¿Qué sabes sobre mí?

***

sees overseas water
filtered through pebbles
polished by truth;
involvement is necessary

disasters often approach
only after they’ve occurred;
what they can reveal
may or may not be true

***

ver en el exterior de los mares
filtrada a través de piedras pequeñas
pulido por la verdad;
participación es necesaria

desastres a menudo se acercan
sólo después de que haya ocurrido;
lo que puede revelar
puede o no ser verdad

***

hecho:
Nueva York realmente lo hace.
realmente te lo hace a ti.
no revelan nada, si usted no tiene.

identidades múltiples
dinero puede comprarle esto
cierto que no cuesta mucho
que confunde la cuestión

obtenidos a partir de la madre
todas las personas tienen una madre
es algo que no podemos ocultar,
es algo que siempre sabemos

***

If I were a
I weren’t the
unit of language
close the words down forever

***

curiosidad por saber lo que piensa de mí
Sé que tal vez nunca me diras, sólo nos vimos unos a otro por un momento,
pero yo espie algo oculto, y que podría haber espiado esto también,
secreto de los amantes de la acera, los ojos y el sexo, desaparecer

no hasta las primeras horas, palomas
cómodas a lo largo de los tejados
revelador sus vientres gris
para mantener sus secretos seguros dentro

***

the best time of year
to live under the sidewalk trees
in motion from the fast traffic whir
up Clinton St. in October

thanks for being around
being and nothingness
lives in the LES
one less thing to worry about

***

you are a deep thinker, I can tell
you feel things and I can’t begin to understand how
we got personal once, and it started, the waterfall
lovely, until you stopped, you said I can’t

***

relación con los demás
siendo fundamental, es crucial;
una comida desde el lugar en la esquina
la felicidad en el rostro de las mujeres que pasan

revelado a través de reflexiones en el vidrio, preguntar
que está sucediendo ahora al barrio, a fin de
que nos mostramos unos a otros lo mucho que hemos mejorado,
estamos moviéndonos, pero no estamos aun afuera

lo que quiere mostrar
no lo que sabes
hace cambiar la forma en que experimento,
el cambio de oxígeno entre nosotros

siendo entendido
bueno y bueno
entender como la arena
cernido a través de las gotitas

cuando nada parece estar sucediendo
Todavía estoy cambiando para usted, debajo de la pequeña
discusión de refugiados de aquí o allá, un renegado que cambia de forma
del Tíbet, la República Dominicana, los proyectos, las colinas

***

you hate your own whiteness
you yell at yuppies on their bikes
it’s killing, watching your face contort
who dies from the irony of your consternation

LES = Last Entered Soul or Lost Entrance Sealed
I don’t know how to explain that to you
the vocabulary of the tenement might
die at the hands of a translator like myself

***

todos estamos de guardia cuando la noche se acerca
la posibilidad permanece a lo largo de la acera gris,
situaciones cambian, seguimos caminando a casa;
es todo una mentira de profesional, todos los que estamos aquí somos profesionales

la verdad no comprometida
mejor que la mantequilla
algunos le gusta dulce
salada como el mar

un revólver de ficción
Sin embargo viene
tácita muñeca
se encuentra discreto en el basurero

***

trust between a client and a reader
if you have trust with them
and they have trust with you, you can
tell them something for their own benefit

***

qué pasaría si tu pensaras
afuera de la frontera
sin el beneficio de mallas familiar
la cuestión de la seguridad sin precedentes o tácita

Dime algo sobre ti
si hago lo que hacemos, hacemos la misma cosa;
me mentiras sin piedad, sin ningún tipo de vergüenza;
algo y todo saldrá, quitarle nudo a viejos hilos

nunca dijiste una palabra
ningún movimiento de tus ojos
mientras mas miraba, estabas más lejos
distancia es valiosa,

una palabra que oí afuera de la ventana
casi me recordé de la
sucia verdad que seguí hasta mi apartamento,
iluminado en un pedazo de sol, copos de oro y luego se van

***

without disclosure to wear in the rain,
the weather is going to weather you, friend,
your freedom rubbing against the freedom of
(what goes inside the parentheses)

***

---------------------------------

art direction & writing by caitlin scholl

translation, paper & paitings by yilis carmen surial

film by joey carey, caitlin scholl, & james mcguire

acting by lindsay mcconnell

music by james mcguire