PERFORMANCE: THE LIVE INTERVENTION “The principal finality of at isto provoke in order te obtain a reaction, And it does so tough 8 ommunieatve process of which information Is fan esenta part. Any objector artistic ation tniy intervenes when fe contains nisi Something new. This aspects precisely the Informative component ofthe wile whieh communication represents Information. n art, can be glven a various eves. (On a technical and technologies! evel on an sesthetcaly level, of a level ofthe diferent Slgnicant and ther meanings, and, principally, ‘onthe level ofthe methods of expression. ontaning but ane informative toad inane, oF Sif exe sector an arise objet can Intervene in 9 ertcl form and be creatively stunting, Presently, and under the pressure ofa series of Conjectural factors and extemal experiences of fe on the “produce of mages” [as Nicos Haqjnicolacu would say, thee ext a tendency Inwmich the arts complement and interaction neh other In the same fom, and beyond the individual ‘apabiities ofeach meant of expression, the potsibltes of exchange and of consequences see {hemsevesinntely extended, when of associated ‘or integrated use of those means panting. Photography, ses Installation, performance, ‘ideo, or even the computer, {or example), am whieh result works fl of in this perspective of complementary and \nolenes of pererpton, and seeing that each means "wansiates”a message according to its technical and technologies! choracterstes PERFORMANCE: A INTERVENCAO VIVA 1 A arte tem com principal naidade provocar pare obter uma reaccao.E io por ut ‘ou acgao artsiea apenas interérn quand contém ems lga de na se aspecto ¢ preasamente @ componente informativa do todo que representa a nivel eétco, a nivel dos aerentessgriftcantes e des seus significado, e, pincpalmente mes de € 8 contengo uma carga informative num, ou em todo ‘roduter de imagens"|coma dita Nicos Hadiicolaou), existe uma tencéncia para asa ‘modo, € das copacdades indwiduas de cada me ss Soko Ries oe onic ab & ve chsh Ubenicee Miers quando 2 liza associade Ou ntegrada desses mens (pinta, fotowat, sides, instal, erfommance, video, ou mesmo computador, pox exemple, donde esutam abel perspectva ce complemer e 2 percencao,e visto que cada velo “traduz" a mensagem segundo as suas caractestias ecnicas € tecnoldgics IM. Mcunari, uma determinada intencaa anistca veculada por um conunto de mei sibitaré ume visio mais da de si mesma e poder ser mais esta a esta conjugacto, porque pade career erlacna se faclmente cam A performance posss uma se de companentes que poem ser exper ade mtd de obyectos,ncencoes, Uma todas as performances esta igadas do's concetes béskcas a espaga ance esta se Jesenola, 0 tempo em que a mesma"onde tudo podeNal acontecer. Estes dos concetos define 0 pago siderar a “Ante de accéo, conta ate de contemplagSo” A presenca fi a esttco 6 ores essere da “ame vv. Vive porque cantém precisamente ice emte forages, parataseando uma inguagem rca de signos e sgrvcad « ao performer, como agente estéti 30 cena da acco, cafere cesta uma sensagao de facade que representa, de certo modo, um)a igacéo ene ele no\mento nem sempre esta explicto nos aeentes fe integra (© remo, a melo uido, presenter estuturas sonoras que nem EcURNICA (M, Mctunan, 2 fixed artiste intention Lwansmitted by aset of means, wil allow a more differentiated and. dversied Vision of tse and ‘may be more easly understood ints globaness. In this way, the direct intervention of te att, lor the so-called performance, Is probably the ‘means that best adapts tel to this conjugation. cause It can conta and easly relate hse with All of the other expressive means of transmission, and present itself with» maximum of elements {or its comprehension ‘The performance contains a series of components that may be explored aesthetically. ‘Concepts suchas time, space, movement action, ‘walmensionatity, colour, sound, smell, Hghe ana principally. the prysieal presence of te att 2s {he spay andthe factor of attainment ofthe Intervention, interwoven with 3 lmiiess quansy of objects, Intention, techniques and Technologies, completely revolutionse the ‘tion of "paste arts", confering tem another “dimension, and offering the pubic ne ‘which could be considered “live art”. Two basic ‘concepts are commonly connect to al ofthese performances: the space where it happens, and Time and space, ere, are eliminated as separate Concepts and male up the "sreenr where ‘everything caniwill happen. These two concepts Sefine the space-tempora mit in which the Selon wl be summarised and are important for 4 reading and a comprehension of the Performance as an Independent means of expression. Taking up on Déco_Pignatar’s opinion about happenings. the performance can also be Considered the "Ar of action, versus the art of Contemplation”. The physical presence ofthe Sestnetialy operators one of the essential. {actos of Ive ar" Live Because It contains precisely the ling form of ts ereator. Live Because the (propulsion) pulsation / the movement the breathing of the body makes up Sn integrand part ofthe artiste Intervention 2s ‘an instigator ofthe development and formulation of the same, ‘Te performer isthe transmitter of action, and al of ris gestures, all of tis mimic expressiveness {ends forth information's, paraphrasing ® Tanguage nich i sings and meanings ‘The performer's crcumstance, a5 a” aesthetically agent Being Inthe centre ofthe action, bestows {tus action 3 sensation of ngiy that ‘represents, na certain way, 2 lason between him and the person who enjoys the performance. To this “tangle” facet of the performance, arses Immediately the t-dimensionaiy. The volume ven by the mutipicty of objects and aso by the presence, In motion, ofthe aesthetically operator, ‘Atnough movement is not ways expictIn the Giterent jects that integrate the action, I eas Inthe animation gven to the manipulated ‘objects In te auelble mythmbalance In the lignticoiou, or even through the particule ‘movement of other simutaneous usages such as the projection of ses, video, ete. ef The slides exploitation of colours» direct reference tothe integration of panting Inthe Performance, as well as tedmensionaly 3 an Inclusion in this concept of sculpture. The arent pes of art converge, In te performance, so that in a group they result in an Expressive interaction. at well a on thetechnological level the atferent media that were Conjugated originate an inter expression af ‘tensions of our sense, establish new relational Inlees, not only Between out individual feelings, Buca Between hemsee, a they grad ‘Sound, another element of reading ofthe performance, con present Hse through varlous forms. The rytten ene melody. or simply the noise represent sound structures that are not ‘ways but simple accessories, But could be a ‘rou of sings to be decoded. n tis area are ‘Englobed, apart trom the vole, sounds produced by proper instruments, ancior those Eonsidered “Improper suchas environmental Sounds or that resultant rom Indus aetvites Natural or arial we aso have light a5 a tranamiter of reading. Arial may be e source Of effects, through the possibilty of chromatic transformation and transmutation ofthe ferent The performance a an Intervention process Should give, gains the exploitation of the ‘verse communication fel, the pereeption of Simultaneous. which In a practical sense, we ‘areaay Ive, Edmund Carpenter and Marshall Melunan wrote “revolution In Communleatons”, that The lectronic communication resources of por leamed man contract the worl, reucng K to the proportions of village ora tbe where everyting happens to everyone 3 the same time: everyone Is aware of and, therefore partcpate in everyting thats happening, ‘The performance furnishes and aso reclaims 2 Simultaneous reading ofall the aspects, which compose I the moment It happens ‘The person who enjoys representation should conduct an Integral reading ofthe aesthetcal Intervention, asthe whole which i realy he ls, and should not be content just to simply eaten {he slgntleance ofthat he ses, as ths 8 But one ofthe components of the artistic act. For this there has to be a synchronism in the use of meanings, fo result n'a good deciphering and Comprenension of the performance and. ansequently, 2 erteal particpation,(i-as,reagindo no momerto em que ests tome core 8 pamcipago, © que contér aigo de umbii de, patadoxahmente, N20 existe co The abriagement of 2 performance resides precisely inthe binomial action reaction, And here we apply the thinking of Marcel Ducnamp when he atrmed that “The att establishes stone the act of ceaton, since the spectator fstapishes the contact between the work and {he outer world, deciphering and interpreting his profound quaifeations, and, reacting in this way, adds ns personal contribution tothe Cremtve proce”. Between the aesthetically ‘operator and the publi there exist 9 aireet fmpathc relation, cue tothe partepation of ‘one In the work of the other, where feed-back may. inclusively, meaty the parelarcouree ‘faction, always altering Its meaning. As the ‘eaaling ofthe performance is done #0 Smuttaneousty with ie unfolding, and because the reaction Is given in Synchronous withthe reading the feecback is mmete, a times {uring te consumer inte procicer and The fact thatthe action In unfolded in tront ofthe spectator is aectlyreationed with the ftraordinary development of the means of ‘communication, that i, we have the possibilty of ‘gaining knowledge of the ferent occurrences Inany part of the world as simultaneously 35 the happen: ‘he performance contains the aspect ofthe simuttaneous of acioniteaction, which brings fetta fe. The people take part Inthe birth and fend of the action. hey see who creates ane how it caried out (omeumes they nelp create I eacting the moment in which takes form. The performance permits the cresting ana the being there to see Itallows integrate and Instantaneous [in] formation empires for Bartrpavon. This contains something umbia ‘The drcumstance ofthe aesthetically Intervention being collectively used and enjoyed represents an extraordinary advanee In the Socal sense of art In thls mode, the transmission ‘ofthe "message" results in a common fexperience. A's time when the communication methods suffered an astonishing evolution, ut lanere, paradoxical, there does not exst ‘Communication between people, the direct ontact between the allence and the workarist, Gains anatner intensity. Ireestabishing dlatogue between beings ‘hemselves and between beings and artistic objects ‘The interaction inthis typeof arts done so not only between erent materials and technologies as between the credtoracion, actlon/spectator and spectatrireator. tis precsely these relations thatthe performance Eames to provoke: the atst/publc dialogue, vided by the unfolcing of the work ‘And, if on one side here ceased to exist the inaiviaual possessor of a single work Ipainting/seupture}, of which he tthe ony user 2nd person wi takes enjoyment ofthis, to come Ino being an artiste cretion that would Benet the collective, on the other hand the unique character's stil, maintained, because on a ‘mera basis these interventions are not repeated fr atleast they never are total Regarding the aspect ofthe performance being, Ina certain way, the “att ofthe ephemerou Inks tsi ten fat of Is rapa presentation and assimilation. When ina consumer society Seems to bein my opinion perfect natural ahd integrate in the Socal context. (runtsned in te catalogue “eRvOR ARTE