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(2017) with the Permission of the Surviving Editors, Rob La Frenais and Gray Watson This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. Greater London Arts Association VISUAL ARTS AWARDS Awards of between £500 and £3000 are otf ered to professional visual artists resident in the Greater London area. Applications will be considered throughout October/November 1981 and the closing date for receipt of completed application forms is Tuesday 1 September 1981 . For further information, and application form please send an A4 stamped addressed envelope to: Lesley GreeneNivien Turner Visual Arts, GLAA, 25 Tavistock Place, London WC1 H 9SF. POSTPONED IN JUNE - NOW IN OCTOBER Midland Group Arts Centre Second Annual PERFORMANCE ART PLATFORM OCTOBER 17 & 18 The Midland Group Nottingham is to hold its second Performance Art Platform, a two The Byam Shaw is an independent day event - the first day offering the opportunity of public performance in a fine-art school founded in 1910 • It is leading national venue, to in~ividuals and staffed by practising artists • Entry is groups living in England who have recently become involv ed in Performance Art - the by work and interview, not 'O' levels second day a symposium on Performance Art • Full time, diploma, post-diploma today, with talks from leading British and short-term studies courses Performance Artists. available • Over 50% of UK students Applications to perform within the event receive LEA grants-but remember may be considered only from arti sts who have not re ceived publi c subsidy . Students if you need a grant you must apply are ineligible to take part . NOW For further information and application Send today for a prospectus details contact the Platform Co-ordinator, to 70 Campden Street, The Midland Group, 24-32 Carlton Street, Nottingham NGl lNN {0602) 582636. London WS 7EN (or 'phone Cl osi ng date for app l icat i ons 01-727 4711- 24-hour service) 22 August 198 1 . This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. The Performance Magazine PO Box 421 London NW1 ORF 01 485 7476 Editor Rob La Frenais Review Editor Luke Dixon 4 Design Editor Chloe Nevett LETTERS Associate Editors Lynn McRitchie Pete Shelton CRITICS AND DOORMATS 6 Margurite McLaughlin Bruce Bayley Contributors CABARET FUTURA MOVES ON 8 Andrea Hill Paul Burwell John Roberts Phil Hyde STATE PERFORMANCE 10 Neil Hornick Tom Castle Ian Hinchliffe PERFORMED MUSIC 15 Paul Lyons Liz Stolls Charles Hustwick RICHARD LAYZELL 17 Typesetting Windhorse Photosetters Printing SHOW TRIAL Calverts North Star Press Ltd. 21 REVIEWS 25 Cover Photo: Robin Morley ARTIST'S DOCUMENTATION 30 Copyright ©1981 ISSN No 0144-5901 This issue receives financial assistance from the Arts Council of Great Britain. LISTINGS 32 SUBSCRIBE NOW BEFORE THE PRICE GOES UP Because of an increase in costs it is regretted that the price of Performance Magazine will go up to 7 Sp next issue. (The price has remained the same since this time last year.) Subscription prices will rise accordingly, but if you send this subscription form to us by August 29th you will pay only £4.00 for the next six issues. (£7.00 institutions, and overseas.) I would like to subscribe to Performance Magazine starting with No . (please ring) 4 5 6 7 8 9 10 11 12 13 I enclose cheque/postal order for ______ _ _____ payable to Performance Magazine. Name _______ _______________ _ ________ _ Address _____________________________ _ _ This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. of Charles Hustwick and Charlie Pig. It with a load of performance artists. The is therefore understood that for us to joke as usual is at the expense of the LETTERSreceive correspondence and finally artist. contracts addressed solely to one of the This letter is in no way intended as a AN OPEN LETTER TO THE participants suggests the nature of our personal criticism of ....... (organizer). ADMINISTRATION OF ...... performance and its content based on a We realize that with the closure of the dialogue (in whatever finalized form it ....... gallery he was left in an untenable In response to the impressive publicity attains in performance) has never been position. We appreciate the great lengths aimed at prospective exhibitors sponsors perceived or comprehended. To receive to which ....... has been in trying to and galleries we put forward an correspondence addressed solely to one accommodate this performance. We feel ambitious project fashioned specifically of the participants creates negative however that at this stage we cannot be for ...... At that point we were under the tensions which make it difficult to work passed on to yet another person. impression that our work was being jointly on our project. Charles Bostwick & Charlie Pig entered for a prestigious exhibition that It is quite possible that ....... knowing Block C would be well organiz.ed and free of that his gallery would cease to operate Norfolk House financial problems. decided to pull off the biggest practical Brookmill Rd Ten days before the opening of the joke of his career by lumbering ...... Deptford, London SE8 exhibition we finally receive confirma­ tion that a venue has indeed been found where it is and a i:equest to us to tele­ phone the . Gallery in . to arrange the final date for our performance . This timing has effectively precluded us receiving any benefits from ELE[ll~IJrJl[l our performing in ...... other than that of the audience of the day. It is now impossible for us to receive any previews fllUSl[l or reviews or to organize our work being ' seen by representatives of any funding bodies we may submit to in the future as all such organizations require up to three FESTIIJfll months notice. We have also just received a contract in the name of Charlie Garner (sic) offering us £50 of our expenses in advance (less than the return fare to ... .. .. for us both) the balance of £ 170 to be paid after the performance. It now seems quite impossible that we can even IJ[1tu~t1r[l~llt1r1J visit ....... let alone perform there. As one of the principles of . was ~ to "increase the chances of artists selling ~[J IJlcl[llu1J[1t1Stt1r St. their work " and as performance artists have nothing to sell but themselves why ,, should they be expected to perform for just expenses? If painters were merely 11ut1t1r1s~. UJ[]J paid the cost of paint and canvas paintings would just get bigger. e We wish it understood that although the nature of our proposed performance ~ J]rn.f ~ Et111 [IJI] ~(I~ · 'l~tl'l. is apparently funny and that to receive claims for fees for "gay musclemen" may strike the administration as being hilarious our attitude to Performance is ii'ilJ]IIS £tnJ IIU~S imn entirely serious. Performance Art is not a joke nor does it just happen. In the case of this particular perfor~ance both participants i.e. he who would subject himself to being whipped and he who would have to go through having to whip may well and do ask themselves "Why should I go through that for an audience of six art devotees in ....... ? Performance Art is not theatre. It exists in real time. It is not faked repeat­ able or actable. It is not a painting, it cannot be packaged posted unwrapped and hung . It requires the living presence of the artist at a moment for which s/he has been preparing but has not yet experienced. Also with reference to our particular performance we wish to point out that this is and always was a joint project by/ 4 This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. L0 ~~o~ fE I L artists neV\Tsletter A new monthly publication for artists, craftsmen and photographers. TM~~E AN aims to create a dialogue between A spectacular programme of artists, artists groups, arts organisations international entertainment: and funding bodies. plays, dance, street shows, theatre workshops, open discussions. Information on resources, awards; jobs, Br azil materials, galleries, workshops, visual arts Full pro gr amme catalogues, open exhibitions, fellow­ EnglaD.d ships . .... Franc e no w a v ai lab lP Hollan d Pl e as e sP nd a SAE t o NOW AVAILABLE Japan Annual subscription ~:1ala ys i a L IFT (B ox UP ) (12 issues) £4 Pe ru Buc kin g h am Cour t Poland 78 Buc kin gh am Ga t e Subscriptions to: Artie Producers, W German y Lo ndon S1\'l 17 Shakespeare Terrace, Sunderland, Tyne and Wear, SR2 7JG. AUGU./T 3~T,LL 16T,-,41_981 WHITE LIGHT 57 FILMER ROAD LO~~DOl'JS\/vo TElfPH(;NE 01 731 3291 Theatre lighting design, con trol, equipment and hire A udio -Visual presentalton, FORKBEARDFANTASY Seal of the Walrus de sign and projec tion July 17-19.
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