13. A negotiated interaction: Body Atlas by Margaret Dragu and Fiona Griffiths (Description, video recording, “dead” livestream)
As noted in the previous post, the KinesTHESES project included a series of negotiated interactions that paired local and non-local artists. Distinct from the artists' individual projects, these events were an opportunity for the invited ...
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12. A negotiated interaction: Step 2 by Stephanie Marshall and Sakiko Yamaoka (Description, digital photos and video recordings)
It is common for art exhibitions to include animating events such as artist talks, where audiences can discover more about the artist and their working methods, the thinking and doing behind the project, the various ...
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11. Interview with Sakiko Yamaoka: An ambulatory, gestural conversation, or, “I know her, but I don’t know her.”
One of my favourite ways to talk with someone is while walking together. The shared forward momentum almost automatically generates an intimate connection between the walkers, attuning their moving bodies in a rhythm of complicity ...
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10. Body Maintenance—Notes from Sakiko
—Sent via email to the curator, November 2, 2021. For me, the most important aspect of Body Maintenance is the rhythm. That is why I dribbled the ball in the room.The calm and well-paced sounds ...
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9. Body Maintenance within KinesTHESES
As the KinesTHESES curator, I am interested in the tactile-kinesthetic propositions Body Maintenance offers for an audience of thinking bodies, and how these propositions activate and influence participants' self-conception. This entry of the Toolkit offers ...
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8. Sakiko Yamaoka’s Body Maintenance : Description, digital photos and video recordings
Sakiko Yamaoka prefaced her KinesTHESES project, Body Maintenance, with these words: "I, personally, don’t like to do or watch any sports, but we can use the tools of sport for other intentions. For example, art ...
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7. On conserving performance art: A response to “Performance: The Ethics and the Politics of Care — # 1. Mapping the Field” (May 29 – 30, 2021 online colloquium)
I recently attended a free conference (hosted on Zoom and livestreamed on YouTube) examining the conservation of performance works. "Performance: The Ethics and the Politics of Care — # 1. Mapping the Field" was addressed ...
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6. KinesTHESES: About the Title
The name of this curatorial project is a play on the term "kinestheses," which comes from the phenomenologist philosopher Edmund Husserl. Husserl was deeply attuned to the close connection between life and movement. He described ...
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5. Para-sites of Performance Art: Some Brief Thoughts on the Role of Artist-Curator
In terms of professions, I define myself first as a performance artist, but that label is closely followed by at least two others: performance curator and, more recently performance theorist. This confluence of roles is ...
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4. You Are Here (“you had to be there…”): Experience and Representation
While the live situation may enable the phenomenological relations of flesh-to-flesh engagement, the documentary exchange (viewer/reader <—> document) is equally intersubjective.(Jones 1997: 12) Art historian and theorist Amelia Jones has written extensively about the uneasy ...
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