Tag Archives: Anne Seagrave

INSTRUMENTS OF WAR by Manuel Vason, Anne Seagrave, Dariusz Fodczuk, Stuart Brisley, Alastair MacLennan, Wladyslaw Kazmierczak & Ewa Rybska, Suka OFF, Helen Spackmann, Joshua Sofaer, Sachiko Abe, Ronald Fraser Monroe and Franko B.

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Between March 22nd and April 19th in the gallery BWA Sokol, Nowy Sącz, Poland a photography exhibition by Manuel Vason was presented. It was titled RE-PERFORMANCE. Between performance and photography, and I had the pleasure to curate this exhibit. Since I am not in a position to write a critical text about an exhibition which I curated, I would like to merely document the show and the performances that took place during the opening. These were performances by Dariusz Fodczuk and Anne Seagrave – one of the artists featured in the exhibition.

During the exhibition photos of international cutting edge performance artists were shown: Stuart Brisley, Anne Seagrave, Alastair MacLennan, Władysław Kaźmierczak & Ewa Rybska, Suka OFFduo, Helen Spackmann, Joshua Sofaer, Sachiko Abe, Ronald Frazer Munroe and Franko B. In accordance with the spirit of the collaborative aspect of the photos, I treated the exhibition as a group show by Manuel Vason and the performance artists presented in the photos. An important element of the presentation were the displayed statements of these artists outlining their thoughts about the collaboration process with Manuel Vason.

The full version of the text was published at: http://livinggallery.info/text/vason

Ephemeral Fixed – pre-event at F.A.I.T (Krakow)

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March 14th, 2012 at F.A.I.T (Krakow) – pre-event of the “Ephemeral Fixed” event featuring: Daniel Dida and Linda van Dalen (performance) and the show of documentation by Anne Seagrave, Wladyslaw Kazmierczak & Ewa Rybska and an independent video work by Peter Valyi

Anne Seagrave

 

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Anne Seagrave (born 1962 in Nottingham, UK) is one of the most recognised performance artists in Europe. Her work is dance based and she has presented performances since 1982, often accompanied by original video-installations and audio recordings. She has performed in Great Britain, Ireland, Poland, Holland, Belgium, Spain, France, Denmark, Germany, Switzerland, Finland, Canada, USA, Argentina, Uruguay and Israel. Since 2009 she has lived in Krakow.

Przestrzeń dla Sztuki Żywej w Piotrkowie Trybunalskim. Interakcje 2012

IzaChamczyk

W tym roku InterAkcje zaprezentowały się jako uczestnik międzynarodowej sieci festiwali performance „A Space For Live Art” skupiającej siedem europejskich organizacji. Do współpracy kuratorskiej zaproszono kuratorów ze Słowenii (Marę Vujić z organizacji City of Women), Belgii (Antoine Pickelsa – kuratora festiwalu Troubles) i Hiszpanii (Nieves Correę – kuratorkę festiwalu Accion Mad). Pozwoliło to na poszerzenie bazy artystów, szczególnie bardzo młodych. Równie ciekawy tzw. program OFF młodych polskich artystów przygotował Janusz Bałdyga. Tegoroczną nowością była absolutnie poprawna reprezentacja kobiet; organizatorzy (Piotr Gajda i Gordian Piec) z pomocą współpracujących kuratorów osiągnęli wręcz idealną proporcję (21 artystek i 21 artystów). Kilka pokazów polecam szczególnej uwadze.

Tekst został opublikowany w: http://obieg.pl/rozmowy/25436

22.03 – 21.04.2013: MANUEL VASON “RE-PERFORMANCE. BETWEEN PERFORMANCE AND PHOTOGRAPHY”

Manuel Vason

The subject of the documentation of performance art has always been controversial. Firstly, performance artists, especially in the 1970s and 1980s treated documentation only as a mere trace of the live action which allowed them to preserve it better in their memory. Documentation could not aspire to be an independent work of art and was secondary to the live action. Performance artists who started their career in 1970s and 1980s maintained a distrust towards documentation. This originated from an aversion towards institutions, the production of artworks instead of the conceptual art of “making meanings” and the commercialisation of ephemeral art that it would cause.

Since museums have started to exhibit and collect performance art, we are concerned here with the problem of archiving this kind of art. One of the most discussed strategies has become re-enactment. The method is about re-creating a performance piece in a different space and time keeping the most authentic aspects of the original. Re-enactment is not so much an artistic activity, but rather a “technique” used to preserve an ephemeral artwork – aperformance. Almost from the first happenings and performances there was another popular method of archiving and preserving performance art: the phenomenon of creating a performance-for-camera and new artworks emerged in the form of video and photography (like for example the work of Rudolf Schwarzkogler or Valie Export).

As being an effect of collaboration with performance artists, Manuel Vason’s photographs connect the above mentioned strategies of performance art archiving in an interesting way. They are single, synthetic images that reflect both the visual side of the action and its idea. Even though Vason does not aim at re-enactment, repeating or staging an image from an already completed performance, he looks for a certain sign, some particular synthetic vision which in his opinion will be close to the performer’s art practice. Then together with them he tries to stage an image. In some cases the specifics of the action is emphasised by the space in which the photo was taken. In another – the space remains neutral and the performer is described by just one gesture, a “pose” giving the impression of a dynamic action. The photos tell a story, stimulate the viewer’s imagination and cause the performance to re-happen in his/her mind and therefore they are a kind of “re-performance”.

During the exhibition in BWA Sokół, there will be photos of international cutting edge performance artists shown: Stuart Brisley, Anne Seagrave, Alastair MacLennan, Władysław Kaźmierczak and Ewa Rybska, Suka OFF duo, Helen Spackmann, Joshua Sofaer, Sachiko Abe, Ronald Frazer Munroe and Franko B. An important element of the presentation of the photos will be the statements of these artists about their collaboration with Manuel Vason. During the opening there will be performances by Dariusz Fodczuk and Anne Seagrave, one of the artists featured in the exhibition.

http://www.bwasokol.pl/index.php/pDocId/94/pMenuId/2/pCmd/1/langVer/2

Interakcje under the banner of the audience – 14th International Action Art Festival InterAkcje

InterAkcje this year participated as a member of an international network of performance art festivals entitled “A Space for Live Art” that includes seven organisations. The festival was co-curated by Mara Vujic (Slovenia), Antoine Pickels (Belgium) and Nieves Correa (Spain). This allowed for a broad range of artists, especially featuring very young ones. The so called OFF programme was prepared by Janusz Baldyga. As in previous years, the name “OFF” was only a formality, because often performances by the artists who were invited to participate in this “OFF” category, were more interesting than the ones by the more experienced artists.

The entire text was published at: http://livinggallery.info/text/interakcje2012

Power of Label vs. Creativity – Another Performance Art Night at F.A.I.T! (Krakow)

Antoni Karwowski

Invited artists: Anne Seagrave, Antoni Karwowski, Alastair MacLennan, Dariusz Fodczuk

Performers more and more often avoid grandioso festivals and mainstream art centres in order to appear in new, unknown and low-budget places. It is all about eliminating the artificial relationship between artist and institution and the game that is often a consequence: which form may an artwork adopt in order to comply with a tangle of institutional bans, limits, directions and suggestions? Certainly the artist is someone important for an institution but at the same time he/she is a threat.

An artist does not become someone anticipated, his/her coming is not a celebration but moreover a routine element of the programme that creates the image of an institution. In the case of live art, this tension is a negative factor and is dangerous for the art presented. Mutual distrust has existed for decades. Important galleries avoid performers and create false and arrogant opinions about this kind of art in order to have a comfortable situation. Their peace of mind is at the expense of fulfilling the statute mission of the gallery that should be the bringing of honest information to the public which reflects the actual tendencies in art practice. But this artistic truth we see sharply only when we invite performers to our own town, at our own expense.

“No budget” events are hard to produce. They require a lot of conducive circumstances. The biggest problem is to assure the artist that his/her arrival, work and money spent will be rewarded with absolute freedom, friendship, openness and the presence of an audience. Only such a situation as this can become a good environment for artistic creativity. The artist must be convinced, that he/she won’t encounter a pressure similar to the institutional pressure that attempts to control his/her art.

Another no budget performance art night took place in F.A.I.T, a very non-standard club/bar with an old, overgrown garden. The entrance from the street is vaguely marked and practically unnoticeable for people who are not connected to the space. The open status of the venue and the standard technical equipment available are a silent invitation for performers and curators to participate.

The entire text was published at http://livinggallery.info/text/power_of_label