The Expanded Performance program was dedicated to performance art, in the broadest sense of the word, exploring the practice of 'expanded' performance, I was invited by Stroom to curate a small program with works by ArtScience students focussing on this particular notion of performance art.
“[...] the title Expanded Performance is derived from the famous essay Sculpture in the Expanded Field (1979) by Rosalind Krauss. In this essay she describes how, against the modernist primacy, sculptures become more and more diverse, and how artists take on different positions in what she calls the 'expanded' field of sculpture. The idea of one medium with its specific set of conventions disappears. In performance art we see a similar development. Performance art was, historically, the quintessence of conceptual art: the idea stood above the product and there was no end product that could be bought or sold. Only the performance itself counted. This historical fetish of the presence of both the body of the artist and the public is becoming less and less dominant. Performance art is gradually changing from an art form dominated by the creeds unrepeatable, undocumentable, unsaleable, to an art form that includes repetition, documentation and objects“
“[...] the title Expanded Performance is derived from the famous essay Sculpture in the Expanded Field (1979) by Rosalind Krauss. In this essay she describes how, against the modernist primacy, sculptures become more and more diverse, and how artists take on different positions in what she calls the 'expanded' field of sculpture. The idea of one medium with its specific set of conventions disappears. In performance art we see a similar development. Performance art was, historically, the quintessence of conceptual art: the idea stood above the product and there was no end product that could be bought or sold. Only the performance itself counted. This historical fetish of the presence of both the body of the artist and the public is becoming less and less dominant. Performance art is gradually changing from an art form dominated by the creeds unrepeatable, undocumentable, unsaleable, to an art form that includes repetition, documentation and objects“
With Adrien Tirtiaux, Ruth Buchanan, Alexandre Singh,
Anne Holtrop and others. Participants for the ArtScience Interfaculty: Charlotte ‘t Hart, Ludmila Rodriques and Gaby Felten/the Department of Surplus Persons Affairs.
Produced by STROOM HCBK, in collaboration with REWIRE, Cinedans and the Royal Academy of Art (KABK). The full program can be found here