From power of relations to
poetics of relations
Performing participation #4
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
Body is an artistic medium, it’s a tool for expression and representation.
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.
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.
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.
How to Explain Pictures to a Dead Hare. 1965
I like America and America Likes Me, 1974
“A SOCIAL ORGANISM AS A WORK OF ART”
I Am Searching For Field Character, 1973/74
“EVERY HUMAN BEING IS AN ARTIST”
Boxing Match for Direct Democracy, 1972
Democracy is Fun, 1973
Organization for Direct Democracy by Referendum, 1974
Brazil - Paris
Dialogue: goggles, 1968
“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
“I don’t even put on my masks and clothes, but I hope
someone will come along and give meaning to the
“And the more diverse the lived experiences are, the more
open is the proposition and it is therefore more important.”
Lygia Clark, The I and the You: Clothing/Body/Clothing, 1967
Lygia Clark’s proposition Rede de elásticos (Elastic net), 1974
Utopia can be an exploratory process, organic and evolutionary as opposed to
definitive and rigid structure.
Richard Buckminster Fuller and his students in Black Mountain College, 1949
Some contemporary artists exploring the modes of participation.
Mary Mattingly, Waterpod, 2009
Eduardo Navarro, XYZ, 2015
Root identity Relational identity