Performing a Document

Performance has always been a source of expression throughout the years. The addition of technology, and applying it graciously, performance entered a new realm. The documentation of performance in conjunction with the audiences experience is argued to be documentary or theatrical. There is a general acceptance of ontological relationship between the documentation and the performance; in which the performance happens first, and the documentation is merely a captured framed moment of this timely event. I feel that how and where the audience interacts with the performance is more important that for the ‘authenticity’ of the document. If there is any sort of obstruction of the performance, or if the audiences experienced is bargained because of the documentation; then there is a question of purity. When audiences find themselves contributors, then perhaps the document that is later reviewed and/or edited is not just to the original. I found in the reading that there was no audience for Chris Burden’s Shoot. In this 1971 performance, Burden had a friend shoot him in the arm inside of an emptied gallery. Going back to the idea of theatrics, some performances are meant to be staged in which the performance itself is the document. The reading talked briefly about music production and specifically the Beatles. An album simply signifies the bands best take at each song, compiled together. The same cut is heard by everyone that buys the album; even in fact that ‘performance’ only happened once.

Vito Acconci Revealed

Vito Acconci is a Brooklyn-based instillation artist, performer, and architect. He began as a poet and defined himself as a predominant American video artist in the mid- 1960’s. Many of his work during the time would have been considered controversial, dealing with public and private space. The idea of artist-audience relationship was strong to Acconci, and capturing that performance. “The condition of art is” Acconci states “the viewer is here and the art is there – so the viewer is in a position of desire, there are ‘Do not touch’ signs, the viewer frustrated, those ‘Do not touch’ signs are reminders that art is more expensive than people” In one video piece ‘Centers’ Acconci focuses on keeping a pointing finger directly center on the monitor. He was using the monitor as a mirror, while he is staring the audience directly in their faces. “The result [the TV image] turns the activity around: a pointing away from myself, at an outside viewer" said Acconci.
Acconci’s interested in this self reflexivity, made psychological drama performances. “Claim Excerpts” is a performance based video in which Acconci sat blindfolded in a basement, armed with a metal pipe. He simultaneously invited and forbade visitors to the loft and when approached, Acconci threatened to swing at anyone. This physical manifestation of deep seeded emotions was transposed on the video. Another piece that holds similarities to this concept is “face off” in which Acconci is seen shouting at a recording of his own voice. The recording has an Acconci monologue of sexual desires and intimate secrets. The situation deal with many thoughts of conflicting desires, and the audience is being revealed to his self-exposure.
Acconci used his own body as a source of a performance piece. Physical space was something that Acconci felt dear to. His works in the 1970’s led to the notion of ‘power-fields’ between himself and the audiences. He is notoriously known for his 1971 piece “Seedbed” in which Acconci repeatedly masturbated underneath a walkway on which visitors traveled. Again the idea of personal and public space is a common theme. In a 2008 interview, Vito notes on his 1971 piece “It wasn’t about ‘conveying’;
it wasn’t that there was a theme, a meaning, that you could phrase in some other way – in writing, say, in talking – and then you demonstrated it in some situation, in some activity.”
Acconci did instillation work in the mid-1970’s where he focused on the site (most likely a gallery) and the [temporary] audience that would be featured. “I couldn’t start thinking about a piece until I had a place: once a place was given to me, for a three-week show, for a three-month show, then I could start to think” said Acconci “I could find the specific quirks of this space, I could try to do something here that, ideally, I could do nowhere else, ideally the installation couldn’t be repeated somewhere else.”
In 1988 Acconci founded “Acconci Studios” for ‘theoretical design and building’. Though he was untrained in architecture, he collaborated with other artists and architectures to design physically and socially flexible venues. “Acconci Studios” has produced projects such as moving bridges, public seating, apartment complexes, public transportation devices, and even a upgraded model of the umbrella.
On a personal note, Intricate and organic forms of architecture is appealing to many skateboarders. In a Frieze Magazine interview, a question was posed on the misuse of public art projects that succumb to damage. Vito responded “If the kids left home, lived there and skateboarded, I would like it. If a project became an alternate lifestyle and offered housing for kids, then sure.” This is a fairly light hearted response in that many artists, sculptors, architectures and business owners oppose greatly to the use of stair sets, railings, and other obstacles for skateboarding. This sheds light in the art community that perhaps more socially friendly designs of our cities will make them resourceful and attractive.


http://www.frieze.com/issue/article/still_life_in_mobile_homes/

http://www.myartspace.com/blog/2008/04/art-space-talk-vito-acconci.html

http://www.artcyclopedia.com/artists/acconci_vito.html

The Network Age

I feel that the common practice of photography is more accessible as ever. Not ten years ago did everyone own a camera; yet in an age of cell phones, the internet, and ever increasing networking, accessing photos is done with ease. The transition from using chemical processing and darkroom practices to the “digital revolution” were not immediate at first, but in the early 90’s began showing up in consumer markets. With the addition of inkjet printers, scanners, and the home computer, imaging software soon appealed greater than traditional photo lab work.
What I found interesting about the reading is the return of the anonymous snapshot. With the frequency of pictures that are taken daily, how many of them were deleted for some reason? In an age that we can shoot, review, and delete in an instant, how many moments are captured without knowledge? Back when photographs were processed chemically, one would review all their photos good or bad. As many seasoned photographers know, a picture can be worth a 1,000 words even on accident. Rubenstein puts it well with “The delete button reduces the chance of discovering hidden truths in photography, a blurred face…closed eyes that reflect proximity of death…a stranger in the background that becomes a lover or friend.” These small moments of life that seem irrelevant at times are deleted to make room for possible future moments.
Online sites such as flickr, facebook, myspace, and other social networking devices are tremendous gateways for photography. Pictures can be uploaded from mobile phones instantly with no storage limit. In 2005, Photobucket was registering 1.3 million images being uploaded to its server daily (Rubenstein 2008). Photos of vacations, family gatherings, sporting events, and all facets of life can be shared, edited, and sent to nearly anywhere in the world with the click of a button. Some choose to share their lives through photos on the internet and some not so much, but the fact that it is possible just shows the significance of amateur photography in the future.