Notes: Lecture 7 – Participation

Delivery Date: 27.09.2019 | lecturer: Fenia Kostopoulou

Relational aesthetics Nicolas Burriauod coined the term. theorethical/ aesthetical point of departure is human relationships, creating environments where people can reassess and redefine relationships

Rirkrit Tiravanija “Untitled (free/still)” – cooked for people who were coming into the museum / Marcel Duchamp: the work is art if the artist says it is


Participatory work – border between audience and perofrmers are blurred. Not necessarily interacticve, “making something together”.

the performer has the resposibility for holding – or not – the space / the performer breaking the agreement of what should be proposed is a possibility

what could make a participatory work NOT work (within a well thought structure with well prepared performers): boundaries between experiment and performance are not clear. How to create a safe space even if there is no previous agreement as it is in theatre? Is a well structured participatory performance manipulative? How important is it that the participant knows if it is a performance.

Antrianna – participants gave her very personal feedback after the event / blurred line between “real events” and performance.

What’s the intention of the perticipatory work? Raising awareness about something?

Ria Hartley – Recall (on vimeo)

“accidental” participatory event – you don’t propose it, expect it but it becomes “the thing”

Sexy M/F – Ana Boralho & João Galante

Malta Festival

agreement / intimacy / freedom / participation / interactivity / responsability / scale / agency / scale / public-space / unknown / risk / manipulation / facilitation / dramaturgy of care / ambiguity / transauthorship / control / power dynamics

Tania Bruguera – El Susurro de Tatlin. Work in Tate Modern where 2 policement on horseback use all the mechanisms they use on the street to make the audience move in space. She wants people to have an experience with power. She uses as visual quotations, images people have seen on tv. Historically recurrent images of power.

Francis Alys – “When faith moves mountains”

Spencer Tunik – photographer. Cretaes bodies landscapes you can sign online to participate in

Rita Marcalo – “Dance with Me” (interactive on the street) / Eleonora Fabião

Tomasz Szrama – Polish performer based in Finland. “Dancing in the Rain, Tears and the Sweat of my Brow” – the need to not know what will happen. He actually speaks to people asking for e.g. help to cut the legs of a table, but with a language barrier. gives great importance to the memory of the experience. The reactions of the audience are “judged” and have consequences.

Fluffy Library – Artist created a kind of emersive environment in a library by taking over its space with an expanded body of fluff and colors

Vulvography – Fenia – she has a big skirt with projection of “cuntcinema”. The participants go under her skirt to watch it.

Marina Abramovic (1974) – took responsibility for whatever the members of the audience would do to her, including putting a bullet in a gun and killing her / Yoko Ono “Cut Piece” – people could cut pieces of her dress.

The reactions of artists to the construction of the wall between USA and Mexico e.g. seesaw (gangorra)

Participation can also have a pedagogical aspect.

“How to read Lacan” – S. Zizek

culture is everything we do without believing it. Therefore consider those who acto upon their cultural beliefs, seem crazy.

series: “West World”

when everyone knows about something that everyone knows and when it’s said out loud it causes discomfort (the fool in classical narrative, the emperor is naked)

solipsism – the individual knows of its existence but cannot prove it

symbolic identity always being historicaly defined

The Milgram Experiment –