Narrate/Withhold: An introductory essay
“... every work of art tells a story, even if it’s only the story of its own making”. Perform (2005) Thames and Hudson
Performance art is an expression of thought. It can be classed as art as long as it provokes thought in others. So whether performance art narrates or withholds information within its content, the art is viewed by the beholder and their interpretation of the piece. Performance and live art often seeks to challenge rigid classifications held within today’s modern society and reject ideals such as class and prejudice. “In particular autobiographical performance can engage with the pressing matters of the present which relate to equality, to justice, to citizenship, to human rights” Heddon D, autobiography and performance, (2008) Palgrave Macmillan. For many artists live art is a favourable tool to comment on their own lives clearly seen within Bobby Bakers life drawings, a collection of drawings shedding light on her struggle with depression and mental illness. The exhibition will display 158 of these drawings, mounted on the walls. Many of the works within the exhibition are documentation of previous performances, however there will also be live performances.
The exhibition will be held at the Nicholls and Clarke building situated just off Shoreditch High Street. This venue is perfect for housing some large scale performances, as well as providing an excellent space to exhibit smaller works. I have chosen a selection of works that aim to cover various topics of interests, hoping to raise question and interpretation by the viewer. The event funded by the arts council England
Many of the artists within the exhibition present work of a personal nature which make comment on other people’s lives, in some cases particularly aimed at stereotypes as seen by artist Nicki S.Lee in her work ‘projects’. The exhibition only backs up the idea that “everyone is an artist” Joseph Beuys, as I have chosen some works which demonstrate documentation that seems simple in its execution yet puts across a powerful and emotive narrative as they comment on other people’s lives. One example is Robert Cuoghi impersonation of my father, a low key performance which carries huge personal connotations to the artist.
The exhibition will feature rooms that all demonstrate the ability to use live art as a way of storytelling. Richard Billingham’s collection of Rays A laugh will be presented in a large room within the Nicholls and Clarke building. The honest portraits of his mother and father in their everyday habitat shed light in his life living in a low class household in the west midlands. Within the same room Duane Hanson’s life-size sculptures will be placed making comment about individuals in society, “what can generate more interest, fascination, beauty, ugliness, joy, shock or contempt than a human being” Duane Hanson.
Works which Withhold information have been including in a room under the title of “the unknown” these artists demonstrate the capacity to be able to narrate an occurrence yet in some cases deny an explanation as to why/how they have achieved the performance. Hayley Newman’s “stealth” is a single image captured, however the story telling capacity is seen in her method of how the piece was created. “Prior to the event I had instructed its organiser to enter at any point during the three-hour performance and take a single photograph with a flash to document the work.” The artist Yves Klein shows similarities by producing only one still image, leap into the void 1960 one manipulated photograph of the artist seen to be jumping of a building. Here the performance is the execution of the idea that he is literally jumping into a space of worldly influences.
It is at this point that conflicting arguments are made about whether or not “remnants” of a performance is an acceptable way to capture the very essence of live art. “No documentation can give you the feeling of what it was, because it cannot be described, it is so direct, in the documentation, the intensity is missing, the feelings that were there.” From an interview with Marina Abramovic, in Stiles, K. & Selz,P. (1996) Theories and Documents of contemporary Art, Berkley: University of California Press. For this reason it is important that I showcase Abramovic’s work as a live performance, the Balkan Baroque performance is a aesthetically epic piece that I feel is important to be seen live. Academics such as Peggy Phelan agree and argue that documentation cannot be appreciated in the same way as live performance. She argues “Performance’s only life is in the present. Performance cannot be saved, recorded, documentated, or otherwise participate in the circulation of representations of representations: once it does so it becomes something other than performance.” Peggy Phelan, (1993) The ontology of performance: representation with reproduction”, in unmarked: the politics of performance, 146-166, 1996. On the other hand Philip Auslander argues that the live element is just another medium within the whole performance. Although he admires Phelan’s “commitment to a rigorous conception of an ontology of liveness” he implies that the documentation of this work is just as important. “From this point of view, once performance succumbs to mediatisation, it loses its ontological integrity”. Philip Auslander (1999) Livesness, London
Many of the works within the exhibition reject the traditional and classic style performances seen in many theatres today, these are hugely popular and it would be wrong to imply that performance that works such as musicals do not bring to light political issues. However I feel strongly that the ever growing field of performance art is successful in presenting powerful imagery, evoking emotion and raising question about the work. Many of the works bear a simple method just like Sophie Calles Hotel Room no.28 1981, capturing evidence of other people’s habits whilst working in a hotel. In response some may say, “Anyone could do that!” yet the point is they haven’t and it sometimes the most low key performances that evoke the most reaction and inspiration for others.
Hopefully all of the works included within the exhibition pay homage to the success of each artist and are successful in making comment about everyday life and the personal. Even those which withhold information such as Something between my mouth and your ear 1994 Douglas Gordon are successful in demonstrating a message through installation performances. Performances such as this rely on the spectator to be open to interpretation “it is the spectator who makes the performance” Jerome Bell. Joseph Beuys ideologies “that everyone is an artist” is giving the green light or go ahead to anyone with an idea providing the encouragement for artistic exploration.
For the public visiting the exhibition there will change to provide feedback and views about the rooms that I have worked hard to curate. A5 pieces of paper will be handed out with a pencil to anyone who attends the exhibition, encouraging people to write or draw something, maybe what they see or feel in response to the works. This work will then be displayed at the exhibition and will grow in size as the exhibition grows in age, this will display the emotions or thoughts the work have projected onto the viewer and hence become art itself, only reinforcing the view that “everyone is an artist”.
Bibliography
Hoffamnn, J. Jonas J (2005) Perform. Thames & Hudson
Heddon, D (2008) Autobiography and Performance. Theatre & Performance practices. Palgrave Macmillan
Heathfield, A. (ed) (2004) Live: Art and Performance, London Tate
Auslander, P. (1999) Liveness London
An interview with Marina Abramovic, in Stiles, K. & Selz,P. (1996) Theories and Documents of contemporary Art, Berkley: University of California Press.
Phelan P, (1993) The ontology of performance: representation with reproduction, in unmarked: the politics of performance,
