Dzieło jako zdarzenie - Performans rekonstruowany  w wyobraźni

Marek Śnieciński

doi:10.5604/01.3001.0012.9868

Work of art as an event - performance restructured in imagination

DYSKURS PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU ◽

10.5604/01.3001.0012.9888 ◽

2019 ◽

Vol 26 (26) ◽

pp. 52-71

Author(s):

Marek Śnieciński

Keyword(s):

Contemporary Art ◽

Interesting Case ◽

Work Of Art ◽

A Performance

An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and reconstruct the hidden performance in his/her memory.

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Space and value in the contemporary art museum: The journey of a performance document at Tate

Journal of Arts Writing by Students ◽

10.1386/jaws.3.1-2.15_1 ◽

2017 ◽

Vol 3 (1) ◽

pp. 15-26

Author(s):

Acatia Finbow

Keyword(s):

Contemporary Art ◽

Art Museum ◽

Contemporary Art Museum ◽

A Performance

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Myth-Science and the Fictioning of Reality

Paragrana ◽

10.1515/para-2016-0030 ◽

2016 ◽

Vol 25 (2) ◽

pp. 80-93 ◽

Cited By ~ 5

Author(s):

Simon O’Sullivan

Keyword(s):

Contemporary Art ◽

Research Programme ◽

Art Practice ◽

Global Level ◽

Event Space ◽

Sun Ra ◽

Link Type ◽

Collaborative Performance ◽

The Hague ◽

A Performance

AbstractIn what follows I put forward an idea of contemporary art practice as a form of myth-science, itself defined as a kind of fictioning of reality.The article draws on and develops ideas first put forward in O’Sullivan 2014. The term mythscience is borrowed from Sun Ra and Afrofuturism more generally (see Kodwo Eshun’s discussion, “Synthesizing the Omniverse”, in Eshun 1998, 154-163). The artist Mike Kelley, in an essay on Olaf Fahlstrom (Kelley 1995), links the term more particularly to expanded contemporary art practice. Most of what follows has been developed in relation to the collaborative ‘performance fiction’ Plastique Fantastique (and especially in conversation with David Burrows) and thus, in acknowledgement of this parallel research programme, interspersed throughout the text are images from our practice and, in particular, a performance itself titled ‘Myth-Science’.“Myth-Science” was performed in 2014 at the “Webewoche” exhibition/event, Stroom den Haag, The Hague and at the “Schizo-Culture” exhibition/event, Space Gallery, London (see http://www. plastiquefantastique.org/performance25.html). Plastique Fantastique, for this performance, involved myself and Burrows alongside Alex Marzeta and Harriet Skully. I hope that this local ‘scene’ might resonate on a more global level, but also that my comments will not be read as being solely tethered to this particular collaboration (indeed, my article intends the mapping of a more general trajectory in art). The article ends with a brief Coda on Felix Guattari’s concept – from Schizoanalytic Cartographies – of ‘fabulous images’ that offers another inflection on my theme....theres some thing in us it dont have no name... it aint us but yet its in us...(Russell Hoban, Riddly Walker)

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