{"id":13565,"title":"Post Performance Project 1","dimensions":"","date_begin":"1980-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":48,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":147,"permalink":"post-performance-project-1","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/152/medium_500/1980_PPP1_%281%29.JPG?1458141484","cached_actor_names":"Hugo Roelandt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"category":{"en":"Performance","nl":"Performance","fr":"Performance"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/152/large/1980_PPP1_%281%29.JPG?1458141484","poster_credits":"(c) Estate Hugo Roelandt","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eIn collaboration with Paul Geladi, Lieve de Winter \u0026amp; Marc Olyslager\u003c/p\u003e\u003cp\u003eEnglish version by Bart Pattoor, Luc Mishalle \u0026amp; Marc Holthof\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• King Kong, Antwerp, may\u0026nbsp;1980\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;ICC, Antwerp\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;'Echelle A', Plan K., Brussels, 1981\u003c/strong\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e'The first POST-performance-project. A dialogue between MECHANICAL DEVICES (a taperecorder and a phone-answering machine) replaces the action of the performer (he sits by and listens).'\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e - Hugo Roelandt\u0026nbsp;\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eHugo Roelandt and Paul Geladi developed \u003ci\u003ePost Performance Project 1\u003c/i\u003e in\u0026nbsp;reaction to the institutionalisation of performance art. They wanted to\u0026nbsp;protest against the\u0026nbsp;imposition of implicit ‘rules’ in performance that limit the\u0026nbsp;possibilities inherent to the medium. For example, the presence of the artist,\u0026nbsp;the unity of time and place,\u0026nbsp;the role of the performer’s body etc. are taken for\u0026nbsp;granted and even expected by the public. Performance art is turned into ‘just\u0026nbsp;another’ genre of artistic activity.\u0026nbsp;These rules were broken in \u003ci\u003ePost Performance Project 1\u003c/i\u003e. The physical\u0026nbsp;appearance of the artist limited itself to being seated and listening to his own\u0026nbsp;voice, on\u0026nbsp;a tape recorder, in dialogue with another tape recorder.\u0026nbsp;The preparation of the piece was given more prominence. During the\u0026nbsp;performance itself the machines took\u0026nbsp;over. This shift of attention was\u0026nbsp;the starting point, but at the same time also the subject matter of\u0026nbsp;\u003ci\u003ePost Performance Project 1\u003c/i\u003e. In dialogue with Geladi, Roelandt\u0026nbsp;tried to find a\u0026nbsp;practical form for this rejection of traditional formats. These conversations\u0026nbsp;were recorded, the dialogue structured [in a try-out titled The First\u0026nbsp;Telephone\u0026nbsp;Conversation] and this resulted in the final tape recording. At the performance\u0026nbsp;the spectator noticed how the installation in front of her/him was being\u0026nbsp;set up\u0026nbsp;by means of the text that retraced the genesis of the project.\u0026nbsp;A desk with three chairs. One for the performer, the others stood in\u0026nbsp;front of a tape recorder\u0026nbsp;and a phone. There were three desk lamps and three\u0026nbsp;microphones. The two recorders talked to each other. The artist was present\u0026nbsp;but was superfluous.\u0026nbsp;The project considers the dialogue between two persons. This\u0026nbsp;communication progresses in a discontinuous way. A banal conversation\u0026nbsp;is turned by means of modern\u0026nbsp;recording machines into a clear dialogue.\u0026nbsp;The spectator could reflect on her/his own mind processes and their\u0026nbsp;expression.\u003c/p\u003e\u003cp\u003e(Abstracts from\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Mark Holthof, Occasional Papers, London, 2016)\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eIn samenwerking met Paul Geladi, Lieve de Winter \u0026amp; Marc Olyslager\u003c/p\u003e\u003cp\u003eEngelse versie door Bart Pattoor, Luc Mishalle \u0026amp; Marc Holthof\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;King Kong, Antwerp, mei 1980\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e•\u0026nbsp;\u003cstrong\u003e ICC, Antwerp\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;'Echelle A', Plan K., Brussels, 1981\u003c/strong\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e\"The first POST-performance-project. A dialogue between MECHANICAL DEVICES (a taperecorder and a phone-answering machine) replaces the action of the performer (he sits by and listens).\"\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e Hugo Roelandt\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eHugo Roelandt en Paul Geladi bedenken Post Performance 1 als reactie op de\u0026nbsp;institutionalisering van Performance Art. Ze protesteren tegen het opleggen van\u0026nbsp;impliciete ‘regels’ in performance die de mogelijkheden eigen aan het medium\u0026nbsp;beperken. Bijvoorbeeld de aanwezigheid van de kunstenaar, de eenheid van tijd\u0026nbsp;en\u0026nbsp;plaats, de rol die het lichaam van de performer kreeg enz. worden zonder meer\u0026nbsp;aanvaard en verwacht door het publiek. Performance Art wordt gereduceerd tot\u0026nbsp;een van de vele genres van artistieke activiteit.\u0026nbsp;Deze regels worden doorbroken in \u003ci\u003ePost Performance 1\u003c/i\u003e. De fysieke\u0026nbsp;aanwezigheid van de kunstenaar beperkt\u0026nbsp;zichzelf tot het zitten en luisteren naar\u0026nbsp;zijn eigen stem, op een bandopnemer, in conversatie met een andere bandopnemer.\u0026nbsp;De voorbereiding van het stuk krijgt veel meer aandacht. Tijdens de\u0026nbsp;performance zelf nemen de machines het over. Deze verschuiving van de aandacht\u0026nbsp;is het startpunt, maar tegelijk ook het\u0026nbsp;onderwerp van \u003ci\u003ePost Performance 1\u003c/i\u003e.\u0026nbsp;In dialoog met Geladi tracht Roelandt een praktische vorm te vinden voor\u0026nbsp;zijn verwerpen van de traditionele geplogendheden van performance. Deze\u0026nbsp;gesprekken worden opgenomen, de dialoog gestructureerd [in een try-out: Het\u0026nbsp;eerste telefoongesprek] en dit leidt tot de uiteindelijke\u0026nbsp;bandopname. Tijdens de\u0026nbsp;performance merkt de kijker hoe de installatie die hij voor zich ziet langzaam\u0026nbsp;ontstaat uit de tekst waarin het ontstaan van het\u0026nbsp;project verteld wordt.\u0026nbsp;Een tafel met drie stoelen. Een voor de performer, de andere staan voor een\u0026nbsp;bandopnemer en een telefoon. Er zijn drie bureaulampen en drie\u0026nbsp;microfoons. De 2\u0026nbsp;bandopnemers praten met mekaar. De kunstenaar is aanwezig, maar overbodig.\u0026nbsp;Het project onderzoekt de dialoog tussen twee personen. De\u0026nbsp;communicatie\u0026nbsp;gaat vooruit, maar op discontinue manier. Een banale conversatie wordt door\u0026nbsp;middel van moderne opname apparatuur veranderd in een duidelijke\u0026nbsp;dialoog. Dat\u0026nbsp;geeft de toeschouwer de gelegenheid te reflecteren over zijn eigen denkprocessen\u0026nbsp;en hun expressie.\u003c/p\u003e\u003cp\u003e(Uittreksels uit\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Marc Holthof, Occasional Papers, Londen, 2016)\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eEn collaboration avec Paul Geladi, Lieve de Winter \u0026amp; Marc Olyslager\u003c/p\u003e\u003cp\u003eVersion anglaise par Bart Pattoor, Luc Mishalle \u0026amp; Marc Holthof\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• King Kong, Antwerp, may\u0026nbsp;1980\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;ICC, Antwerp\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;'Echelle A', Plan K., Brussels, 1981\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e'The first POST-performance-project. A dialogue between MECHANICAL DEVICES (a taperecorder and a phone-answering machine) replaces the action of the performer (he sits by and listens).'\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e - Hugo Roelandt\u0026nbsp;\u003c/p\u003e\u003cp\u003eUn téléphone et un magnétophone engagent le dialogue pendant que l’artiste les observait en silence. L’installation comportait une chaise pour l’artiste et une table sur laquelle sont posés le magnétophone et le téléphone. La présence passive de Roelandt était symbolique et\u0026nbsp;mettait ainsi en avant les machines en tant que figures centrales. Dans leur conversation enregistrée, Roelandt et son collaborateur Paul\u0026nbsp;Geladi parlaient de l’élaboration du projet et du processus créatif qu’ils avaient partagés. Cette œuvre introspective explorait la manière dont les technologies modernes pouvaient imiter l’interaction humaine et l’impact qu’elles avaient sur la communication et sur\u0026nbsp;l’art.\u003c/p\u003e\u003chr\u003e\u003cp\u003e\"La première, Post Performance Project 1, créée le 12 juin 1980, dans sa version originale néerlandaise, à la salle King Kong à Anvers–un centre culturel et politique notoirement indépendant–était la plus convaincante. La présence physique de Roelandt en tant que «performeur non performant» a certainement contribué à susciter une tension théâtrale dans une 4 performance qui était par essence un audiodrame. Le contenu con sistait à expliquer de quelle manière la pièce sonore avait été créée. Une seconde version, en anglais, présentée à l’ICC à Anvers en septembre 1980 dans le cadre de l’exposition 1980 consistait en une enquête sur le jeune art contemporain belge.\"\u003c/p\u003e\u003cp\u003eMarc Holthof,\u003ca href=\"https://hugoroelandt2.ensembles.org/ensembles/hugo-roelandt-interviews-and-essays?item=36590\u0026amp;locale=fr\"\u003e\u003ci\u003e La fin est un nouveau départ\u003c/i\u003e\u003c/a\u003e\u003ci\u003e \u003c/i\u003e[essay], 2024\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1660,"name":"Hugo Roelandt"}]}