Urich Lau 
Video Conference: Virtual Reverie for Life Circuit (VC_VT_LC)

For this performance, Lau documented himself living, working, eating, and sleeping in his studio for 24 hours, inviting his audience/viewers to engage in this durational piece while remaining remote. Photographs of the performance reveal a daunting array of cables, computers, monitors, and projectors. A durational performance in the time of Covid is not an easy task. Durational performance is never easy, requiring a commitment from both the artist, who must endure through a long period of time, and the audience, who also commit to act as witnesses. When Tehshing Hsieh punched a time clock every hour on the hour for one year (One Year Performance 1980-81), he and his audience marked the difficulty of this task, a task that meant that he never slept for more than 59 minutes at a time. Along those same lines, the artist Marilyn Arsem has done a series of performances entitled Marking Time, performances in which she acts slowly and deliberately for a set number of hours, the passage of which is noted by a chime. As with Hsieh, Arsem’s task is witnessed by the audience, who sit with her as she warps and extends clock time. 

Lau’s performance, like that of Hsieh or Arsem, required a commitment and audience witnesses to authorize the actions and raise them from the quotidian to something that was framed by time. The context is very different, however. Rather than remaining in the same room with the artist, the audience watched the piece unfold on their computer screen. Currently, the documentation of the performance, which took place on May 22 and 23, 2021, is available on youtube, which creates more remove. The screen is divided into 4 quadrants, with the lower left square outlined in green and the upper right in red. While organization suggests the way in which camera footage in stores and public spaces is displayed to those who are monitoring that footage, the energy on the screen suggests that this is not the case. Images double, lights flicker, colors glow, and people move in this space. Every bit of Lau’s Singaporean studio is documented, yet it is impossible to tell what the configurations of that studio might be. According to Lau, this performance is as much about the efficacy and dependence on surveillance technology as it is about his actions. In an age of ubiquitous surveillance where people move through their daily lives aware and unconcerned that they are continually generating data that can be used against them, Lau’s Video Conference: Virtual Reverie for Life Circuit (VC_VT_LC) makes evident the degree to which we are all surveilled, not by extolling the evils of Big Brother is Watching, but by embracing that surveillance and acknowledging the need for this technology, particularly since the pandemic is not over yet. 

Graciela Ovejero Postigo
DISAMBIGUATION OF THE INTERVAL (4TH ESSAY)/Desambiguación del INtervalo / 4to ensayo

DISAMBIGUATION OF THE INTERVAL (4TH ESSAY) is the fourth part (essay) of a series of performances/individual actions recorded for video in Ovejero Postigo’s house-art space for performance Peras de Olmo – ARS CONTINUA. There is a fifth essay, performed as part of live event sponsored by LAB-etc./LAP / Laboratorio Abierto de Performance, Chile.

Disambiguation is the process of distinguishing between similar things in order to make the meaning or interpretation more clear or certain. To disambiguate something is to remove ambiguity and clarify, rather than obfuscate, the communication. An interval is a pause in time, a cessation of action, an interspace. Ovejero Postigo’s essays/actions, made in the time of Covid, are an attempt to clarify the pause, the interval, that has occurred in the Live Art world as a result of the pandemic. Moving silently and gracefully through her now empty art space, Ovejero Postigo animates objects, some of them relics of earlier performances, allowing them to speak differently of this long and troubling interval, an interval that Ovejero Postigo called “the great interval between sad paradigms, symbolic pause and multiple bodily agonies.”

4to ensayo is divided into three parts. The performance begins with a shot of white chrysanthemums in a white plastic bucket set in a small alcove, which fades away to reveal Ovejero Postigo stepping out of her clogs and into the space. The space–Peras de Olmo – ARS CONTINUA is beautiful and spare. White walls, wooden floor and molding, a small blank canvas leaning against the wall and a ream of white paper on the floor are in the left corner, a black pedestal placed on a swath of black cloth is in the center of the room. Two or more alcoves, from one of which the chrysanthemums are visible. Garbed in a simple black dress with her long hair tied back, Ovejero Postigo places a white handkerchief/veil on her head, picks up the ream of paper, steps onto the cloth, and shuffles towards the pedestal, where she places the paper. After fastening a glass pitcher to her waist, Ovejero Postigo carefully folds and eventually crumples the sheets of paper one by one, placing them in the pitcher attached to her waist. Still standing on the cloth, Ovejero Postigo shuffled to the wall, paused, and then lowers her head so that the veil dropped. 

Part 2 begins with a hinged mirror. This time, the camera is angled for the audience so that it seems that we are there, watching Ovejero Postigo enter the space. The mirror makes patterns of light on the floor, walls, and ceiling. What is left of the ream of paper sits on the floor in the right corner, in the left is the unused canvas, still leaning against the wall. Ovejero Postigo eventually makes her way to the front of the space, abandons the mirror, and begins painting her arms and legs with red paint. The performance concluded with Ovejero Postigo carrying a sculpture of entwined branches across the space to the right corner. She paints the branches and balancing them on her head and on the ream of paper before painting them with the same red paint that she used to paint her body. As a finale, Ovejero Postigo draped the red cloth that she used to do the painting on the blank canvas in the left corner. 

Part 3 begins with Ovejero Postigo, her back to the audience, donning the chrysanthemums that appeared at the beginning of the first part of the performance. Ovejero Postigo’s arms and hands are still painted red. The chrysanthemums have been woven into a form that can rest on her head. More chrysanthemums are added (more than were in the bucket). After carefully donning her headpiece of woven chrysanthemums, Ovejero Postigo turns her head right and left. Suddenly, she is back with the pedestal, holding the edges, perhaps to prevent the glass pitcher from falling off. Standing once again on the cloth, she slides backwards, carefully repositioning the pedestal. Eventually she goes to ground, draping herself with the cloth on which the pedestal sits. The final scene is the pitcher, empty of everything but air, placed atop the pedestal. 

The work, according to Ovejero Postigo, is about the objects, which “suggest the potential of escape, of a certain intensification of hope, and of invention.Desambiguación del INtervalo / 4to ensayo is unbearably poignant, a tribute to past performances that are no longer happening, and to a present that is closed down due to the pandemic. In this performance, the actions of the body, of past bodies and of Ovejero Postigo’s present body produce what Rebecca Schneider has called “the hauntingness of history,…the transmission of affect in the jumping and sticky viscosity of the past” (Performing Remains). Desambiguación del INtervalo / 4to ensayo suggests the sedimentation of histories that are still present, histories of what Ovejero refers to as “phalo-logo-occidentalocentric mold.” She writes that

If art and precisely performance / action-art is supposed to offer something in the crossroads / blind alley we are in as the anthropocene live-earth deploring protagonists, it might be the invitation to allow metaphorical explorations to get presence, to transform the qualities of “time”, of accesses to be in-with it, to plunge into the quest of the ambiguous, into the rewinding while mending, exorcising that which already has been, is. Gathering energies from it to reinvent ways of understanding, connecting, through the open rehearsal of the metaphorical functions and empathic, spiritual experience to break away from the colonizing rationality of the dominant western logos and prescripted self-perceptions.” (Correspondence to author)

Desambiguación del INtervalo / 4to ensayo repurposed objects that might have remained in storage, animating and materializing them to create affective moments that challenge the phallogocentric associations of the objects. Ovejero Postigo’s performance can be read as a moving art work–a series of images, colors, and actions that produce new meanings. The white flowers, the black cloth and pedestal, the glass pitcher, the red paint, the slender tree branches and Ovejero Postigo, her face obscured by white flowers, her arms and legs painted red, lying prone on the floor–all striking images disambiguated through their indexical connection to the real of the performance.

Daisuke Takeya

Borderland was performed at Montomisayama Iseki, Shimosuwa, Nagano Prefecture, Japan on June 25, 2021, for R3: Scape-City. The performance was done for video as a result of the on-going pandemic that has made air travel and social gathering difficult. Takeya and the unnamed videographer were alone on the grounds of Montomisayama Iseki, an important historical site in Shimosuwa. 

The performance itself is deceptively simple. It opens with an image of a small creek in a lush, grassy field. Bird song can be heard in the background. A rickety white bridge, part ladder and part table, spans the creek, which forms a natural border between two pieces of land. In the upper left hand corner, the ancient wooden shrine of Montomisayama Iseki, festooned with prayer flags, can be discerned. On the right, the unsullied landscape of verdant grass and rolling hills expands away from the shrine. Garbed entirely in white, Takeya steps into the frame. Turning to face the camera, Takeya acknowledges the meaning of the site with a moment of stillness, his eyes uplifted. 

Continuing with the task at hand, Takeya begins to cross the divide by means of the unstable bridge. Placing both hands on either side of the top, Tekeya gingerly climbs up the ladder, crawls to the other side, and patiently ascertains the stability of the ladder before carefully standing up, back straight, head held high, and eyes gazing up. Returning to all fours, Takeya carefully descends the ladder, while the squeaking sound of his rubber shoes competes with the sound of a cuckoo bird. Does the cuckoo sound suggest some kind of koan? It is difficult to say.

On the ground, he again stands at attention. Turning back towards the bridge, Takeya steps into the water, pausing again to stand at attention, after which he walks off to the left. 

Returning again, Takeya repeats the action, although this time pausing to lie prone on top of the bridge before crawling off hands first onto the ground. Pausing for a moment in the prone position, Takeya ended the performance by crawling away through the grass. 

The Motomisayama Iseki is listed as a “must visit” attraction in Shimosuwa on trip.com, but there is little to be found regarding this site, which is also called the Moto-misayama ruins. Until the early Edo period (1603-1868), it was the site of a hunting ritual and dedication shooting techniques such as yabusame and sumo. The site held an amphitheater structure similar to contemporary stadiums where these rituals occurred. During the 1964 Tokyo Olympics, the site attracted attention as the home of the Japan’s original Olympians. 

Takeya’s performance took place at the same time as the 2020 Tokyo Olympics, postponed a year due to the Covid pandemic. The stance that he repeatedly assumes recalls the stance taken by Olympic athletes on the medals podium, who are expected to stand at attention while their national anthem is played. This performance, however, is not simply a gesture to Olympic competition and national pride past and future. The 2020 Tokyo Olympics engendered intense controversy, with many residents of Japan deeply opposed to the event, concerned that it would result in another outbreak. Takeya’s second exit from the frame, an exit that marked the end of the performance, seemed to acknowledge this dichotomy. 

Takeya, in relationship to his own work, as well as in relationship to the collective Responding Performance Initiative, has embraced the twin ideas of “reasserting small histories of lived experience” and the idea of the “proto-monument” an anti-monumental performance that is for people but is not for celebrating the accomplishments of only the hero. Borderland is a small history of the historic site, a reimagining of its monumental and religious significance through the lens of social distancing, purity, infection, and subtle humor.

翻訳 www.DeepL.com/Translator

Urich Lau 
Video Conference: Virtual Reverie for Life Circuit (VC_VT_LC)

このパフォーマンスでは、ラウ自身がスタジオで24時間生活し、仕事をし、食事をし、睡眠をとる様子を記録し、観客が遠隔地にいながらこの持続的な作品に参加するように誘っています。パフォーマンスを撮影した写真には、膨大な数のケーブル、コンピューター、モニター、プロジェクターが写っています。コヴィッドの時代に持続的なパフォーマンスを行うことは、決して容易なことではありません。耐久性のあるパフォーマンスは決して簡単ではなく、長期間にわたって耐えなければならないアーティストと、目撃者としての役割を果たす観客の両方からのコミットメントが必要です。謝德慶が1年間、毎正時に時報を打ち続けたとき(1980-81年の【One Year Performance】)、彼と彼の観客は、一度に59分以上寝たことがないというこの作業の難しさを目の当たりにしました。同様に、マリリン・アーセムは【Marking Time】と題した一連のパフォーマンスを行っています。これは、彼女が設定された時間の間、ゆっくりと意図的に行動し、その経過をチャイムで知らせるというものです。謝と同様に、アーセムの作業は観客にも目撃され、彼女が時計の時間を歪めたり伸ばしたりするのを一緒に見ることができます。

ラウのパフォーマンスは,謝やアルセムのパフォーマンスと同様に,行為を承認し,日常的なものから時間に縁取られたものへと引き上げるためのコミットメントと観客の目撃者を必要としました。しかし、その文脈は大きく異なります。観客は、アーティストと同じ部屋にいるのではなく、コンピュータの画面上で作品が展開されるのを見ているのです。現在、2021年5月22日、23日に行われたパフォーマンスの記録がyoutubeで公開されていますが、これがさらに除去を生み出しています。画面は4つの象限に分かれており、左下の四角は緑、右上は赤で輪郭が描かれています。これは、店舗や公共の場に設置されたカメラの映像が、その映像を監視している人に表示される方法を示唆していますが、スクリーン上のエネルギーは、そうではないことを示しています。映像が二重になり、照明が点滅し、色が光り、人が動く空間。ラウのシンガポールのスタジオは隅々まで記録されていますが、そのスタジオの構成がどうなっているのかはわからない。ラウ氏によれば、このパフォーマンスは、彼の行動と同様に、監視技術の有効性と依存性についてのものです。ユビキタス監視の時代、人々は自分が不利になるようなデータを生成し続けていることを意識せずに日常生活を送っていますが、ラウの【Video Conference: VC_VT_LC(Virtual Reverie for Life Circuit)】は、「ビッグブラザーが見ている」という悪口を言うのではなく、その監視を受け入れ、特にパンデミックがまだ終わっていないことから、この技術の必要性を認めることで、私たちがどれだけ監視されているかを明らかにしています。

Graciela Ovejero Postigo
DISAMBIGUATION OF THE INTERVAL (4TH ESSAY)/Desambiguación del INtervalo / 4to ensayo

【DISAMBIGUATION OF THE INTERVAL (4th ESSAY)】は、オベヘロ・ポスティゴの自宅のアートスペースで行われたパフォーマンス【Peras de Olmo – ARS CONTINUA】の中で行われた一連のパフォーマンス/個人的な行動をビデオに収めたもので、第4部(エッセイ)です。5番目のエッセイは、LAB-etc./LAP / Laboratorio Abierto de Performance, Chileが主催するライブイベントの一部として上演されたものです。


【4to ensayo】は3つのパートに分かれています。パフォーマンスは、小さな床の間に置かれた白いプラスチックのバケツに入った白い菊のショットから始まり、それがフェードアウトすると、オベヘロ・ポスティゴが下駄を脱いで空間に足を踏み入れる姿が映し出されます。Peras de Olmo – ARS CONTINUAの空間は、美しく、余裕がある。白い壁、木製の床とモールディング、左隅には壁に立てかけられた小さな白いキャンバスと床に置かれた白い紙、中央には黒い布の上に置かれた黒い台座があります。部屋の中央には黒い布の上に置かれた黒い台座があり、2つ以上のアルコーブがあり、そのうちの1つからは菊の花が見えています。長い髪を後ろに束ねたシンプルな黒いドレスに身を包んだオベヘロ・ポスティゴは、白いハンカチ・ベールを頭に被り、紙の束を手に取り、布の上に乗り、台座に向かって歩き、紙を置く。オベヘロ・ポスティゴは、腰にガラスの水差しをつけた後、紙を一枚ずつ丁寧に折り、やがてくしゃくしゃにして、腰につけた水差しに入れます。布の上に立ったまま、オベヘロ・ポスティゴは壁に向かってしゃがみ、ポーズをとってから頭を下げてベールを落としました。




Desambiguación del INtervalo / 4to ensayo』は、もはや行われていない過去のパフォーマンスと、パンデミックによって閉鎖された現在へのオマージュとして、耐えがたいほどに痛烈な作品です。このパフォーマンスでは、過去の身体とオベヘロ・ポスティゴの現在の身体の動作が、レベッカ・シュナイダーが「歴史の呪縛性、…過去の飛び跳ねた粘り気の中での感情の伝達」と呼んだものを生み出しています(『Performing Remains』)。【Desambiguación del INtervalo / 4to ensayo】は、まだ存在している歴史、オヴェヘロが「ファロ・ロゴ・オクシデンタル・セントリック・モールド」と呼ぶ歴史の沈積を示唆しています。彼女は次のように書いています。


【Desambiguación del INtervalo / 4to ensayo】は、倉庫に保管されたままのオブジェクトを再利用し、それらをアニメーション化、実体化することで、オブジェクトのファロゴシックなイメージに挑戦する感情的な瞬間を作り出しています。オベヘロ・ポスティゴのパフォーマンスは、動くアート作品として読むことができます。つまり、新しい意味を生み出す一連のイメージ、色、アクションです。白い花、黒い布と台座、ガラスの水差し、赤い絵の具、細い木の枝、そして、白い花で顔が隠れ、手足が赤く塗られ、床にうつ伏せになっているオベヘロ・ポスティゴ–これらすべての印象的なイメージは、パフォーマンスの現実との指標的なつながりによって、曖昧にされています。

Daisuke Takeya

【Borderland】は、R3: Scape-Cityの一環として、2021年6月25日に長野県下諏訪町の旧御射山遺跡で行われました。このパフォーマンスは、進行中のパンデミックにより、飛行機での移動や社会的な集まりが困難になったため、ビデオ撮影される前提で行われました。武谷と無名のビデオグラファーは、下諏訪の重要な史跡である「旧御射山」の敷地内に単独でいました。







Performance at Distance

Urich Lau – Virtual Reverie for Life Circuit (VC_VT_LC)
Graciela Ovejero Postigo – Disambiguation of the Interval (4th essay) 
Daisuke Takeya – Borderland

Biography 略歴

Jennie Klein (United States)

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