How To inscribe Yourself In Performance Art History

How To inscribe Yourself In Performance Art History

Lecture-performance | Duration: 1 hour

In the course of the symposium This Sentence Is Now Being Performed – Research and Teaching in Performance and Performative Art, Suzie Léger, Martha Wilson and I staged a lecture-performance, which took place at the Academy of Fine Arts in Vienna. In the summer of 2009, Suzie Léger and I had a residency at the Franklin Furnace Institute in New York where we worked on the research project on the term Performative Art and the changes it has undergone over the past years. In the course of our research, we interviewed performance artists and theorists in Vienna and New York such as Gelitin, kozekhörlonski, die Geschwister Odradek, Martha Wilson, Virginie Bobin, Ulrike Müller, etc. to identify commonalities and addressed the following questions: How does one go about documenting the history of performance? Who writes performance history? What happens to history when one simply inserts oneself into the picture of history? Can one change the past by changing the present? These questions, which arose in the course of our research project, were reflected in the lecture-performance during the symposium. Martha Wilson gave a talk about her work at Franklin Furnace and the focus of the collection, and showed images of women* artists – for example: Karen Finely, William Pope L., Jack Water, etc. – and her already established works within the performance history canon. During her talk, her images mingled with the private photographs Suzie Léger and I had taken of the journey from the airport to the symposium with Martha Wilson. Martha Wilson continued her talk as if nothing had happened.




Performance documentation by:
Anita Scherzer

Performance photos of the journey from the airport to the Academy of Fine Arts Vienna by:

Veronika Hösch and Suzie Léger



Symposium of Research and Teaching in Performative Arts, Academy of Fine Arts Vienna, 2009