By Mayke Blom
18-22nd February 2015
I walk around and through carefully placed sets of shipping containers, each one containing a performed installed artwork. There is a bar and a stage and seating welcoming the passers-by to socialize and pause a moment to peek around corners and engage with a fleeting experience. The 5 day show runs all day and into the hours of the evening until dark.
I feel curious and confronted with contrasting performances that ask me to engage on many different levels. There’s a studio set up like a stage, asking for requests of personal stories, a peep-hole to look at a star-wars psychologist where people open up about their feelings in a closed off room. Or stand in front of a photographer who decides to take your picture whilst she’s nude. Some of the less confronting works are passive observational pieces or are devoid of human interactions altogether. This includes work like time machine where you can zip back and forth to reflect on passers-by of the waterfront. Or Rainscape, a passage from one end of the container to the other, engaging with the textures, sounds, the density of the air and visual effects.
The flurry of diversity and the way it engages as an intervention of an everyday space encourages me to see it as an amusement park of art ‘objects’. Some of the works are out of containers and are moving through the city, really pushing for the manifestation of art to integrate into the spirit of ‘creative Wellington’. I feel like there is a drive for continued engagement as a yearly event, offering an opportunity for artists to reflect in art making of changing presentation landscapes.
I feel like when art tries to engage with a public audience the reactions are limited and the time spent with the works is reduced. The experience/intervention becomes a memory through the media, and identifies within the contained space of the urban and of the shipping container, confining the work dimensional limitations. However of course these limitations are innate unless of course you introduce the use of audiovisual installation, in which the performance arcade successfully integrates the variety of works this year.
I like how this event is transferable to other urban environments, with shipping containers being a globally accessible object. I feel like the independent works could function a bit more successfully on their own as they sometimes blend into one another, perhaps through practical application.
Having been involved as a volunteer in the set-up of the work, I think the Performance arcade has definitely developed since its first production 5 years ago. As an interventionist event it challenges new modes of presentations of performance art and culturally increases accessibility and awareness of performance art practice. As well as strictly performance works, the arcade travels across art disciplines to include AV set ups, installation and object art, interactive and combining media enhancing and questioning the context of installation and performativity space.
The arcade interprets an artwork as a performed space, an interactive experienced environment between a staged spatial or figurative composition. This environment would definitely help me better comprehend audience engagement and interactivity through use of limited space within my own work as a semi-interactive audiovisual installation.