RECREATION DOCUMENTATION at recreationdocumentation.blogspot.com

8 BELIEFS 4 RECREATIONS BY NANCY DOUTHEY
IN FEAR OF HOLDING ONTO BELIEFS THAT MANY TIMES REVEAL THEMSELVES TO BE LIES. I HESITATE TO MAKE SUCH BOLD STATEMENTS. HOWEVER, RECENTLY I HAVE STARTED TO FEEL THAT THESE BELIEFS MUST BE STATED, ACTED UPON, AND THROUGH THOSE ACTIONS, THOSE TESTS, TRUTH MAY BE REVEALED IN REGARDS TO THOSE BELIEFS. HERE ARE EIGHT BELIEFS I HAVE PRIOR TO THIS STUDY IN THE RECREATION OF PERFORMANCE AND THE DOCUMENTATION


8 BELIEFS
i believe that in the recreation of any performance we not only learn something about the person or persons who have created that work but also something about ourselves and our relationship to that person or persons

i believe that in the recreation of any performance i have a new understanding of that performance in that specific moment in time with the specific people that are witnesses or participants

i believe that in the recreation of any performance i gain an experience that could not ever be gained through text or visual images

i believe that in the recreation of any performance i will change

i believe that in the recreation of any performance it has the same potential to be something entirely different than any other time it was created

i believe that in the recreation of any performance those that may witness or participate in the performance will change

i believe that in the recreation of any performance the artist is responsible for being present

i believe that in the recreation of any performance the artist is not responsible for how those witnesses or participants will change after the performance, but responsible to have hope that change will occur


ADRIAN PIPER: CATALYSIS
"I can no longer see discrete forms or objects in art as viable reflections or expressions of what seems to me to be going on in this society: They refer back to conditions of separateness, order, exclusivity, and the stability of easily accepted functional identities that no longer exist."

"I've been doing pieces the significance and experience of which is defined as completely as possible by the viewer's reaction and interpretation. Ideally the work has no meaning or independent existence outside of its function as a medium of change. It exists only as a catalytic agent between myself and the viewer."

"Art contexts per se (galleries, museums, performances, situations) are becoming increasingly unworkable for me... they preserve the illusion of an identifiable, isolatable situation, much as discrete forms do, and thus a prestandardized set of response. Because of their established functional identities, they prepare the viewer to be catalyzed, thus making actual catalysis impossible(rather that its more comfortable illusion, which consists of filling in the particulars of an aesthetic experience, the general outlines of which are predetermined)."