Re-praktyki sztuki performance – dokumentacja, remediacja, dystrybucja sieciowa Re-practices in Performance Art – Documentation, Remediation and Networked Distribution
Performance art does not operate in isolation from the broader circulation of the
networked culture. Just like any other media, the documentation of performance can
be dispersed throughout the network: to be remixed or recontextualised or become
the component of a mashup. The documentation of performance events in the reality
of the contemporary network culture does not play a subordinate role to the event as
such, since the distributive network not only disseminates information about the event,
but also generates a discourse. Analysed examples include the forms of creative activity
such as re-enactment, looping online video performance or intervention in the real-time
documentation. There are also the new possibilities of artistic expression that come with
the persona of a “code performer”. The examples of artists’ approaches include: Constant
Dullaart, Ryan Trecartin, and Gazira Babeli and duos, as Eva and Franco Mattes or MTAA.
The theoretical framework is based on the theory remix by Eduardo Navas, and the notion
of “culture as a screenplay” introduced by Nicolas Bourriaud. It is important to apply it
not only to a remediated performance understood as a work of art. Also, the continuous
creation of an online identity – both in the world of the Second Life, as well as through
social networking platforms – is an ongoing performance in front of potentially global
audience. Re-practices within contemporary art rely on the appropriation of historical
events and their continuation, which allows for the creation of a third reality of some
sort. This third reality becomes a common one, within which – paradoxically – constant
change is a sign of the need for preservation. As a result, the documentation material is
open, being part of a game with an ever-changing system of references.
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