My performance Body of Exhibition questions how performance can enter the exhibition context, how it can be part of an exhibition concept/ space and how it manifests in there.

“We still do not know how much less ‘nothing’ can be. Has an ultimate zero point been arrived at with black paintings, white paintings, light beams, transparent film, silent concerts, invisible sculpture…? It hardly seems likely. (Lucy Lippard)

My performance body of exhibition is about finding a language, that allows a connection to an ephemere understanding of art works as well as leaving the language barriers of dematerialization behind. Through the description of situations of exhibiting and Re-Translations of partly fictitious exhibitions, the topic of performance in an exhibition space is brought up.

The question rises how Performance can intermingle with other works of art, which position it has and how time and space adjust.

It is about exhibiting through performance, performance as exhibition and exhibition as performance.

Body of Exhibition is a body that consists of living objects – objects vivants – and not-moving subjects – corps inanimés. They are both in exchange and create a third work of art, that is ephemere, connecting them and being created by them.

Other Aspects of the Performance are:

Institution – Performance Space in an Exhibition Space;

Performance documentation vs. authenticity; Work – Production circumstances. (Michael Asher had the walls of his gallery removed, in order to exhibit the office space, the organization, the things behind, the material); Materiality: Presence of Body – Presence of object: To understand the body as a material and to interweave the text with the body – two essential points in Simone Fortis Work. The gesture is an important means to make language visible. After Rike Frank, a lecture performance is about an emphasis on the performer, the presence of an audience and the social aspects as a result of this connection.

The focus is made on „Remembering – Holding   -Represent“.