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NEW-MEDIA-CURATING  2006

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Subject:

Re: Exhibiting re-enactment and documentary-based art: December 05 theme

From:

Sarah Cook <[log in to unmask]>

Reply-To:

Sarah Cook <[log in to unmask]>

Date:

Wed, 4 Jan 2006 19:16:20 +0000

Content-Type:

text/plain

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Hi all,

Happy New Year. The CRUMB team has spent the holidays basking in the 
delights of a snowy landscape (Beryl is still off snowshoeing around 
Europe somewhere) - we hope you and yours have had a relaxing and 
rewarding break. We went to see our local pantomime theatre production 
(Robin Hood and the Babes in the Woods) and came out with a whole new 
sense of _interactive art_ ("look out, it's behind you!"). It featured 
an amazing 'dream sequence' with florescent glow-in-the-dark costumes 
and sets lit by black light... a very low-budget bit of trickery.

As you know, we launch new themes every two months, but I would 
encourage you to continue the debate on re-enactment and re-presenting 
live and networked performance work if you feel so inclined. [Or just 
tell us your best holiday panto moments?!]

I think some interesting points have been raised thus far about not 
just the role of the audience but their place also. Rod writes that he 
hopes the "audience's direct experience of the live performance is 
constantly undercut by their knowledge of the layers of mediation that 
are at play in both the original historical event and my double of it." 
- is this the same for others of you or does it vary from work to work?

How does an audience member's perception of the deliberate mediation 
affect the reading of the work? (Rosanne, in her reading of the 
Abramovic re-performances, alluded to the power of the process of 
(de?)mystification... is this at odds with what the museum 
traditionally strives to do when they present a work of art? I wonder).

the question of re-enacting (or re-staging/updating) so-called 
'seminal' exhibitions is a curious one too. would their present day 
impact depend on prior knowledge of the original show, and if so what 
kind of knowledge? first-hand? documentary? heresay? If the ICA is 
considering re-doing Cybernetic Serendipity, is it with Jasia 
Reichart's curatorial input, or with a different curator choosing works 
of today? Is it about the time lapse between understandings of media 
art then to now, or about the place of 'cybernetics' / computer 
networks in contemporary culture?

Enough questions for now... I look forward to your thoughts.

Sarah

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