The 35 mm slide paintings, with their cut - canvas windows, through which the slides are illuminated from the back (the electronics were made by the artist's father), present
images of past performances, installations and paintings, none of which exist today.
Not exact matches
Kindly keep in mind,
past performance is no guarantee
of future results -
Image courtesy
of Jeroen van Oostrom at FreeDigitalPhotos.net)
References to Giacometti have featured in Lerma's
past work and
performances, stemming from an inside joke
of sorts and then compounded by the potency
of the
image itself.
For the
past month, Marisa Olson has been using Transfer Gallery to broadcast an ongoing
performance on NewHive, a series
of stock inspiration and promo
images for her show «Getting Ready».
over an older video
of herself, blurring the line between documentary and
performance while also making it difficult to tell which
image of the artist is present, which is
past, and which
of these is therefore truly performing.
By positioning experimental figures from the history
of art alongside contemporary photographers, this week's selection celebrates the
past, present and future
of creative practice through topical
performance, installation and
images.
Her autobiographical observations and experiences — recorded in personal journals, snapshots, and notes — as well as drafts, published articles, and
images of her
past work, all provided fodder for her visual and
performance art.
In tune with the previous
performance works by the artist, «Hemings in Paris» is an attempt to activate public space,
image the fantastical and anachronistic, and present narratives (mine along with hers) that facilitate the collapsing
of the
past and present both in content and form.
In her opinion, our culture no longer creates its self -
image and an understanding
of itself through text and artifact, but by means
of cultural
performances.11 In her analysis
of the «reenactment» phenomenon
of artistic
performances, curator Inke Arns suggests that reenactments give us access to the
past by means
of immersion, identification, and the forging
of more personal and diversified links with aspects
of that
past.
Spectacles without Objects explores — through text,
images and sound recordings — specific occurrences
of utopian
performances in the
past, way before the XXth century, before the moment Modern Art History usually assigns to the beginnings
of performance art.