Monroy's Performance Service No. 2
       
     
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      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.       
       
     
  BONUS TRACK
       
     
  IN-VULNERABILIS
       
     
  TAKING PISPIRISPIS
       
     
  PERMUTATION
       
     
  SINCERITY ABOVE EVERYTHING
       
     
  DATA BACK + IN-VULNERABILIS
       
     
  LIFE PRESENCE
       
     
  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
       
     
   DECLARATION OF LOVE TO KOSUTH    SPECTATOR WATCHING THE VIDEO    
       
     
  FRAME OF THE VIDEO IN-ABSENTIS   INTERVIEW DONE WITH JORGlE MIÑANO    See transcription for Panel Magazine
       
     
  INVTATION TO THE VERNISSAGE AND THE EXHIBIT
       
     
Monroy's Performance Service No. 2
       
     
Monroy's Performance Service No. 2

MR. KOSUTH, WAHT WOULD YOU DO?

Performance Installation.

2012

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.

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      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.       
       
     

IN ABSENTIS

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.

 

  BONUS TRACK
       
     

BONUS TRACK

  IN-VULNERABILIS
       
     

IN-VULNERABILIS

  TAKING PISPIRISPIS
       
     

TAKING PISPIRISPIS

  PERMUTATION
       
     

PERMUTATION

  SINCERITY ABOVE EVERYTHING
       
     

SINCERITY ABOVE EVERYTHING

  DATA BACK + IN-VULNERABILIS
       
     

DATA BACK + IN-VULNERABILIS

  LIFE PRESENCE
       
     

LIFE PRESENCE

  SPECTATORS INTERACTING WITH THE PIECE
       
     

SPECTATORS INTERACTING WITH THE PIECE

  SPECTATOR INTERACTING AT THE DEFINITIONS AREA
       
     

SPECTATOR INTERACTING AT THE DEFINITIONS AREA

  SPECTATOR INTERACTING AT THE REGISTERING AREA
       
     

SPECTATOR INTERACTING AT THE REGISTERING AREA

  SPECTATORS INTERACTING AT THE PERFORMANCE AREA
       
     

SPECTATORS INTERACTING AT THE PERFORMANCE AREA

  DJ TURN IT ON   WHILE SPECTATORS ARE INTERACTING WITH THE PIECE
       
     

DJ TURN IT ON

WHILE SPECTATORS ARE INTERACTING WITH THE PIECE

   DECLARATION OF LOVE TO KOSUTH    SPECTATOR WATCHING THE VIDEO    
       
     

DECLARATION OF LOVE TO KOSUTH

SPECTATOR WATCHING THE VIDEO 

 

  FRAME OF THE VIDEO IN-ABSENTIS   INTERVIEW DONE WITH JORGlE MIÑANO    See transcription for Panel Magazine
       
     

FRAME OF THE VIDEO IN-ABSENTIS

INTERVIEW DONE WITH JORGlE MIÑANO 

See transcription for Panel Magazine

  INVTATION TO THE VERNISSAGE AND THE EXHIBIT
       
     

INVTATION TO THE VERNISSAGE AND THE EXHIBIT