By booking a ticket your email address will be provided to Brian Fuata who will contact you twice a week over the period of November 1-30, 2015.
Expanding on his live performances for Performa 15 and research into mail art pioneer Ray Johnson’s expansive archives, Fuata launches a series of ‘email performances’ that approach electronic correspondence as a theatrical stage, with concerns that parallel and overlap those faced by physical theaters, including positioning, audience, and staging. Existing outside the structures and economies of the art world, like Johnson’s mail art, Fuata investigates ideas of re-performance, site, and history in dialogue with Johnson’s distinctive lexicon of text and forms.
For Performa, Fuata’s ‘email performances’ will use the theatrical convention of ushering the audience to selected rowed seating. When booking, the audience can choose to sit in the To:, Cc:, or Bcc: rows, with each option offering the following sight lines to the action on stage.
To: The ‘email performances’ will be directed to the audience who sit in this row. They will become partly content, a confluence of subject and object, and will be visible to all who participate in the ‘email performances’.
Cc: The audience who sit in this row will form a silent but visible chorus of witnesses to the ‘email performances’.
Bcc: Beyond the throw of the lights on stage, the audience who sit in this row will be able to see all of the action but will not be visible.
There is a capacity of 503 people in the ‘email performances’ and there is no lock out. Audience is welcome to join until the capacity of the ‘email performances’ is full, and can request to leave at anytime or to change seating by emailing Brian.
Image credit: Brian Fuata, All Titles, No Centre Crux: the email performances in PERFORMA 2015, 2015; graphic by Lucas Liccini, courtesy of the artist.
Co-presented with the Estate of Ray Johnson. Supported by the Australia Council for the Arts.
This project is supported by the NSW Government through Arts NSW.