Performative Installation

Measuring the Universe, Roman Ondák

  1. The event aspect of performativity [the moment, now] is linked to the materiality of an installation in through simultaneousness of action/experience, or the event aspect of artistic production [performance] continues to take effect within the installation.
  2. Performativity is a constitutive part of the installation
  3. The installation alone is what generates the performativity
  4. A Performance Installation has its own individual context; by means of the performative elements it embraces the live elements of the external context and thereby incorporates categories from everyday routine and life.
  5. The extent of the performativity of an installation in terms of its appearance cannot be completely predicted or controlled here. Performative Installation thus unites within itself presence and representation, ephemeral and static elements, event and duration and immateriality and materiality. The direct effect and the indirect work enter into a synthesis. In a Performative Installation the dialectics of subject and object are annulled. Both are given a new common identity here.

Text quoted from performative installation, Angelika Nollert, 2003:pp.13

Image reproduced from http://artjetset.com/2009/08/30/roman-ondak-performative-installation-at-moma-2/. For more information about the work at MOMA 2009 click here

J.L Austin

Tamarin Norwood Doing Things with Words

‘Austin writes that the performative utterance must constitute the action that it describes or states:

‘to utter the [performative] sentence…is not to describe my doing in what I should be said in so uttering to be doing or to state that I am doing it: it is to do it‘ i,e I now pronounce you man and wife. Thus […] the uniqueness of the performative utterance lies not in its efficacy but in the fact that it is dependent on the self-referentiality of the utterance, its explicit reference to itself.’ pp12

Austin and Benveniste agree that in order for an utterance to be effectively performative it must occur under the appropriate circumstances. For Austin [1975] the circumstances are appropriate if those involved [speaker, listener, witnesses] view them as conforming  to the traditions and conventions of society. Benveniste [1966] merely writes that a performative statement, in order to be authentic, must be uttered under contextual conditions that are themselves perceived as valid.’pp19

In ‘What is a Speech Act? [1971, 46-53], John Searle articulates a number of conditions in decribing ‘how to promise’ and suggests how they might be generalized to apply to other explicitly perofrmative speech acts. The most important among them are related to the authority of the speaker to make the statement under the circumstances in which it is made; the speaker’s sincerity and the listener’s belief in the plausibility of the predicated proposition. Once can effectively promise only what one intends to do and is capable of doing.’ pp19

For further reading with regard to the illocutionary, the perlocutionary, the constative, the performative etc see J L Austin How to do things with words

Text reproduced from  Performance in the Texts of Mallarme, Shaw, Mary Lewis 1993:pp12

Image reproduced from http://www.tamarinnorwood.co.uk/about/

Stephen Mallarmé

Stephen Mallarme ‘all words must efface themselves before sensations’

Beyond Reading

‘The pure work implies the elocutory disappearance of the poet, who abandons the initiative to words mobilised by the shock of their inequality; they light one another up with mutual reflections like a virtual trail of fire upon precious stones reflecting the breathing perceptible in the old lyrical blast of the enthusiastic personal direction of the phrase.’

the unit of the work cannot be the sentence, or the phrase, or the line

the linear syntax causes

the line, the phrase, the sentence

to be systematic, sequential

the unit of the work is the

word

Text reproduced from Some forms of availability, Critical passages on The Book by Simon Coutts:pp 160-173. Quotations from Crise de Vers 1888-96

Image reproduced from http://www.bradfordonavonmuseum.co.uk/archives/3269

Josef Albers

Josef Albers: Structural Constellation, c. 1950–60, drawing, photograph mounted as transparency (Josef and Anni Albers Foundation)

‘There is no world without a stage and no-one lives for not appearing

Seeing of eyes invites to speak

Knowing of eyes invites to show

Notice also, silence sounds

Listen to the voice of colour

Semblance proves it can be truth

As every form has sense and meaning.’

Text quoted from Josef Albers, Despite straight lines:pp.8

Image reproduced from http://aauerbach.info/research/structural_constellations/index_fig_3.html