Listed Below are two proposals for potential exhibition narratives developed from the “fugitive object”.
Distributed Authorship: re-considering labour as (a form of) Art and Time (as a measure) of Currency.
This exhibition presents a series of three contemplative art objects co-authored, co-produced and co-owned by more than one hundred “artists” in a model of art production that distributed authorship over a duration of one month. The curated display is an attempt to piece together statistical representations of the labour hours put in and time taken to produce the art objects, as one reconsiders labour as (a form of) Art and Time (as a measure) of Currency.
A Selection of Performance Art Relics: [No. 203 (2.03 %), 3 Hours and 27 minutes].
This exhibition presents a selection of performance art relics from performances that had taken place in Your Mother Gallery, Singapore. The performance art relic is a term used for objects, which are results of the transformation from states of “mere” material to “autonomous” artworks created or used during performance art. The curated display attempts to give the performance art relic an aura beyond the connections with their situational taxonomy, “labour hours” put in and the time taken to make.
Both are very strong! My suggestion is, with Distributed Authorship, that you begin to describe the objects themselves (bring in material details) in the exhibition proposal – as well as where they were made, when they were made, etc. Why is the statistical representation of labour relevant, important, to the context/place where it is shown? Similarly, with Your Mother Gallery, I’d include the timeframe that you are working with. I also think the idea of “situational taxonomy” is very interested and would be something to develop, almost as the core of the narrative rather than an aside. I like how this plays on the situationists and also forms of categorisation as well as embalmment.
I have simply added in the “when and where” they were made in my revised exhibition proposal attached to the “Education and Activation” Programming Post. The statistical representation will not be written about but the “timeframe” was duly included. I am still wondering how the “situational” aspect of the relic can be played up/out. Yes, I do enjoy the playing on situationists, structures of “categorisation” of art but do find that notion of embalmment maybe too specific for this particular exhibition. Hope to talk more to you about this last point.
That’s great. Some other aspects of your write-up that would need further clarification: Why are these ‘contemplative’ objects? And why do you put the term “artists” in quotation marks? How is this reframing of the definition of an artist tied to the works being exhibited?
The other part I would edit is including (a form of) and (as a measure of) in parenthesis. It seems a bit like you are overdetermining the explanation…