A3

Dear fellow MAIPR students and staff,

Today we were contacted by a prominent Austrian scholar specialized in performances in cyber spaces, professor Post Akomment, who stumbled upon our MAIPR blog and Youtube posting and got intereseted in our small project about subverting performance space. He made contact with us so we shared details of our work and in the end he was kind enough to write a brief reflexion on what he had found out. We would kindly ask you to take some time and have a look at his blog to see what he thinks. Please follow the link. http://postakomment.blogspot.com/

Best wishes,

A3

A3 : Subverting Performance Space

A3: We are sorry

Dear fellow MAIPR students and staff,

Out of very serious reasons, that cannot be revealed at this point, our group cannot fulfill today's task. Furthermore, the participation in the remaining Induction Week is also in question. Depending on the outcome of our troubled situations, we will let you know if we can continue by midnight latest. We hope you will understand and that this doesn’t jeopardize your further activities to an unpleasant extent.

Warm regards,

Amsterdam Group 3 (EJ, Caroline, Maritta, Nina)

W3: Mind Map "Subverting Performance Space"

Response to A3 Keyword

A3: Keyword "Subverting Performance Space"

How is power performed in a certain space?
How can power structures be subverted with the help of performative acts?
How can the artist invade the space of legal institutions and possibly hack their discourses?

Examples from contemporary art demonstrate how the limits of performance space can be tested in a subversive way:

Tanja Ostojic and The Yes Men

Tanja Ostojic – Serbia

http://www.europe.culturebase.net/contribution.php?media=34

She subverts the performance space of the EU as an entity by becoming the legal (!) wife of a random partner and by presenting this as a piece of art.

The Yes Men – USA

http://theyesmen.org/hijinks/newyorktimes

In their innovative strategy called “identity correction”, The Yes Men offer examples of virtual realities that are “too good to be true, but not impossible” thus enhancing one's political awareness.

Glauber Rocha – Brazil

He approaches Brazilian cultural rituals in a creative form of subversion in his last picture, The Age of the Earth (A Idade da Terra, 1979)