Performance Writing
‘Letter of Resignation’ - performance writing.
This last year in particular I have started to become more comfortable with the fact that I am as excited by the performative act of making as I am by the consequential drawing or print. I think because my research has led to intense discourse about the disappearance of handwriting, I have become increasingly aware of this being an important aspect of my practice. As such I have started to document the process and creation of some artworks, regarding these performances just as important as than the finished outputs themselves.
These drawings were mostly produced at home, but eventually became tiresome and monotonous. I think because I was limited to the desk in my bedroom, I felt as though everything was whispered and restricted. Once university began to slowly reopen I was able to get hold of a space big enough that I could really spread out, and when not confined by space I was able to shout about how I was feeling rather than whisper. This release was exactly what I needed to breathe a bit of life back into my practice and I am very excited by the results.
The following performances are titled ‘Letters of Resignation’. The title is an homage to the works of the same name by Cy Twombly, an artist that is widely recognised for his works that have quite clear connections to asemic writing. Furthermore there are many suggestions that can be derived from this title; letters in the sense of individual written characters, letters that we write in correspondence, resigning from a job and resigning to the fact that this is just how life is now. I enjoyed the multiple meanings that can be deduced from this, just as there are multiple ways that we can read and understand asemic writing.
‘Letter of Resignation’ - performance writing.
‘Letter of Resignation’ - performance writing.
I conducted this series of performances because I wanted to spread out and enjoy not being limited to a domestic space. I unravelled a roll of Fabriano paper and performed a series of asemic written works to music with a mop, a handheld jug mop, and a drawing instrument that I made with bamboo cane and string. These instruments are all evidently larger than a pen or paintbrush, and so in writing with these on the oversized paper I was making myself more aware that this performance was more of a spectacle than writing at my desk with a pen.
I write every single day, therefore I perform every day, and yet I was not consciously aware that the performance was taking place. It is interesting that the change in writing implement made me acutely alert to this fact. This is definitely something to think about in terms of the context of how or where the performance is taking place.
Does a performance need to be documented or witnessed in order to describe it as a performance? If I sit at my desk and write a letter, is it any less performance as it would be to do the exact same thing but go live on social media whilst doing it? Is every act of writing a performance, or is it a performance because it is labelled as such? I have begun to read more about some artists that explore performance in their practice in the hopes of learning more about why this method of communicating my ideas has peaked my interest.
Inoue Yûichi
Inoue Yûichi in his studio by Itô Tokio, 1984 - photograph.
‘Katsu (Sound of Metal)’ by Inoue Yûichi, 1977 - ink on paper.
Inoue Yûichi, was a Japanese artist who began working as a primary school teacher, before retraining under the tutelage of calligrapher, Ueda Sokyu. He came to the practice later on in life but is now regarded as one of the most esteemed Japanese artists of the last century. He co-founded the avant-garde society for calligraphy which in turn saw his push for liberation from calligraphy’s traditional roots, advocating documentation of the calligrapher’s physical movements and energy as being equally as paramount as the textual pieces themselves.
Yûichi depicts traditional Japanese kanji characters, having been predominantly inspired by traditional masters of Japanese calligraphy, but performs them in such a way that has been likened to abstract expressionist action painters. This meeting of Eastern and Western culture culminates in a performative practice that is a pure expression of being in the present moment. He allowed himself to enter a state of calm that is standard practice of the Japanese art of ‘Shodo’, which connects the mind with the body. This calm state of being is thus expressed in his written performance.
Nakajima Hiroyuki
‘Calligraphies Sonores’ by Nakajima Hiroyuki, 2018 - performance at Villa Cavrois Lille in France.
‘Shizen’ by Nakajima Hiroyuki, 2012 - performance at Galeria Nobili Milano in Italy.
Nakajima Hiroyuki is a performance artist, also from Japan, but learnt the art of Shodo from a young age. Hiroyuki understood that the art of calligraphy was highly sought after, but recognised that it had the potential to surpass tradition. He began to create abstract artworks based on his deep knowledge of Japanese calligraphy.
Not long after he began exhibiting his calligraphic abstract forms, he introduced elements of Tai Chi in to his practice, aiming to establish the process of calligraphy by way of performance. He begins his performances by standing in a meditative situation, as per traditional Shodo practices, and then in one swift movement he creates his written thoughts as an evidence of that point in time.
Hiroyuki says:
“Every work of "Sho" is created in one continuous motion, and therefore cannot be repeated or re-written. The power of "Sho" lies in this feature of non-recurrence. Even if you draw the same letter ten times, ten different forms will arise spontaneously.”
I am drawn to the sense of calm and quiet in both Yûichi and Hiroyuki’s performances. The influence of Zen Buddhism and traditional leanings makes for a great basis on which to build from. They utilise traditional ideas in conjunction with contemporary art practice to create performance writings that are not only dynamic but also speak of their cultural backgrounds.
James Nares
James Nares is a multi-disciplinary artist whose practice includes; film, music, painting, photography and performance. He uses these methodologies to explore ideas of physicality and motion.
In the 1980s Nares began creating what are now his iconic brush stroke calligraphic paintings. These paintings document a gestural and expressive moment, a record of motion across the surface, and are inspired by Roy Lichtenstein’s own depictions of brush strokes.
Nares suspends himself on wires above the canvas in what looks to be a slightly precarious Mission Impossible manner. This inclusion of an outside source in which to aid the creation of the painting further enhances the idea of performance, bringing an element of true action to the forefront of the drawing. The innovative employment of the wires does add an extra dimension to the works, though I would tend to think that they are required for logistic purposes as opposed to it being performance art. Nevertheless it is an interesting way in which to create a drawing, and an added point of interest.
‘Girl About Town’ by James Nares, 2017 - screenprint on paper.
‘Damian’ by James Nares, 2014 - screenprint on paper.
Janine Antoni
‘Loving Care’ by Janine Antoni, 1993 - performance with hair dye. Janine Antoni’s work sits in the space between performance and installation. She addresses everyday activities such as eating and bathing and transforms these routines in to art, chiefly using her own body as her method of conveying these ideas.
Antoni has performed pieces where she has scraped away at both lard and chocolate with her teeth, as well as washing away exact replicas of her face made from soap. The piece I am most drawn to is ‘Loving Care’, a performance whereby Antoni mopped the floor with her own hair, soaked in ‘Loving Care’ hair dye. She explains that in doing this she learns and reconnects with her body, finding an understanding with what happens when she puts her body in such an uncompromising space. I am reminded of the body prints by David Hammons and the performative prints that I studied in the Research Practice module. Hammons expressed a sense of cultural identity by using his body as a matrix for printing and mark-making.
Antoni could also be seen to be putting forth a thought-provoking address of antiquated views of femininity in the domestic setting in collusion with action painting. Mopping been seen as a domestic chore and action painting popularised by abstract expressionism which was predominantly populated by men.
This is a great instance of performance drawing, an example of the artist claiming the space as her canvas, and forcing the audience out of the room as she did so. Again, I enjoy the sense of performance art as a means of describing one's identity, this case being an emotional articulation of gender identity.
Franz Erhard Walther
Politisch (Political), no. 36 by Franz Erhard Walther, 1967 - performance.
I came across the work of Franz Erhard Walther during my research of the Fluxus movement. He is a German artist that rose to prominence with his participatory and activated sculptural works.
‘Werksatz’ is a series of roughly fifty wearable sculptures that are activated through audience interaction, and an exploration is made of the demands that they place on the human body. These demands are furthered by the possibility of the relationships that the objects prompt between additional participants. The fabric objects consist of a multitude of openings, fastenings and straps that encourage the user to wear and initiate them, either as a solo performance or as a collective effort.
Walther explains that the motivation behind the wearable sculptures was to understand the negotiation between dormant and active states. This in turn suggests how the materiality of the works might change the body’s behaviour. It is also interesting to note how some of the pieces depended upon the audience’s ability to achieve an awareness of harmony within the structure, making the piece a confrontation as opposed to a simple Happening. I do like this sense of participation from the audience, if it weren't a risk to health and safety this would be something I would have been keen to explore at my end of degree show. Perhaps urging the audience to create their own asemic works in response or alongside my own. This is still food for thought for further study, as restrictions begin to ease.
Körpergewichte (Body Weights), no. 48 by Franz Erhard Walther, 1969 (performed in 2008) - performance.
Nancy Murphy Spicer
‘Hanging Drawings, 20 successive drawings, unique and unrehearsed’ by Nancy Murphy Spicer, 2015 - installation and performance.
I met Nancy Murphy Spicer as an undergraduate student after she gave a talk to my year group about her drawing practice. I have since read that she created a participatory drawing performance that questions the very nature of drawing. She establishes the line as a sensuous object that can be touched, moved and manipulated. The result is a participatory installation that invites the audience forth to engage with the line and create their own drawing.
It is an interesting conception of the physicality of drawing. The artist has brought forth the tools in which the drawing is to be made, but ultimately it is the spectator that activates its agency as a drawing. This notion not only melds the roles of artist and audience, but also gallery and art studio.
The hanging drawings also touch upon the idea posited by Hiroyuki about the same drawing never being able to be repeated - ‘even if you draw the same letter ten times, ten different forms will arise spontaneously’. This is a thought that I have come back to multiple times throughout this course, the idea of the multiple and the edition. I am a printmaker that is excited by the accidental and incidental unplanned marks, and so the notion of works that can never be repeated is something that I have explored time and time again through print, drawing, writing, and now performance.
‘Hanging Drawings, 20 successive drawings, unique and unrehearsed’ by Nancy Murphy-Spicer, 2015 - installation and performance.
In researching ideas of performance drawing and performance writing, I again find myself being reminded of the Fluxus movement. I would propose that these performances are both Happenings and event scores. I think that this might be an avenue to explore going forward, the capacity for asemic writing to exist both as performance and event score. I do not see Letters of Resignation as a finished piece, but as a starting point to which I could further investigate. Perhaps I could record more written pieces that are less dramatic and focus more on the every day written works. These are just as much performance even without the great expanse and exaggerated writing implements.
