BK1164 PERFORM: the creation and mediation of the live performance of visual art
Title: Course BK1164 Electronic media 1, KiT, fall 2019 for BFA1, BFA2 & BFA3
Teachers: Alex Murray-Leslie with guest stars announced weekly.
Elective course on Wednesdays kl. 10:00-13:00, we will meet outside KIT gallery each week.
September 11, 18 & 25.
October 2 & 9.
November 6,13, 20.
The course will work towards the development of DIY performance making practices and methodologies based upon interdisciplinary paradigms (bodywork and movement [somatics, yogic practices], anthropology, orature and the close reading, analysis and at times re-performing of the background literature. We will consider the artistic conceptualisation and crafting of performative acts in the context of philosophical and ethical issues and in relation to particular making practices, research methods and writing, realtime meditative vocalising strategies, with a particular focus on; artistic research, action research and refection in and on action.
The classes will usually take place in unexpected contexts including; classrooms, studios, black box theatres or under bridges, by virtual means, in teleportals, exhibition or public spaces, aboard research vessels at sea and on professional ‘stages' with audiences.
The course is supported by departments at NTNU and around the world (universities, NGO's and transnational forms of education which exist beyond national borders). We will regularly have local and world-renowned guests including; live-artists, dramaturges, activists, critical costume makers, philosophers, scholars, cultural producers, art-therapists, no-choreographers and perhaps pop stars (in personal and on portal platforms working with us) throughout the duration of the course.
Work for the course will include weekly warm-ups, readings, walking practices, group exercises and improvisational work, where the hope is to gain confidence in spontaneous performing to achieve states of collective flow.
Around the end of the course we will perform a participatory, collective, audiovisual jam session: THEATRE OF MAKING (open to physical and online public) date 12th & 13th November, 10am-4pm, KIT Gallery.
Outcomes: by addressing artistic concepts through performing, drawing on the background literature you will develop unexpected, personalised, hybrid performative skills and processes, extended through mediated channels including; teleports, open broadcasting systems (OBS), socials, video data banks and figuring out together other means of documenting and publishing performance during and at the end of the course.
Requirements: Attendance and participation are mandatory for students enrolled in the course. Students enrolling in the course are required to attend each session. Students will be assessed by their presence, participation and contribution to the discussions.
You are encouraged to bring projects and readings to the course, especially ones that might have the potential to kick start lively collaborations.
No prior performance experience required.
Csordas, Thomas J. 1993. Somatic Modes of Attention. Cultural Anthropology 8, no. 2: 135-56.
Jones, Amelia. 1997. "Presence" in Absentia: Experiencing Performance as Documentation. Art Journal 56, no. 4: 11-18.
Benjamin, Walter. 1968  The work of art in the age of mechanical reproduction. Illuminations. New York: Schocken. Optional, but highly recommended
Tufte, Edward R. 1997. "Explaining Magic: Pictorial Instruction and Disinformation Design," In Visual Explanations: Images and Quantities, Evidence and Narrative. Cheshire, CN: Graphics Press. Pp. 54-71.
Tufte, Edward R. 1990. "Narratives of Space and Time," Envisioning Information. Cheshire, CN: Graphics Press. Pp. 114-119.
Pearson, Mike, and Michael Shanks. 2001. Theatre/archaeology. London/New York: Routledge.
Rosler, Martha, M. Catherine de Zegher, Ikon Gallery, and Center for Women's History and Culture, eds. 1998. Martha Rosler: positions in the life world. Birmingham, England, Vienna, Austria, Cambridge, Mass: Ikon Gallery. Generali Foundation. MIT Press.
Phelan, Peggy. 1993. The ontology of performance: representation without reproduction. Unmarked: the politics of performance. London: Routledge, pp. 146-66.
Reason, Matthew. 2003. Archive or memory? The detritus of live performance. New Theatre Quarterly 73: 82-89.
Ippolito, Jon. 2003. Accommodating the Unpredictable: The Variable Media Questionnaire, Permanence through Change: The Variable Media Approach (New York: Guggenheim Museum Publications, 2003), pp. 47-53. Case Study: Robert Morris, “Site,” 1964.
PERFORMA NEW YORK https://performa-arts.org
SIBMAS (International Association of Libraries and Museums of the Performing Arts), International Directory of Performing Arts Collections and Institutions http://www.theatrelibrary.org/sibmas/idpac/
Beyond Memory: Preserving the Documents of Our Dance Heritage, A Project of the
Dance Heritage Coalition, Washington, D.C., 1994. Revised 2001.
Digital Performance Archive
Schomburg Center for Research in Black Culture
Performance Art, Financial Times: https://www.ft.com/content/ef939b02-d19f-11df-b3e1-00144feabdc0