This is Not The Documentation of a Performance (2010)

THIS_IS_NOT image of objects

Series of Miniature Models, 4 cm each


Installation View with Video Still


Video Still, Digital Video, 30 min.

Documentation and Artistic Residency

"Documentation and Artistic Residency", Poster, Digital Print, 40 x 25 cm

Documentation as a Series of Projections

"Documentation as a Series of Projections", Poster, Digital Print, 40 x 25 cm

Documentation as a Series of Transfers

"Documentation as a Series of Transfers", Poster, Digital Print, 40 x 25 cm

Documentation as Appropriation of the Event

"Documentation as Appropriation of the Event", Poster, Digital Print, 40 x 25 cm

THIS_IS_NOT image of objectsTHISNOT1THISNOT12Documentation and Artistic ResidencyDocumentation as a Series of ProjectionsDocumentation as a Series of TransfersDocumentation as Appropriation of the Event

Atelier Real, Lisbon, 2010

Two performers, one video, one camera: this is the starting point for a step by step experiment that aims at testing the elements and effects of documentation, exploring its limits and its potential. What kind of expectations do documentations pretend to fulfill? What sort of narratives do they add to the original intention? What is left of the process? And which role does the public play in this scenario?

Based on a video documentation of the performance Xavier Leroy (2000), choreographed by Xavier Leroy and authored by Jérôme Bel, a new pair of authors (Alexandra Ferreira and Bettina Wind) asked a new pair of performers (Gonçalo Ferreira de Almeida and Ramiro Guerreiro) to develop together a genuine reading of documentation, and to reveal what is hidden in the act of showing.

Video (colour, 30 min.)
Developed in the frame of the programme “Restos, rastos e traços. Prácticas de documentação na criação contemporânea” at Atelier Real, Lisbon
Supported by Goethe-Institut Portugal
The work’s title was taken from Adrian Piper’s work This is Not the Documentation of a Performance (1976). Courtesy John Weber Gallery, with the kind permission of Adrian Piper.