Introducing the Artist’s Exceptional Labouring Body is a performance lecture and slideshow about capital penetrating the body.

Introducing the Artist’s Exceptional Labouring Body

This event is a work in progress in the sense that the artist work is never done. These conceptual nuggets are paraded here as raw material, half baked and unfolding. In a state of becoming. In a state of human. And as a performative resistance to becoming human capital.

We will present a number of resonant statements. Accompanied by images. We will try to resist becoming human capital by drawing attention to the human capital. This might be reminiscent of the ways in which one draws attention to their fears in order to diminish them.

For these purposes we want to draw attention to our artist fee, as singular coins encased in these two display jars in front here. Each jar contains 200 x one dollar coins.

Your participation can happen in several ways. You can shift this capital from one jar to the other, in a simple act of making capital flow. You can extract capital from this act if you feel you have expended time and have not been compensated in other more intangible forms either through your enjoyment or knowledge gained. And finally you can add to this capital by departing with some of your own capital into one of the jars, and in this way contribute to the further extension of these ideas by expanding the bank accounts of the presenting artists.

You have been given an opportunity to bear witness to what will follow, and you will exert energy in participating, attempting to decode and reassemble in your own mind and inside your own exceptional body what takes place here.

Our focus here is on the artist’s exceptional labouring body. These are bodies we describe as excessive bodies, or bodies that both exceed the capture by capital, and at the same time are increasingly marinated in and absorbed by capital.

At various points as we labour through this presentation, we may inject moments of ourselves and our own personal experiences in the pursuit of this open autopsy of artistic process.

We have prepared some images, and we have prepared some devices for viewing these images. We have prepared some notes, but our intention tonight is to unfold these thoughts, not necessarily in the order they were conceived, and as other ideas occur to us—triggered by our corporeal presence here tonight in the presence of other exceptional bodies—we take pause and reflect where necessary, or where possible, we may interact as two bodies in dialogue.

Credits

Performed and developed with Sumugan Sivanesan
Art Bar Curated by Wade Marynowsky
29 July, 2016