Truly Performative Within a Distributed Network
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Truly performative within a distributed network. Alejandro Daniel Ball, University of Dundee, Dundee, United Kingdom, [email protected] ABSTRACT Historically works by artists such as Mierle Laderman Ukeles or Ana Mendieta, challenged not only the The following doctoral paper investigates changing notions of establishment and its vision of what constitutes an artwork artistic studio practices within a distributed network. but as well, the everyday thinking of gender roles. In Ukeles’ Performative performance artworks have historically series Maintenance Art, the artist performed “literally on her challenged art established contexts, while creating content hands and knees, washed the entry plaza and steps of the within their framing that allow for audiences to experience a museum for four hours, then scrubbed the floors inside the movement into a metaphysical space of critic. However, exhibition galleries for another four hours,” and in Minow historical production of such works have traditionally Kwon’s words had the conceptual by-product of critiquing not involved a post-production style of development, whereby the only the institution’s hierarchical system of space, but as well artist creates their work to be displayed later inside a physical “complicated the social and gendered division between the space. With the expansion of the web and mobile technologies, notions of the public and the private” [14]. In the latter studio practices in this form of art have now become radically example, Mendieta’s 1973 series of work which focused on open, allowing for an artwork to be developed, researched, rape and violence1 - in response to the publicised rape and and displayed simultaneously on the Internet. murder of nursing student Sara Ann Otten that same year – consisted of documented photos of Ana Mendieta posing as a CCS CONCEPTS victim of rape. As part of her process she “invited her fellow • Movement and Computing→ Digital art; Social media; students to her apartment where, through a door left Interface • Networks → Semantic web. purposefully ajar, they found her in the position recorded […] which recreated the scene as reported in the press” [16]. KEYWORDS Much like in the example of Ukeles, this work too challenged Studio, Distributed, Performativity, Interface, Internet, the notions of femininity and the perceived lack of by the Semantic web, Performance art. judicial system which had failed to adequately prosecute anyone for the rape and murder of Sara Ann Otten. In contrast, if we fast forward to the point that includes the 1 INTRODUCTION WWW, and examine works, such as Cornelia Sollfrank’s When thinking about the space for performance art, we Female Extension, the level of play between art and life takes imagine the confines of the gallery, museum, public space, or on a totally different idea. For this project, the artist created an alternative space. To this degree, this situation within the software in response to the Hamburger Kunsthalle open call confines of the ‘art’ space, has produced a practice which is competition for net art, which was the first of its kind at the site specific, and in many instances allowed artists to play time [27]. As part of the work Sollfrank’s software generated with performative elements of life [13]. With the introduction hundreds of fake female net artists and entered them into the of the World Wide Web (WWW), the site for this art form competition undetected – which saw the unaware institution extended to this new form of public space, creating extended use these false entries naively, proclaiming in press releases depths for a performance context, promoting the non-local in that the outstanding number of female entries was validity for favour of a new distribution system hinged on the site of the their competition. However, at the close of the competition, computer. Users could experience art from the comfort of their own home, while artists creating this new form of art 1 According to the Tate this series of works consisted of three pieces: could play with new strategies to collapse the boundaries of Untitled(Rape Scene), Untitled(People Looking at Blood, Motif), and art and life, enact ideas such as Joseph Beuys’ social sculpture Untitled(Bloody Mattress); works such as Rape Performance; Clinton Piece, Dead on Street, and as well the performance All Tied-Up Woman are considered to be through the systems need of participation, and extend the in relation to the first work in the series Untitled(Rape Scene). viewers spatial sense through interconnected interfaces. MOCO’17, June 2017, London, United Kingdom A. D. Ball and despite the outstanding number of female entries, the crosses the art and life boundary (or in that matter any institution selected 3 male winners – prompting Sollfrank to performative piece that interacts with life outside the gallery), release her own press release to the media on her that is situated inside the sanctuary of the art space, which has intervention. The outcome of this performance/intervention been historically its own bubble that is apart from the real was the complete withdrawal of the Hamburger Kunsthalle world. The thoughts of this comes from Kwon’s arguments on from any new media association for years to come [27]. site-specific work, as a tool for interrogation and “the radical The contrast between the former performances to that of restructuring of the subject from an old Cartesian model to a Sollfrank’s recalls the thoughts of Judith Butler, who queried phenomenological one of lived bodily experience” [15], or in in her analysis performativity and its situational site of other words a praxis that straddles the boundary between art display: and life. And yet, when attributing this thought to artworks that lacks a distribution system like the Internet, artworks “the sight of a transvestite onstage can compel such as Maintenance art, or Mendieta’s series, and other pleasure and applause while the sight of the same transvestite on the seat next to us on the bus can works of a similar nature, is its situation inside an established compel fear, rage, even violence. The conventions art distribution context, which is still by today’s standards an which mediate proximity and identification in these isolated event that seems separate from real life. Furthermore, two instances are clearly quite different. I want to early net art, while closer to a praxis that breaches the art and make two different kinds of claims regarding this life boundary, was anchored to its site, the artwork’s webpage tentative distinction. In the theatre, one can say, ‘this [3], creating similar ecological dependencies for the is just an act,’ and de-realize the act, make acting into presentation of the work, i.e. one that still relied on the something quite distinct from what is real […] On the documentation of the process for the dissemination of the street or in the bus, the act becomes dangerous, if it works content to a wider audience. does, precisely because there are no theatrical After the Dot Com bust of the early 2000s, operations on conventions to delimit the purely imaginary character of the act, indeed, on the street or in the the Web shifted from a fixity on a single individual’s bus, there is no presumption that the act is distinct homepage to social networking websites such as Facebook, from reality.” [4] Myspace, Twitter, Flickr, and YouTube. This ecological conversion created a situation where accessibility to the In other words, the distinction in this comparison is the network required less technical expertise, and saw artists observation of performance in the ‘theatre’ (i.e. a space for art begin to situate their work across several of these social with the corresponding audience) to that of the performance media sites, as opposed to early net art [8, 23]. In this on the ‘street’ (i.e. outside the confines of the art space with a instance, the situation induced an environment where both non-art audience). The argument here is that the mode of audience and artist operated inside the same networking dissemination, which dramatically changed after the systems. Furthermore, Caitlin Jones has cited that within this introduction of the Internet, provides an opportunity for contemporary situation there is this fundamental shift in artists not simply to bypass museums and galleries to present artistic studio practice that is centred around the site of the artworks to audiences, but as well the chance to instigate truly computer [10], with many artists situating the development critical performative pieces with real world implications. The and research of their art in those very same networking sites. introduction of the WWW created an environment where This creates the potential for a further progression in the these types of performative performance works now have a artworks interface, one that through the combination of larger platform, and further a global stage not exclusively computing and network technology potentially allows for associated with art, multiplying their critical power critical performative works to transport their audiences into a exponentially, which has only accelerated with the increased space where art is life. technological connection between the online and offline worlds. In this regard, there is a progression in the artwork’s 2 THE DISTRIBUTED STUDIO interface that allows for a greater degree of movement for the A possible causality for this changing situation is that user/viewer during their experience of the artwork. This can contemporary artists operate very differently than the be identified by the increase of performative realism induced traditional ‘studio’ artist. In this respect, artist and researcher by the transference of the audience member into a space Maria Miranda has written about this change in praxis which where the dissemination of content truly breaches the sees more and more artists, “now leaving the studio, moving boundaries between art and life.