Staging Interactive Encounters
Edited By Outi Remes, Laura MacCulloch and Marika Leino
The essays present both academic research as well as case studies of curatorial projects that have pushed the boundaries of the art historical practice. The authors come from a wide range of backgrounds, ranging from curators and art producers to academics and practising artists. They ask what it means to present, curate and create interdisciplinary performative work for gallery spaces and offer cutting-edge research that explores the intricate relationship between art history, live and performing arts, and museum and gallery space.
9. Crowd Control: Encountering Art’s Audiences
← 156 | 157 →LEAH LOVETT
9Crowd Control: Encountering Art’s Audiences
A black and white reproduction of a photograph of an encounter. A young boy stands separate amidst conversations. He is at a safe distance from the action which holds his attention. A performance (the photographer’s subject). Three women conjoined into a precarious surveillance unit, held in formation and filming the exhibition space from above. Their arresting uniform: black stilettos, leather-capped leggings, hi-vis jacket and ex-police issue riot helmet-turned-tripod-foot.
* * *
There were more of you, but they were situated strategically. A few occupied the monumental plinths, tracking troublemakers through telephoto lenses and preventing those who would address you from taking the stage. The rest wore full riot gear and stood shoulder to shoulder in lines, bridging the gaps between boarded-up buildings and dividing your lot from passers-by. Then the boundary their bodies made began to contract and you were condensed with the rest into a mass.
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