Northern Passage Lab
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”About the public … I do not want the public to feel that they are spending time with the performances, I simply want them to forget about time.
Marina Abramovic, 2005
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Marina Abramoviç — 7 Easy Pieces (2007)
A video excerpt of seven pieces, each seven hours long, performed on seven consecutive days at Guggenheim Museum, New York, in 2005.
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Vito Acconci, A Performance Situation Using Walking, Running, 1969
From the Metropolitan Museum of Art:
In 1969 Acconci moved from poetry to creating photographic works that used the medium to document “performance situations”-preconceived activities executed before a live audience or in private. In this piece he set himself the simple task of walking back and forth in front of the camera and recording his position at fixed intervals, a process close in spirit to the “task performances” of his contemporary the avant-garde choreographer Yvonne Rainer.
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Dance Performances with Interactive Objects
The German artist Peter Vogel has created a couple of interactive sculptures. In collaboration with dancers several performances came into being, each one with an aleatoric aspect to it.
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GUTAI — Japanese Performance Art
Video of Japanese performance art (1956-70) on UbuWeb
The quality is not the best, and there is no sound, but nevertheless interesting to watch.
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Colours/Farben has been only about 15 minutes long, regarding the single event. But it has been a long way leading up to it. It would never have been the same at another location or under different temporal circumstances. It would even more so not have been the same without those people who got—consciously or unconsciously—involved.
…a casual chat on a journey, in a café …visiting the Centre for Performance Research in Aberystwyth, Wales, the library of which holds an endless wealth of books and videos—not to mention the atmosphere… I hope some of this energy rubbed off.
Of course, it would not have been the same without those who came to see, and those who got actively involved.
Performance—as I came to understand it—is more than just enacting a ‘play’, a ‘choreography’, a ‘role’. It is a journey, an experience which is not confined to a ‘stage’.
Here and now, I can say ‘thank you’.
…as slowly memory wavers, blurs, fades out, and in…
And beyond this memory, there is a path…
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[Flash 10 is required to watch video]
Some clips from performance No.1 (Saturday, October 8th 2011, 2pm) and No.3 (Sunday, October, 9th 2011, 2pm).
Music is ‘Afalau’ by Inner Child Grounds.
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Part III – The Colours
Technically. The paints used are professional body paints which can easily be applied and don’t stain clothes or skin. A moistened sponge is easy to handle.
Crossing boundaries. Personal distance. In our modern society we are reluctant to touch another person. The sponge retains minimal distance in contrast to painting with bare fingers; it does not feel as much as a tool as a brush would. – Artistic distance. Up until now the distinction between spectator and performer is clear. But as soon as someone steps up to me this boundary vanishes. It is me who is observer, and the other person is active in creating.
