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.
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.
Peggy Phelan once wrote: Performance’s only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance. To the degree that performance attempts to enter the economy of reproduction it betrays and lessens the promise of its own ontology…. The document of a performance then is only a spur to memory, an encouragement of memory to become present.
Performance artists of the 70s and beginning of the 80s generally did not care about the documentation of their work and the performances were to take place only once. Grzybowski, however, was already a performance artist, whilst still a student of painting at the Academy of Fine Arts in Krakow. His diploma work was a “painterly documentation” of paintings based on photographs taken during his performances. The photos to be re-created as paintings were of a technically low quality, usually out of focus, but they had an aesthetic sense. The preparation of performance art “documentation” in the form of painting is surprising even today. As Lukasz Guzek wrote: […] making art based on documentation causes a situation, in which the starting point of creating art refers to a form, not “making meaning”, and this means that the vector of artistic searches which began in Kosuth’s conceptualism and postmodern practices has been reversed.
The paintings by Peter Grzybowski shown during the exhibition Changes in Piotrkow Trybunalski (curator: Paulina Olszewska) are based on performances which are known to a very narrow audience. These performances have never been repeated, so an exhibition of their painterly “documentation” provides the first opportunity to view the beginnings of Grzybowski’s art, including performance. The paintings exhibited come from three series, and include Painting from 1981 (Pod Reka Students’ Club, Krakow), Cummulation from 1982 (from an event organised during martial law in his own studio in Krakow) and Red Lights from 1984 (performance for camera, without audience). Among them only the last series was exhibited in the 80s, in Buffalo, NY and the paintings look very fresh even today. […]