This is 'Performance Archive Radio', a podcast series created as part of the masterclass 'performance, archive, collection' led by choreographer Ula Sickle within the frame of Museum for a Small City, Rebuild by visual artist Richard Venlet and hosted by S.M.A.K Museum Ghent, Kask Curatorial Studies and Luca School of Art, Brussels.
Armadillo at The Red Gate: a story of one performance
By Ekaterina Vorontsova
De Rode Poort/The Red Gate (1996) was an exhibition inaugurating the first stage of Ghent’s Museum of Contemporary Art transfer to its own building, the converted municipal casino. Although the official opening was scheduled for the end of 1998, the exhibition Red Gate (after the brightly painted depot entrance) celebrated the transition with a grand opening party which included several performances.
Based on a conversation with Bart de Baere, the episode explores the story behind one of the performances — Armadillo for Your Show, by a Ukrainian-born Russian artist Oleg Kulik. As much as ‘Red Gate’ undermined the traditional understanding of an exhibition and museum, Kulik’s performance subverted the conventional perception of art.
Bart de Baere is Director of the Museum of Contemporary Art in Antwerp (M HKA). From 1986 until 2001, De Baere was second in charge at the Museum of Contemporary Art in Ghent, then directed by Jan Hoet.
Retracing the Performance Klub. Indonesia at Europalia 2017
By Nathan Ishar
This podcast revisits performances by Arahmaiani and Elisabeth Ida which took place during Performance Klub, a performance program hosted by SMAK Gent during Europalia in 2017. Indonesias transfer of knowledge regarding performances was often primarily oral, only some physical traces can be found on for example paintings, sculptures, fabric and reliefs. Through dialogue with artists, participants, visitors and Indonesians hearing for the first time about it the contrasting approach of oral transfer within performing arts in Indonesia, the possibility of archiving and collecting will be explored. Participants, visitors of the performances and the artists will be invited to revisit the performance and reflect about physical or non-physical traces the performances might have left. Retracing the Performance Klub is a non-physical trace and and connects to aspects of oral transfer of knowledge and reassess experiences, memory and reflections in the context of performance art.
By Julie Wyckaert and Sofie Frederix
This podcast introduces German artist Wolf Vostell (1932-1998), who is considered as pioneering in video and installation art, as well as the phenomenon of Happenings and Fluxus. We will zoom in on one particular performance of him, “Fluxusconcert,” which took place in 1983 at the Museum of Contemporary Art in Ghent on the occasion of “the German Week in Ghent.” Vostell is known for a particular technique called Dé/collage, which literally translates as “to become unglued” or “to become unstuck.” It is the process of removing pieces of an original image consequently giving the object a new function. In this performance, Vostell mainly applied this technique to music. He used a musical score from Domenico Scarlatti and created interventions on the score by adding blind spots in organic forms, thus removing parts of the musical score. The S.M.A.K. archive not only conserves copies of his invasions on the music, but also a video of the original performance, which will serve as the baseline for this podcast. Just like the performance, this podcast will consist of audio that is cut and torn, bringing together documentation from “Fluxusconcert,” information about Vostell and audio fragments from today.
With thanks to Arezoo Khazan.