Performing Research
- Examination of artistic genres
- Definitions of performance
- The usage of documentary modes in performance
- Limits of performance
“Practice-based research: “involves a research project in which practice is a key method of inquiry. (…) It requires more labour and a broader range of skills to engage in a multi-mode research inquiry than more traditional research processes.”
Robin Nelson, Practice as Research in the Arts (London: Palgrave Macmillan, 2013) 8-9.
> Specify a research inquiry at the outset.
> Set a timeline for the overall project inducing the various activities involved in a multi-mode inquiry
> Build moment of critical reflection into the timeline
> In documenting a process, capture moments of insight.
>Locate your praxis in a lineage of similar practice
Draws on “multiple fields and pieces together multiple practices to provide solutions to concrete problems”.
Estelle Barret & Barbara Bolt, Practice as Research (London: I B Tauris, 2007) 12.
“Practice as research is experimental and materialist because it values responsiveness to context and recognieses agency in the material world, which matters because it means reseach is always acknowledged as a process of making and value is placed on the research process as well as the product”.
“This plural understanding of artistic research means that the production of artworks I have now seen as a legitimate function of the academy, thus blurring the boundary between academy and gallery artworld.”
Stephen Scrivener, Digital Research in the Arts and Humanities (London: Ashgate. 2010), 12.
Sometimes Making Something Leads to Nothing by Francis Alÿs (1997)
- example of practice-based research.
“Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of presentations (…)”.
Ever is over all by Pipilotti Rist
“Failure, by definition, takes us beyond assumptions and what we think we know. Artists have long turned their attention to the unrealizability of the quest for perfection, or the openendedness of experient, using both dissatisfaction and error as means to rethink how we understand our palce in the world”.
Lisa Le Feuvre, Failure (London: Whitechapel, 2010) 12.
El ensayo by Francis Alÿs
This idea reminds me of the works of Lev Vygotsky and David Hume. The first for his zone of proximal development and the latter because of the a posteriori perspective on knowledge.
Hit Parade by Christof Migone
“The festure of ceding some or all authorial control is conventionally refardes as more egalitarian and democratic than the creaton of a work by a singular artists, while shared prodcution is also seen to entail the aesthetic benefits of greater risk and unpredicatability”.
Claire Bishop, Participation (London: Whitechapel, 2006), 12.
Drum grid by Raven Chacron
A Balloon for Linz by Davide Tidoni
https://shop.whitechapelgallery.org/collections/documents-of-contemporary-art?sort_by=manual – Whitechapel Books.
“The body begins with sound, in sound. The sound of the body is the sound of the other, but it is also the sound of the same… We resound together… every movement is, in fact, a vibration, and every vibration has a sound, however
Rie Nakajima live performance in IKON gallery
Lawrence Abu Hamdan: Contra-diction: speech against itself
OTO DATE by Akio Suzuki
“Acoustemology joins acoustic to epistemology to investigate sounding and listening as a knowing-in-action: a knowing with and knowing through the audible.” Stephen Feld
Holly Rumble by Hear a Pin Drop here