Habitar el museo

Habitar la institución es un proyecto a medio camino entre un programa público de intervenciones en la sala de exposiciones y una instalación artística. El programa de activaciones consistió en una sucesión de acciones performativas diarias, realizadas por los “habitantes del museo”, es decir, todos aquellos, visitantes, trabajadores y agentes que conviven dentro de la institución expositiva y bajo la pregunta: ¿Qué es lo que el museo podría aprender de sus habitantes?

Para llevar a cabo este proyecto, se construyeron una serie de estructuras en diferentes formas y tamaños que funcionan como elementos de una instalación artística y a la vez como plataformas o escenarios desde donde realizar las diferentes acciones diarias y con ello, habitar el espacio expositivo.

El calendario de este programa público fue coordinado por el departamento de educación/programas públicos y contaba con una convocatoria pública y la complicidad de la red de museos de Chile. Durante los 45 días que duró la propuesta, se realizaron alrededor de 30 activaciones con diferentes colectivos que iban desde a personal del museo (trabajadores del departamento de exposiciones, educación, limpieza, seguridad, etc…) a diferentes visitantes (grupos escolares, universitarios, visitantes, trabajadores de otros museos, etc…).

El objetivo del proyecto era (a través de una propuesta artística), parasitar el espacio expositivo y reclamarlo como un espacio donde puedan suceder propuestas formuladas desde el exterior del museo. Una espacio de posiblidad que pese a generar cierta tensión con las dinámicas habituales de la institución, genera un dispositivo de entendimiento entre el museo y sus usuarios.

If this, then that

Workshop and performance

M_hka (Antwerp)

2015

etronome, and whose number of participants is always variable, due to the fact that the public is invited to take part too.

This choreographic performance does not follow an established script, but is instead based on a series of instructions which we developed with participants in a preceding workshop, under the motto “If this, then that”, focusing on the creation of momentary sculptures and living images.

One of the performers begins by entering the designated space and performing a series of gestures and movements using their body and/or any objects lying around. Another participant must then respond to this action by adding or removing elements. Participants are free to choose when they want to enter or leave the performance, maintaining the question-and-answer dynamic and providing the spectator with a sensation of controlled chaos.

¿Quién pidió participación?

Who asked for participation?

Workshop and Performance

MAC-Bogotá (Colombia)

2014

This project was carried out in collaboration with MAC (Bogotá Museum of Contemporary Art) and the La Agencia collective in Bogotá as part of their “Escuela de Garaje”.

We organized two sessions with members of the public who visited the school. The first was a talk about the role of performance in public demonstrations and its use as a tool of protest. The second was a practical session in the museum plaza, consisting of a performance prepared by participants during the preceding session.

“Who asked for participation?” investigates the idea of developing a “passive performance”, a type of collective action which, in protest contexts, will not result in violent action by repressive forces.

The action was carried out at a previously stipulated time and place (the MAC plaza). All participants wore t-shirts with letters printed on them. As each participant reached his or her prearranged position, the letters on their t-shirts formed a phrase. Once the phrase had been made, the group had to dissolve before repeating the action after a few hours.

Never Have I Ever…

Participative Performance

At Zacheta Gallery, Warsaw

2012

 

Using the museum’s “public-address system”, a femenine voice reads in Polish every 3 hours a questionnaire of 15th questions to the exhibition’s public.

The questions are related to their role as spectators and their relation with the museum and Contemporany Art. For answer those questions, the public have to realise different actions crossing the line of a passive spectator and the allowed behaviour in the museum.

Pantomime ballet

Extra city (Antwerp)

Performance

2013

The pantomime ballet is a performance where a group of people is led by a dancer (Katrien Oosterlinck) in silence through an exhibition, using music, movement, gesture and dance.

The project revolves around the idea of “collective dance” as Barbara Ehrenreich coins the term “collective joy” to describe a group of activities which involves music events, synchronized movement, costumes, and a feeling of loss of self, erasing social boundaries, encourages participation as a near-religious experience.

Skipping verbal communication and only by the use of music and gesture, the dancer starts with instructing the participants with simple movements, finishing with collective actions and different ideas of collective dance such a Sardana (Catalonia), Hasapiko (Greece), Maypole (Germany), etc …