In Praxis The Non-visible worlds of art and performance, Tino Seghal creates a project where he experiments on drawing on the concept of things we cannot see. One of his performances bases itself on an exhibition without any art on the walls and just performers talking to the visitors. He leaves it solely for the spectator to imagine what would be there if there was art, allowing their imaginations to take over the gallery space rather than leaving it just over to the artist. “With non-visible works, the audience and the artists become very close by following the same path, taking the same risk, in which both meet at the end of the work though each has probably experienced different realities” (Praxis, 2011, p.108), this is precisely what we will be hoping to achieve in our piece as we will reading our own interpretations of the women in the artwork, yet none of the artwork we will be discussing will be apparent to the spectator, instead we will be juxtaposing our script with the replaced artwork establishing masculinity. As Praxis states “We are working on something that takes you inside the world you cannot see, a step forward in the direction of a world that can never be physically constructed” (Praxis, 2011, p.104). It is over to our own interpretations to re-create the space it once was, challenging us even further to attract passers-by attention by inviting them in our space and by keeping their attention so much so that the role of the curator is reversed, allowing the viewer to establish and conclude what is the truth in what we are saying and what is not.
Works Cited:
Carey, D and Carey, B. (2011) The Non-Visible Worlds of Art and Perfomance, A Journal of Performance and Art, 33, (3) 100-108.