Here are some examples (do not perform these):
 GET YOUR NEIGHBOR'S PHOTO ALBUM  GIVE THE NEIGHBOR YOURS IN EXCHANGE  ENLARGE ALL THE PICTURES TO 8 X 10  FRAME THEM IN SOME SIMPLE FASHION AND HANG THEM ON THE WALLS OF YOUR APARTMENT  YOUR NEIGHBOR SHOULD DO THE SAME WITH YOUR ALBUM
JOHN BALDESSARI [ B-001A ]
How To Kill A Bug
Using a pipe and a cable detector locate all the cables and metalwork hidden below the surface of chosen wall. Loosely mark their location using a light blue pencil. |
Bring closets, tables, stools, chairs,
Approach a stranger who you perceive to be somehow different to yourself. The difference between yourself and this person could be of any nature, for instance - age, class, lifestyle, politics, skin color, religion etc etc. However, the category or categories of difference that you chose, should be one(s) that deeply inform your own life.
Embrace an important friend in a full-length hug for 31 minutes.
The following video is a student example of a performance. This documentation is weak and absolutely not a visually engaging performative event on its on. Please do not turn in the video or photography section of step 3 of the assignment with this type of aesthetic.
3. Creatively document/portray the emotional and visual essence of the performance through video, still images, sound, or a combination of media in such a way that the documentation becomes its own performative piece or artwork (visually engaging).
Challenge yourself with this portion of the assignment. Possibilities: Make an experimental short film of the performance. Shoot 8mm or 16 mm film. Record the sounds of the performance with a high quality mic from the position of the audience and/ or the performer. Use a camera as part of the performance. Shoot the event through a pinhole. Shoot the event with a large format camera.
The main idea is to reveal the nature of the performance and what occurred in a specific time and space (document- where, when, why, and how) but to also interpret and edit this documentation in such a way as to recharge the exhibition space (classroom) with a powerful new experience that acts as a performative event . This is not an easy task and may require you to have a friend document the event. The documentation is in effect a new piece of artwork that the class will critique.
Media Requirements for this step:
Photos only: 3 prints minimum size 11x14
Video Only: minimum 2 minutes
Sound Only: minimum 2 minutes
Mixed Media: Please discuss with instructor.
Marclay's Guitar Drag is a great example of mixing the document and the performative.
If you combine the aesthetic quality of the two following photos you will be on the right track.
Sandy Skoglund Photograph
Sandy Skoglund Documentation of Performance
Up to and Including Her Limits 1973-76
4. Collect Relics of the event with the intention of exhibiting them.
" Another way of becoming a trace is the idea of relic. Some artists use their performance material like relics. The "left overs" are shown like pieces of art themselves and they should be loaded with a kind of energy that came from the actions that were made with them (like the shattered glass that Chris Burden crawled through in his performance "Through the night softly" in 1973. It was exhibited more then once in different museums.). "
Up to and Including Her Limits Installation
4. Formally present instructions, documentation, and relic to class for critique as separate but related artworks