Performing participations #4

Transcript

1. From power of relations to
   poetics of relations
   Performing participation #4
   NYU ITP
   2015. 10.5
   Taeyoon Choi
   

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2. Topics
   - Body
   - Documentation
   - Myth
   - Re-enactment
   

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3. Body
   Body is a very versatile interface. It has input and output, as well as the ability to hold
   memory, store information and process complex programs at the same time. It maybe
   the most complex machinery.
   !
   Body is also a cultural object, it inherits identity and embodies cultural context. Body is
   never without history. Because of this lineage, body is often a site of confrontation and
   contestation.
   !
   Body is an artistic medium, it’s a tool for expression and representation.
   

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4. Documentation
   Documentation is an important part of performance, it’s a vehicle for
   making art history, recreating the experience of live event. It is also an
   artifact and archive of time lived.
   

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5. Myth
   We will focus on two artist, one is a shaman and the other the therapist.
   Both artists are prolific and significant, one focus on art’s symbolic power and
   the other use art to heal.
   

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6. Re-enactment
   Re-enactment is one way of preserving and presenting performance art
   work. There are various approaches like staging the same work as close to
   the original as possible, or reinterpreting the work as new work.
   !
   For next week’s class, you will create a re-enactment or recreation of a work
   by Beuys or Clark.
   

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7. Joseph Beuys
   1921-1986
   Germany
   

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8. How to Explain Pictures to a Dead Hare. 1965
   

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9. I like America and America Likes Me, 1974
   

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10. “A SOCIAL ORGANISM AS A WORK OF ART”
    I Am Searching For Field Character, 1973/74
    

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11. “EVERY HUMAN BEING IS AN ARTIST”
    

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12. Boxing Match for Direct Democracy, 1972
    

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13. Democracy is Fun, 1973
    

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14. Organization for Direct Democracy by Referendum, 1974
    

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15. Lygia Clark
    1920-1988
    Brazil - Paris
    

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16. Dialogue: goggles, 1968
    

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18. “True participation is open and we will never be able to
    know what we give to the spectator-author.”
    Lygia Clark and Hélio Oiticica, Letters, 1968-69
    

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19. “I don’t even put on my masks and clothes, but I hope
    someone will come along and give meaning to the
    formulation.”
    

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20. “And the more diverse the lived experiences are, the more
    open is the proposition and it is therefore more important.”
    

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21. Lygia Clark, The I and the You: Clothing/Body/Clothing, 1967
    

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22. Lygia Clark’s proposition Rede de elásticos (Elastic net), 1974
    

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23. Utopia can be an exploratory process, organic and evolutionary as opposed to
    definitive and rigid structure.
    

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24. Richard Buckminster Fuller and his students in Black Mountain College, 1949
    

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25. Some contemporary artists exploring the modes of participation.
    

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26. Mary Mattingly, Waterpod, 2009
    

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28. Eduardo Navarro, XYZ, 2015
    

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30. Power of
    relations
    Poetics of
    relations
    

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31. Knowable Unknowable
    

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32. Root identity Relational identity
    

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