terça-feira, 22 de junho de 2010

Boris Nieslony / Live Art – an Approximation

Live Art – an Approximation

by Boris Nieslony

During the 70ies of the last decade, more then dramatic encounters among the "Aktionskünstlern" (action artists), within the fields of dance and theater alike within the cultural landscape on the one hand while on the other hand in institutions and organizations the thoughts correlating to "Intermedia" and the active "Inter the Disciplines" with capacious sustainability were brought up and manifested.

Not just another new idea, but did this upcoming thoughts nevertheless need up to date, adequate terms, terms, that defined and characterized the difference and differentiation counter parting the "old" terms, here to mention for example Body Art, Fluxus, Happening (as understood by A. Kaprow) and "Aktionskunst" (action-art) while being even more important, to clarify the transformation and transgression from system-immanent structures into "open fields and spheres of action".

Fluxus, Body Art and Happening recently establish themselves as art historic categories and art scientifically characterized to be tightly delimited, formal styles. The reprocessing of Performance Art started hesitantly in the 90ies, for example via the book by Marvin Carlson "Performance A Critical Introduction". But by the end of the 90ies, already more then 160 variations with their very own specific art cultural genesis could be specified within the terminological context of Performance and Performance Art.

Human in space and his surrounding, his community and how he moves pacting and impacting, draws a net, where noveau (inter-) net-ideas are tensioning anew and pluriversally differentiated.

Live Art originated in the mid 80ies in Great Britain. The first and very essential difference between the Live Art and the classic, traditional "Aktionskünsten" (action-arts) can be defined by Live Art not understood or manifesting any stylistic categories terminologies, but to serve as a strategic term. (Though some more traditional artists can be found that nevertheless characterize their syllogistic criteria to be Live Art.)

Strategic here to be understood, that artistically activities were to be executed throughout all pluriversal disciplines into another cultural praxis. An artistic work realized in the field of Live Art implies - apart from the necessary competence of the participants - of course the affirmation of the retaliator concerning the aimed and envisioned work and additionally, being a participator, its impact onto inter-social processes.

The Identity of the author was furthermore ascertained new and differentiated. The author was not only the artist, but additionally pacifistically trained for that very profession, experts originated into the difference and simultaneously into appearance. A consequence of the newly arising network-thinking into wider fields of consciousness of the population.

This does not mean, that classic media became obsolete, thus it means, that the room for monoevre is expanded immensely, that the freedom of action between persons is no longer hierarchic, but liquid, transparent, interfused and inter-correlated.

Live Art allows and encourages strategies, to show a variety of identities, to make them visible, Live Art presents phenomena on the fringe and phenomena "off the beaten tracks" and catapults them into the light. Live Art can be defined to be the very strategy for all "Encountering of Difference"

Live Art integrates. Live Art is the megaphone for disparate activities, a megaphone for minorities and endows identities. In USA and Canada the big chance was offered and taken up upon, to have indigenous minorities perform. In England the minorities from the former colonies manifested and established their very own forum and intercultural worlds expanded and

pluriversed under this shield.

"Gender, Queer and Camp" and their specific and characteristic pluriversal life forms became visible.

In the field of Live Art participatory processes are unmisunderstandably integrated, alike interferences and interventions within and into the "public space" aka into society. Live Art

understands itself to be an integral part of live processes, more then humane and communicative chararcteristica.

Live Art "is" genuine "The Encounter".

Space/versus/Place in the Live Art

About the argumentation, that the thoughts - ideas - terms - would "contain" something, to say "good - by" to any understanding of this "container-concept" and paradigm. The conjoining is at the same time the permutating into any social perceivable place, which is experiencable to be a social field and accordingly an atmosphere.

Live Art is the very place for collective meetings, where humans, animals and social goods can be seen as a part of the whole field - the "field, where one finds oneself to be" - "the being within a place" aka "transforming into that place" - by a singular person - the "being permeable for the place" and finding oneself lost "with/in" everything defining and creating that specific place.

Interactions in the field of Live Art are seen to open up spaces and to be conducted in one place.

This for example manifested in the "Aktionärs-Hauptversammlung" of the Daimler Benz AG, a project by Rimini-Protokoll or to mention the project „Schwarzmarkt für nützliches Wissen und Nicht-Wissen“by Hannah Hurtzig.

Time wise Limitations, the Temporary and the Ephemeral within the Field of Live Art.

Most of the projects acknowledged in the field of Live Art are temporarily delimited presentations.

Per definitionem, they do not aim at any products (painting, sculpture) and no productions (theater, dance). (Whereas many theater- and dance-companies can be referred to, that works in the field of Live Art).

The special focus is mainly concentrated onto the communicative processes between human, object, structure, community and the social event. The processes do by all means use materialistic media, but stringently do impact during these processes the immaterial, time-based media. (Time Based Art)

Temporary processes can expand to years and ephemeral processes can flash up within the vanishing of a twinkling wink.

The Greek agora can serve as a model of the immaterial between humans. Live Art serves as "The Model of the Models" - generated.

Each impacting work in the field of Live Art poses the question to every artist involved in creating the work, to be exact, the more then discomforting question: Where exactly are you standing?

Right here and now?

Text: Boris Nieslony, 2010