The crates were laid out again on the sails from the original performance and carefully examined by the Yellow House.
You can see in the 1992 Super8 documentation of the "Unloading" performance, the sail-shaped canvases. These "sails" were laid out on Hartley Quay in front of Liverpool's Maritime Museum for the performance in 1992, and as they were prepared as the setting for placing the precious cargo by Yellow House, a cargo that had arrived from twenty-two places on a great circle that links Liverpool and Hull with places across the world.
All the contents of this cargo have remained safe and secure.
The LODE project has a clear and accessible conceptual framework but also embraces material, stuff, that includes the cargo of crates and the objects that these crates contain. These materials are the components used in the creation of rudimentary compasses, bowls, floating material, including plastic toys and natural found materials, all accessed close to the 22 locations where these compasses were made on the great circle that links Hull with Liverpool.
The newspaper pages that were used as packing to protect the contents of each of the 22 crates, were pages from a newspaper published on the day that each of the compasses was assembled.
These pages form part of the Information Wrap, together with a context, geographical and historical that has to do with each of these specific places along the LODE Line. The LODE Line is also referred to as a "zone", as the abstractness of the LODE Line as a spatial concept and outcome of a non-Euclidean geometry, is a guide to actual and real places within a zone that runs along the line.
Opening and re-opening this cargo crates, first in the LODE project of 1992 and in this Re:LODE project of 2017, engages with these materials, and framed by Super8 film that documents the assembled compasses in-situ, transferred and shown on loops of video.
Parataxis
