Table Of ContentCultural Interactions:
Studies in the Relationship between the Arts
This book coincides with an increase in the programming of live art elements in R
many galleries and museums. Traditional art history has, however, been wary of e
m
live art’s interdisciplinarity and its tendency to encourage increased formal and con- e
s
ceptual risk taking. Time-based performances have challenged the conventions of ,
M
documentation and the viewer’s access to the art experience. This book questions
a
the canon of art history by exploring participation, liveness, interactivity, digital and c
C
process-based performative practices and performance for the camera, as presented u
l
in gallery spaces. lo
c
h
The essays present both academic research as well as case studies of curatorial a
n
projects that have pushed the boundaries of the art historical practice. The authors d
come from a wide range of backgrounds, ranging from curators and art producers to L
e
academics and practising artists. They ask what it means to present, curate and create i
n
interdisciplinary performative work for gallery spaces and offer cutting-edge research o
(
that explores the intricate relationship between art history, live and performing arts, e
d
and museum and gallery space. s)
Outi Remes is the Gallery Director of the New Ashgate Gallery, Surrey. She is P
e
the author of many publications, including Conspiracy Dwellings: Surveillance in
r
Contemporary Art (with Pam Skelton, 2010), and the curator of numerous projects, fo
such as the Rules and Regs live art residencies and the At Play exhibition series (with r
m
Cally Trench, 2009–12).
a
t
i
v
Laura MacCulloch is Curator at Royal Holloway, University of London, where she
i
t
is responsible for a collection best known for its nineteenth-century paintings. She y
Performativity in the Gallery
began working with contemporary art during her time as Curator of British Art in
at the National Museums Liverpool, where she curated exhibitions by the winners t
h
of the Liverpool Art Prize and acquired works by artists such as Haroon Mirza, e
Staging Interactive Encounters
Lubaina Himid and Yoko Ono. G
a
l
Marika Leino is Senior Lecturer in the History of Art at Oxford Brookes University. le Outi Remes, Laura MacCulloch and Marika Leino (eds)
r
She has written on early modern sculpture and the history of collecting. Her
y
book, Fashion, Devotion and Contemplation: The Status and Functions of Italian Renaissance
Plaquettes, was published with Peter Lang in 2013.
ISBN 978-3-0343-0966-0
Peter Lang
www.peterlang.com
Cultural Interactions:
Studies in the Relationship between the Arts
This book coincides with an increase in the programming of live art elements in R
many galleries and museums. Traditional art history has, however, been wary of e
m
live art’s interdisciplinarity and its tendency to encourage increased formal and con- e
s
ceptual risk taking. Time-based performances have challenged the conventions of ,
M
documentation and the viewer’s access to the art experience. This book questions
a
the canon of art history by exploring participation, liveness, interactivity, digital and c
C
process-based performative practices and performance for the camera, as presented u
l
in gallery spaces. lo
c
h
The essays present both academic research as well as case studies of curatorial a
n
projects that have pushed the boundaries of the art historical practice. The authors d
come from a wide range of backgrounds, ranging from curators and art producers to L
e
academics and practising artists. They ask what it means to present, curate and create i
n
interdisciplinary performative work for gallery spaces and offer cutting-edge research o
(
that explores the intricate relationship between art history, live and performing arts, e
d
and museum and gallery space. s)
Outi Remes is the Gallery Director of the New Ashgate Gallery, Surrey. She is P
e
the author of many publications, including Conspiracy Dwellings: Surveillance in
r
Contemporary Art (with Pam Skelton, 2010), and the curator of numerous projects, fo
such as the Rules and Regs live art residencies and the At Play exhibition series (with r
m
Cally Trench, 2009–12).
a
t
i
v
Laura MacCulloch is Curator at Royal Holloway, University of London, where she
i
t
is responsible for a collection best known for its nineteenth-century paintings. She y
Performativity in the Gallery
began working with contemporary art during her time as Curator of British Art in
at the National Museums Liverpool, where she curated exhibitions by the winners t
h
of the Liverpool Art Prize and acquired works by artists such as Haroon Mirza, e
Staging Interactive Encounters
Lubaina Himid and Yoko Ono. G
a
l
Marika Leino is Senior Lecturer in the History of Art at Oxford Brookes University. le Outi Remes, Laura MacCulloch and Marika Leino (eds)
r
She has written on early modern sculpture and the history of collecting. Her
y
book, Fashion, Devotion and Contemplation: The Status and Functions of Italian Renaissance
Plaquettes, was published with Peter Lang in 2013.
Peter Lang
www.peterlang.com
Performativity in the Gallery
C I
ultural nteraCtIons
Studies in the Relationship between the Arts
Edited by J.B. Bullen
Volume 31
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Outi Remes, Laura MacCulloch and
Marika Leino (eds)
Performativity in the Gallery
Staging Interactive Encounters
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Bibliographic information published by Die Deutsche Nationalbibliothek.
Die Deutsche Nationalbibliothek lists this publication in the Deutsche
Nationalbibliografie; detailed bibliographic data is available on the
Internet at http://dnb.d-nb.de.
A catalogue record for this book is available from the British Library.
Library of Congress Control Number: 2013954294
ISSN 1662-0364
ISBN 978-3-0343-0966-0 (print)
ISBN 978-3-0353-0561-6 (eBook)
Cover Image: Gabrielle Goliath, Stumbling Block (2011), GoetheonMain,
Johannesburg, 2011. Photograph and right of reproduction courtesy of
the artist.
© Peter Lang AG, International Academic Publishers, Bern 2014
Hochfeldstrasse 32, CH-3012 Bern, Switzerland
[email protected], www.peterlang.com, www.peterlang.net
All rights reserved.
All parts of this publication are protected by copyright.
Any utilisation outside the strict limits of the copyright law, without the
permission of the publisher, is forbidden and liable to prosecution.
This applies in particular to reproductions, translations, microfilming, and
storage and processing in electronic retrieval systems.
This publication has been peer reviewed.
Printed in Germany
Contents
List of Illustrations ix
Outi Remes
Introduction 1
Part I Art History and its Challenged Position to
Performative Encounters 9
Mary Oliver
1 Lies, Lies, It’s All Lies I Tell You! 11
Pip Laurenson and Vivian van Saaze
2 Collecting Performance-Based Art:
New Challenges and Shifting Perspectives 27
Maria Chatzichristodoulou [aka Maria X]
3 Exhibiting Performance, Staging Experience 43
Beryl Graham
4 Histories of Interaction and Participation:
Critical Systems from New Media Art 65
Eva Fotiadi
5 From Event to Archive and to Event Again 85
vi
Part II From Curator to Viewer 101
Kaija Kaitavuori
6 Participation in the Gallery: (Re)negotiating Contracts 103
Amy Mechowski
7 Playing Ball: Friday Late, Performativity and the
Victoria and Albert Museum 119
Lee Campbell
8 Heckler, Performance, Participation and Politeness:
Using Performance Art as a Tool to Explore the Liminal
Space between Art and Theatre and its Capacity for
Confrontation 137
Leah Lovett
9 Crowd Control: Encountering Art’s Audiences 157
Part III Curating Participation in the Gallery: Case Studies 173
Outi Remes and Cally Trench
10 At Play: Curatorial Notes about Playfulness 175
Sophia Yadong Hao
11 Attending the Gallery 191
Helen Sloan
12 Like Shadows: A Celebration of Shyness 205
vii
Claudia Marion Stemberger
13 South African Live Art and the Representation of its
Residue: On Gabrielle Goliath’s Stumbling Block 221
Notes on Contributors 237
Index 245
