Performativity in the Gallery: Staging Interactive Encounters (Cultural Interactions: Studies in the Relationship between the Arts)
This book coincides with an increase in the programming of live art elements in many galleries and museums. Traditional art history has, however, been wary of live art’s interdisciplinarity and its tendency to encourage increased formal and conceptual risk taking. Time-based performances have challenged the conventions of documentation and the viewer’s access to the art experience. This book questions the canon of art history by exploring participation, liveness, interactivity, digital and process-based performative practices and performance for the camera, as presented in gallery spaces.
The essays present both academic research as well as case studies of curatorial projects that have pushed the boundaries of the art historical practice. The authors come from a wide range of backgrounds, ranging from curators and art producers to academics and practising artists. They ask what it means to present, curate and create interdisciplinary performative work for gallery spaces and offer cutting-edge research that explores the intricate relationship between art history, live and performing arts, and museum and gallery space.
becoming shorter in the ‘born digital’ domain, with some softwarebased artworks demanding constant monitoring whereas others might require yearly reviews. This repeated revisiting of these works may in some cases be less about maintaining sameness than relationships with a social or historical context. Tina Fiske in her paper ‘White Walls: Installations, Absence, Iteration and Dif ference’ introduces the prospect of conservation practice that might go beyond an attachment to notions of the
Architecture’, Southbank Centre
galleries, museums and other institutions across the capital, including but not limited to The British Museum, the National Gallery, Tate Galleries, the Royal Academy of Art and even the London Zoo. Marketed as both a social and cultural event, the Greater London Authority’s website Lates.org promises: ‘Have your culture served up late – enjoy it at twilight, evening, sundown or lights-out. This is real grown-up time; after work, post-dinner, pre-club or first date. A cultural free-for-all for
of the eighty-four artists who took part in At Play (2008–12) responded to questionnaires about participation in the context of their art practices and the At Play exhibitions, and their responses form part of the research for this chapter. The artists in the exhibitions were chosen from two open calls and the exhibitions presented a 1 At Play 1, South Hill Park, Bracknell, 17 April–21 June 2009, At Play 2, SHP, 17 April–20 June 2010, At Play 3, SHP 15 April–19 June 2011. At Play 2012
5 6 At Play: Curatorial Notes about Playfulness 179 Some of the At Play artists share a belief in a connection between art and play. Artist Mary Yacoob provides an analysis of dif ferent playful tools that artists might use: ‘Playful artistic responses might include parody, the absurdity of repetition, appropriating and reworking non-art sources of information, reinventing existing systems and methods of representations.’10 This correlates with Smith’s characteristics of play as a