performance/art/artists/performers looks to the 1975 Berkeley Art Museum exhibition "Performance/art/artists/performers" organized by Carlos Gutierrez-Solana. By reinserting the past into The Possible, I both situated The Possible with a lineage of performance and interactive art in the Bay Area and also critiquing the lack of historical reflection within the exhibition itself.
The projection on the large wall contains archival footage from The Rolling Tones 24 Hour Video Opera (July 17, 1975), by artist Phil Harmonic. The original performance has conceptual and audio-visual relationships to The Something, the collective featured in Gallery 4 during The Possible. The projection on the white mound is a short clip from Boku-maru Variations (July 8, 1975), conducted by artist Jani Novak and shows two artists dancing under a white sheet, creating abstract forms with their movements. This projection mimics the form of the mound and brings life to the large dormant object.
In the early 1970s Valie Export began the series Body Configurations in which she photographed her body conforming to Austrian architecture. Historically men have dominated the public sphere and the institution of architecture has produced and reinforced patriarchal space arrangements. While Valie Export explored her relationship to public space (i.e. the streets and sidewalks), I intervene in the Berkeley Art Museum and specifically explore the architecture of the museum and its relationship to the body. Though earlier generations of feminist artists have and continue to point to gender inequality in art institutions, there are still large inconsistencies in the representation of women in the museum. While participating in the exhibition The Possible at the Berkeley Art Museum I created the B.A.M. Configurations to explore how I, as an artist and a woman, fit into the museum.