I came across the following essay about performance (and its relationship to the institution) on The Weeklings.Â Since the subject has come up â€” even obliquely â€” a few times on B@S in the last month or so, from Tanta’s conversation with performers last week (asking them about how protest functions, if at all),to GÃ¶ransson’s discussion of ASCO, and Gutierrez’s performance at the MCA, I wanted to link to Amy Sherlock’s essay here:
Is He For Real? The Blurry Boundaries Of Contemporary Performance
AN ODD THING just happened to me. I am writing this essay at a desk in a public library, the British library, no less, the largest public building built in the UK in the 20th century. Iâ€™m sitting, in silence, in a busy reading room, surrounded by literally hundreds of people. Most of Â us are tap-tap-tapping away at their computers, each in our own world, near enough to hear one anotherâ€™s breathing and yet entirely isolated in our silence, the contractual silence that is the condition of our being here. Not that this is anything out of the ordinary. The â€œfunny thingâ€ happened outside in the cafÃ©, where, having eaten alone and also in silence, an unknown man at a facing table called me over as I was leaving and asked, in flagrant contravention of unspoken library protocol, what I was working on. He invited me to sit, which I did, and we proceeded to chat with the superficial, stilted brevity of such awkward encounters, until sufficient time had elapsed that I felt able to take my leave without appearing rude. Now installed at the silent haven of my desk, Iâ€™m trying to work out what to make of this unexpected, unsolicited encounter. I was uncomfortable, and wary about why this stranger called me over and the demands he might make of me. I was also slightly irritated, unfairly disinterested, from the outset, not wishing to confide or to be confided in, eager to return to myself and my own thoughts. I also had the niggling suspicion that this was some kind of set-up, a trick to make a fool of me or to get something out of me. I was waiting for the punch line to this protracted, unfunny joke; for him to ask for my money, or my number; for his friends to appear and make a scene. Perhaps cynically my first thought was â€œis he for real?â€
And, all those feelings â€“ they could be ascribed to contemporary performance art. Thereâ€™s been a huge surge in performanceâ€™s popularity the past few years. This summer Tate Modern opened their Tanks as a dedicated space for performance and video installations, while in the museumâ€™s Turbine Hall Tino Seghal staged These associations , the first live art piece to be performed in the towering, empty space. In 2010, his This Progress, spiralled up the central rotunda of the Guggenheim Museum, and there were seventy-seven days of Marina Abramovicâ€™s mute, immobile presence in MoMAâ€™s atrium (The Artist Is Present). Here on this side of the pond, the Hayward Gallery in London staged Move: Choreographing You, while,. this year a whole floor of the Whitney Biennial was given over to performance, and in LA, thereâ€™s even a new gallery set up by hip young artists dedicated to, guess, yes, performance.
The Abramovic phenomenon in particular has come to exemplify the complicated alliance between performance, the museum, and institutional and commercial gallery spaces. For all its professed immediacy and the emphasis on the ephemeral â€œpresent,â€ MoMA did a good job of packaging up Â â€œthe momentâ€ and circulating it. There are photographs, official catalogue and the feature-length film. And, then there were the follow up shows later that year across both of Lisson Galleryâ€™s London spaces exhibiting documentation from earlier Abramovic performances. All of which seems to scream, precisely, that the artist is not present. However you choose to evaluate the work and despite any reservations you may have about the mythical status of the artist or the art institution as a sanctified space, whatâ€™s undeniable is The Artist Is Present celebrated the face-to-face one-on-one encounter. And, that exchange is at the heart of the performance revival. (read more)