MR. KOSUTH, WAHT WOULD YOU DO?
Duration: 8 hours daily for one month.
Based on the Installation One and three chairs (1965), emblematic work of conceptualism which put in evidence the difficulty of translation and the weight significant and signifier of the words to our understanding of the world; and in search for new ways to redefine my performative practice developed since 2003, was created Mr. Kosuth, What would you do?
The performance-installation begins in the same way as Kosuth’s piece with the difference that this modifies the concept of chair for the concept performance. So along the wall three elements are displayed: a board printed with the definition of performance from the Cambridge Dictionary, a life size photography of the artist sitting in a chair and the artist (in person) sitting in space in the same chair of the photo. In front of each of these elements are respectively: fifteen printed boards with different definitions of the word performance extracted from several texts in art, economics, biology and other areas of knowledge; fifteen life size photographs that registering actions performed by the artist for the past 30 years; and a list of 15 different actions that could be performed by the artist. During the exhibit the audience could play with the installation at their will, changing the display by choosing any of the definition, any of the photographs and / or asking the artist to changed the action he was performed by any of the other 15 options.
The performance works as slot machine or jackpot that, activated by the will of the public, redefines performance as a word, as image and as live action constantly. The performance duration was of 20 days with daily periods of eight hours continuously performing.
The fifteen actions on the menu were planned in a way that any of them could be continuously performed. This condition with two purposes: the first was that in case of total absence of public the last requested action could be performed indefinitely until more public arrived or until the day of performatic work ended; and the second was that the actions could be modified over time according to their specific context and time.
Additionally each of these actions and behaviors were thought to be relatively effective tactics to get naked humanly, socially, artistically, personally and literally speaking in front of the spectators.
SINCERITY ABOVE EVERYTHING
DATA BACK + IN-VULNERABILIS
SPECTATORS INTERACTING WITH THE PIECE
SPECTATOR INTERACTING AT THE DEFINITIONS AREA
SPECTATOR INTERACTING AT THE REGISTERING AREA
SPECTATORS INTERACTING AT THE PERFORMANCE AREA
DJ TURN IT ON
WHILE SPECTATORS ARE INTERACTING WITH THE PIECE
FRAME OF THE VIDEO IN-ABSENTIS
INTERVIEW DONE WITH JORGlE MIÑANO
INVTATION TO THE VERNISSAGE AND THE EXHIBIT