Staging Interactive Encounters
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.
11. Attending the Gallery
← 190 | 191 →SOPHIA YADONG HAO
11Attending the Gallery
The gallery, in its concrete appearance as a room with four walls is, to misquote the title of Henri Lefebvre’s seminally influential book, a consensual event for the reproduction of social space.1 Taking this misreading as its cue, this chapter will examine how the curatorial tactics deployed around A CUT A SCRATCH A SCORE: A Comic Opera in Three Parts, sought to counter the reproduction of space, social relations and domains of knowledge.2
A man in a black suit and a bow tie stands in front of the stage. He calls out instructions, steps onto the stage, moves a prop, steps back and looks again. He walks to the left eyeing a projection, makes a signal to a group of singers, then returns to the stage and sits on a chair and speaks to one of the performers. He stands up again and steps off the stage to fix his gaze on the assembly of performers, props and projections that occupy one half of ← 191 | 192 → the Cooper Gallery. He turns away and glances at the audience who sit on chairs arranged in long lines opposite the stage. The audience looks back at him, Bruce McLean, as he marks out a space between the performance and the audience (see Figures 11.1 and 11.2).
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