'n Ondersoek van performance-kuns in terme van metaskilderkuns en antiteatraliteit

[摘要] English: This comprehensive research project comprises an exploration of performance art interms of meta-painting and antitheatricality and consists of two parts: a theoreticalaccount and studio research. The two components are integral parts of the sameinvestigation. In this research project I used a reciprical explorative process whereboth theoretical and visual research components conceptually and creativelyinterelate. Meta-painting is a performance of the nature of painting and visual representation.The characteristics of meta-painting or meta-representation derive from W J T'Mitchell's concept of metapictures. He distinguishes three types - the picture thatreflects the production of the picture; the picture within which another picture isrecontextualised; the picture that reflects on picturality through its placement within adiscursive frame. The concept of antitheatricality derives from Michael Fried's theory that an artwork isanti theatrical when there is complete identification between the subject pictured in animage and the activity represented. On the one hand, an artwork is said to beantitheatrical when it appears as if the figures represented in it are unaware of, orindependent from, the spectator; the artwork does not act for an audience. On theother hand, the denial of spectatorship through a picture's metaphorical turning of itsback on the spectator is a conscious, even theatrical action; the picture actsunaware. The relationship between theatricality and anti theatricality, or selfawarenessand unawareness is therefore essentially dialectical.Antitheatrical meta-paintings are dialectically performative - their performativityentails self-awareness and self-referentiality, which is achieved through the apparentcancelling of spectatorship. Performativity in this thesis refers to artworks that appearself-aware of their own coming to be, as well as to performative actions that are not only represented, but that are also inherent in an artwork in terms of representationand medium. Moreover, it is possible to intertwine performance art, meta-paintingand antitheatricality because performativity forms the basis of the discussions,constructions and deconstructions of pertinent artworks. Throughout the thesisemphasis is placed on art as involving a mediation of dynamic, performative actionsbetween artist, artwork and spectator. Affinities between meta-painting and performance art are considered on the basis ofthe performative character of specific artworks or actions. On the basis of theperformative nature of their self-reflexive and allegorical mediation on their functionin the world as dialectical, self-denying objects or images, seventeenth century vanitasstill life paintings are explored as special examples of meta-paintings. The allegoricalreference to something other than what is represented is an example of performativitythat is at stake in performance art as well as in photography. The discussion ofphotography as allegory of death by amongst others Roland Barthes and GerhardSchoeman, in a manner that lends an element of vanitas to photographs, serves assupplement to the discussion of meta-painting and performance art.The affinity between performance art and meta-painting is explored further withregards to a performative, internalised iconoc1ash - resembling both iconophobia andiconophilia. Iconoc1ash here involves an image's simultaneous meta-representationaland self-reflexive construction and deconstruction, vitalising and self-critical selfdestruction.Time (in terms of transience and passage) and space (in terms of thespace that is made visible within an artwork through iconoc1ash and the dialectical,performative action between spectator and artwork) serve as catalysts for theperformance or affirmation of internal iconoclash.The dialectics of anti theatricality in performance art and meta-paintings is discussedand highlighted throughout the thesis. Visibility and invisibility, presence and,absence, appearance and disappearance are shown to be mutual characteristics of theoperation of antitheatricality. The boundary between performance art and metapaintingis transcended through these mutual characteristics that flow from thedialectics of theatricality and antitheatricality, self-awareness and unawareness, actingand not acting.

[发布机构] University of the Free State