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Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:<i>What is Performance Art</i> and <i>Timeline of Performance Art</i>

Fiona Larkin’s reply to our projects:What is Performance Art and Timeline of Performance Art

Fiona Larkin, 2013-06-02

It is difficult to define something as elastic as performance art practice. Definitions are perhaps inherently too narrow to respond helpfully to such a wide-ranging set of practices and experiences.

What is Performance Art?

It is difficult to define something as elastic as performance art practice. Definitions are perhaps inherently too narrow to respond helpfully to such a wide-ranging set of practices and experiences.

If I reduce the question to what place performance has in my own practice then perhaps I can respond.

It is a way of stretching audience experience, a way of testing understandings of time and pointing to moments between people and spaces. It is a way of challenging authorship and punctuating contact with others.

My own focus is on documenting interactions so rather then focusing on the live aspect I focus on the relationship the action has with the camera.

read more: FIONA LARKIN What is performance art?


Timeline is Performance Art?

My introduction to making interactive work was a project titled: The Sandbagged Arse in 1998. The action involved walking about Belfast city wearing a kind of leatherette prosthesis. This was the first time I had considered using the street as a site for work. Orchestrating these interventions offered a number of different possibilities, primarily, active involvement with members of the public, also a real world context and a broader audience.

This work was then transplanted in a fairly raw form to the gallery. I made a number of extra prostheses so that the gallery audience might have active involvement too. Since then I have continued to use the high street as the space for staging work. In doing this, the work sets out to explore relationships between self and other. The level of interactivity is subtle, banal even, but manipulated by my actions. The actions themselves often masquerade as ordinary acts, falling in the street, asking impertinent questions at a bus stop or carrying a flag.


Often this occurs in the street between myself and a member of the public or ‘unwitting participants’ and the communication is provoked by my action. The action functions as a catalyst in soliciting response and engagement from the public.


read more: FIONA LARKIN Timeline of performance art?

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