{"title":"Delegating (community) action: Stuart Brisley’s Peterlee Project","authors":"Neylan Bagcioglu","doi":"10.54533/stedstud.vol003.art14","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art14","url":null,"abstract":"In the first half of the 1970s, the Artist Placement Group[1] (APG, 1966–1979) applied to several New Towns in order to arrange the scheme through which artists could be placed in the town.[2] Like other APG placements in industrial or governmental organizations, this application rested on the idea that an artist could have a positive effect on a town and its people. The only response came from the Peterlee Development Corporation (PDC) and, in 1975, Stuart Brisley (Surrey, 1933) was placed in Peterlee. After a month of feasibility research around the town, Brisley went back to the corporation and told them that it was “absolutely useless” to make artworks for his placement. He had concluded that any presumed aesthetic value attached to an artwork would fail to benefit people living in Peterlee.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126428625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Play and the Profane","authors":"Massa Lemu","doi":"10.54533/stedstud.vol003.art11","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art11","url":null,"abstract":"In his performances, artist Samson Kambalu takes over, upturns, and redeploys the signs of power to refashion the self. These self-refashioning acts are particularly marked in Kambalu’s performance titled Holy Balls (2000), which involves kicking footballs which were created by plastering Malawian rag and plastic street soccer balls with pages of the King James Version of the Bible; his quasi-spiritualism of Holyballism, which is a doctrinal syncretic mixture of Gule Wamkulu philosophy of the Chewa, the Egyptian pharaoh Akhenaten’s sun-worshipping monotheism, the creed of Moses the prophet, Jesus Christ, and Nietzsche’s The Gay Science; and the performance-cum-installation (Bookworm) The Fall of Man (2003), featuring a ritual performance in which apples are eaten, surrounded by concrete poetry written on gallery walls. In these artworks, the artist adopts the transgressive performative elements of the Gule Wamkulu masquerade, Duchampian irreverence, and play and the profane to confront his legacy in the form of language, patriarchy, Christianity, and the hegemony of Dr. Kamuzu Banda, founder of the Malawi nation, in processes of subjectification.[1] In this essay, I use Jacques Lacan’s conception of the symbolic father, which constitutes all conventions that bind one to society, Mikhail Bakhtin’s idea of the carnivalesque subversion of power by the powerless, and Julia Kristeva’s abject and figure of “the deject” as “the one who strays” (as a “deviser of territories, languages, works”) to illuminate how Kambalu takes over and upturns the signs of power, and purges (“exercise and exorcise,” in the artist’s own words) the dark traces of his legacy. In short, with the performances Holy Balls, Holyballism and (Bookworm) The Fall of Man, Kambalu subverts his own religious, cultural, and sociopolitical legacy in order to refashion the self.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123094201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Broadcast / Looping Pieces","authors":"Tim Etchells","doi":"10.54533/stedstud.vol003.art07","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art07","url":null,"abstract":"The score for the performance A Broadcast / Looping Pieces has its origins in the series of series of notebooks in which I collected short texts; ideas, notes, lists and phrases of my own linguistic invention alongside fragments from overheard conversations, movies, newspapers and books prior to 2001. Effectively a scrapbook of fragments that interested me for one undefined reason or another, these were materials flagged for later use or investigation, oddities and half-thoughts, accumulated in haphazard fashion.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114310340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Mode Of Translation: Joan Jonas’s Performance Installations","authors":"Robin Williams","doi":"10.54533/stedstud.vol003.art05","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art05","url":null,"abstract":"Imagine this. Parting a heavy curtain, you enter a vast space. Ceiling high and pitched, austere columns down two long sides—it’s a kind of post-industrial basilica painted black. Sound is a resounding murmur. Light flickers across video monitors and projection screens. You pause for your senses to adjust. First scanning the room and then moving within it, your perception sharpens to your surroundings… Figures, mostly women: in landscapes, with animals, mirrors, and masks; cones of white paper or galvanized tin nearly twice your height; line drawings in sand or chalk, on paper or in video; sounds of wind, foghorns, whistling, footsteps; images in facets, shadows, reflections, prisms… You walk through the space, gathering perceptions. Eventually, your experiences of aural and visual echoes cohere to form an internal syntax, a meaningful order, in which no external references pertain. Like a dream or a foreign place, the environment is immersive and so impossible, later, to fully recall or describe. What remains with you is an impression, an image that dwells in your mind.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128079702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Troubles with Temporality","authors":"Bojana Kunst","doi":"10.54533/stedstud.vol003.art03","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art03","url":null,"abstract":"This essay examines the relationship between contemporary performance, temporality, and politics. In recent decades, this relationship has mostly been analyzed through different approaches to the ontology of performance. On one hand, the political strength of performance is strongly related to the specific temporal constellation of its present; on the other, the disappearing presence is continuously challenged with the ways in which performance remains, and how its politics are intrinsically bounded to the traces and documents of the past that performances produce. In this essay, I would like to add an additional insight into the temporal dynamics of the performance, which critically stresses a specific temporal aspect of performance as a political and emancipatory practice. My goal is to show how such an understanding can also divide the temporal aspect of the performance from the materiality of its own event, turning it into an abstract and immaterial political potential, which can also be described as the process of dis-eventualization.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129030409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Individual Mythologist’: Vulnerability, Generosity, and Relationality in Ulay’s Self-Imaging","authors":"Amelia Jones","doi":"10.54533/stedstud.vol003.art10","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art10","url":null,"abstract":"The career project of Ulay, as I understand his work, has been to explore and expand in the most generous way upon his sense of vulnerability as, in his words, “a loner by nature… an orphan since I was fifteen years old,” born in 1943 into the complexities of a Germany in the midst of World War II.[1] “I am,” he has written to me, an “individual mythologist (all included) the more so [in that] I’m self taught, an autodidact.”[2] His extensive performance and photographic project as an “individual mythologist” has been aimed at enacting himself for us as a fluid and mutable subject, while creating community by activating relational bonds and opening us to our own fluidity. We are all mythologists of the self.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114204043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Performative Interactions with the Past","authors":"Katalin Cseh-Varga","doi":"10.54533/stedstud.vol003.art06","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art06","url":null,"abstract":"Reinterpretation and recontextualization… play an important part in the work of the Hungarian artist group Little Warsaw. In the fall of 2005, they invited Tamás Szentjóby to repeat his action entitled Exclusion exercise. Autotherapy to prevent punishment in their studio as a public event. The original action was realized in 1972 in the context of the “chapel shows” in the lake-side resort of Balatonboglár, a series of underground art exhibitions that was monitored by the secret police and forbidden the following year. Of particular interest here are Little Warsaw’s motives for asking Szentjóby to repeat this action and his reasons for agreeing to do so. As he had done thirty-three years previously, he sat on a chair, placed a bucket over his head, hung a piece of cardboard round his neck bearing the words “Exclusion exercise. Autotherapy to prevent punishment” and subjected himself to questions from the audience for two hours. The action included a piece of paper nailed to the wall with suggestions for possible questions. They included the following: “Is it really the task of art to raise awareness, is our destiny identical with history?”’","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128257961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Place of Performance – Editorial","authors":"S. Berrebi, H. Folkerts","doi":"10.54533/stedstud.vol003.art01","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art01","url":null,"abstract":"I remember Anne Teresa De Keersmaeker walking casually onto a dark, almost empty stage, save for an old-fashioned record player. I remember distinctly her gesture of lifting the tone arm and putting it down, the distinct sound of the needle hitting the grooves of the vinyl record, audible even to an audience sitting several meters away. Suddenly, the clear voice of Joan Baez, accompanied by an acoustic guitar, fills the theater. De Keersmaeker kicks off her shoes and begins to dance, like a teenage girl would do in her bedroom, absorbed in the peace songs of the musician and activist, oblivious to us, or so it seems. And yet, I remember (but perhaps this is only a trick of my memory) that she briefly looked up at us when she walked in, registering our presence as one does entering a busy public space. I always remember De Keersmaeker’s 2002 solo piece, Once, as a landmark of performance: the absence of acting, the subtle distinction between her space and our space, the way it made me think of everyday gestures as performance—something that would impress me so much, years later, when I discovered it in the work of sociologist Erving Goffman and his book, The Presentation of Self in Everyday Life (1956).","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"296 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121488966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Transvestite Museum of Peru","authors":"G. Campuzano","doi":"10.54533/stedstud.vol003.art04","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art04","url":null,"abstract":"Giuseppe Campuzano wants to relate history all over again. He wants to unfold the bitchy version, the one with mascara running down its face. He wants to tell us all the stories that were taken from us. More than fifteen years ago, while he was dressing up in sequined costumes, feathered headdresses, and high heels, going from queer to queer, wig to wig, salon to salon, Giuseppe began to wonder about the lost ancestors of his joyful transvestite body. This question was also a performance, and a portable revolution about to explode. Out of his silver bag, Giuseppe took a series of writings, images, and objects that he had been accumulating since his childhood: this was the album of becoming-transvestite. This collection of recycled fictions—culled from the sewers of the heterosexual gaze’s regime of representation—was the beginning of an unstoppable vampire journey constituted by activism, theoretical writing, sexual practices, and cultural production. It was a vital journey on the road to subversion, with no predetermined plan or return ticket, and it would lead him to gather a collection of queer images and create the incredible archive, warehouse, and arsenal of disobedient bodies that he calls Museo Travesti de Peru—the Transvestite Museum of Peru (TMP).","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127358291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Uncounted","authors":"Emily Roysdon","doi":"10.54533/stedstud.vol003.art02","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art02","url":null,"abstract":"I believe in an alchemy of time. That a certain combination of words, a length of inaction, a discomposed room, or with some such cipher, I believe we we can make time.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117288716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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