performance protocols

performance | [paer-'for'-mans] protocols | [proe-to-'koels']

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Current exhibition: Walking Protocols I

claus ejner (DK)

Anette Friedrich Johannessen (NO)

Ilya Noé (MX/DE)

Aleks Slota (PO/DE)

Sall Lam Toro (PT/DK)

performance protocols opens its first online exhibition on June 27. 2019 with a dedication to “walking protocols,” where the act of walking is explored as artistic means, tool, and concept in performance instructions. This will be the first of two exhibitions around this theme. Walking Protocols I features two types of works, 1) protocols created especially for the viewer to engage with and perform. 2) instructions created by a performer to be performed by themselves with an invitation for the audience to join in. The first type of works additionally distinguishes between acts that are to be created in solitude and in a group dynamic, as social practice.

The playful, Dadaist approach to the protocol can be seen in claus ejner’s Performance about evolution, which is created specifically for the first performance protocols exhibition. This protocol, as with other of ejener’s works, has a critical glimpse in the eye, with repetition as a central element. Repetition is also a crucial element in Ilya Noé’s Deascent. This protocol is based on her durational performance for the the 12th Biennale of Shanghai in 2018 that invites others to “surrogate” and adapt that performance to their own place, time, and situation. The piece is additionally created for escalators, and in this way dependent on a specific infrastructure that is often found in bigger towns and cities.

Non-verbal, group dynamics and power play will be exposed in Aleks Slota’s Destinations Unknown, an instruction created specifically for this exhibition. The collective action is additionally key in Anette Friedrich Johannessen’s Active Body-Lazy Mind, but with a looser structure in relation to the performers relations to each other. Here place and sensation are in focus with a collective frame for performing.

The topic of mourning and butoh walking as the performer’s own practice is seen in Sall Lam Toro’s Lutos de Amor (Grievances of love), which ritualistic form has been adapted to a performance protocol. Also this instruction has a durational approach, which invites to engagement.