This research area is focused on state performances that document, prohibit, or radicalize artistic performances. On the one hand we deal with secret services’ methods of documentation in various Eastern European countries, on the other hand we investigate counteractions and performative censorship devices.
State secret-police organizations provided for less voluntary archivisation and documentation. The opening of various secret-police archives has made the documentation of performances carried out by government bodies accessible and researchable, above and beyond artistic self-documentation and performance theory. The analysis of the files shows both the fascination with and fear of performance art on the part of the state. By means of this the state initiated its own performance theory that can be traced in the files of the secret services. To identify what performance and happenings were per se, was crucial for the orientation of the official state doctrine concerning visual art in general. Approached critically, these files not only offer information about the strategies chosen by artists but also about the efforts the secret services have been undertaking in order to eliminate or integrate this specifically Eastern European way performance art was understood into their strategy of operation. The documents’ high level of misinformation, imprecision or intentional misinterpretation complicates their use as reliable sources.
Furthermore, this research area will involve the state practices employed to prohibit, interrupt or radicalize artistic activity. Instead of the traditional censorship method – the prohibiting of artistic work – the state arranged counter-actions or enforced bans through indirect means. We call this practice “performative censorship”. The most famous example is the so-called Moscow Bulldozer Exhibition of 1974: an open field selected by the artists as an exhibition space was already occupied, at the very moment in which the artists arrived on the scene with their pictures, by workers hired by the KGB to create a park. The exhibition action was thus not averted but rather brought to a halt by a counter-action.
As part of this research area, a monograph will focus on the interaction between artistic and state actions in Hungary (Kata Krasznahorkai) and an exhibition module will compare various documentation practices, counteractions and the performative censorship carried out by the state in Eastern European countries (Kata Krasznahorkai, Sylvia Sasse).
Publications to date
Kata Krasznahorkai: “Surveilling the Public Sphere. The First Hungarian Happening in Secret Agents Reports”, in: Performance in the Second Public Sphere, Katalin Cseh-Varga/Adam Czirak (ed), Routledge, (in print)
Kata Krasznahorkai: “Happeners als Black Panther. Gewaltsames Wissen in Happenings der Künstler und der Staatssicherheit” in Ungarn, in: Forum Modernes Theater (forthcoming).
Kata Krasznahorkai: International Parallel Union of Telecommunications (superintendent: Tamás St.Turba) Strike//2016, in: Art and Work, MIT, (in print)
Kata Krasznahorkai: “Streik Macht Frei. Verweigerung und Streik als künstlerisches Material bei Tamas St.Auby”, in: Dietmar Rübel, Friederike Sigler (ed): Streik/Arbeit, (forthcoming).
Kata Krasznahorkai: “Das Happening vor Gericht”, in: Sandra Frimmel, Mara Traumane (ed): Kunst und Literatur vor Gericht, (forthcoming).
Kata Krasznahorkai: “Mach ein Stuhl! Tamas St. Auby und Tehching Hsieh”, in: Vera Wolff, Kathrin Rottmann (ed), kritische berichte, 2016/3, S. 34-43.
Kata Krasznahorkai: “Heightened Alert: The Underground Art Scene in the Sights of the Secret Police—Surveillance Files as a Resource for Research into Artists’ Activities in the Underground of the 1960s and 1970s” , in: Bazin, Jérôme, Pascal Dubourg Glatigny, and Piotr Piotrowski (ed), Art beyond borders: artistic exchange in communist Europe (1945-1989), Central European University Press, 2015. P. 125-139.
Sylvia Sasse: “Performative Zensur,“ Vortrag auf der Konferenz: Unfreiwillige Spiele, FU Berlin, 3.-4-.7. 2015.
Kata Krasznahorkai: Geheimdienst und Underground. Wie Spitzel unser Wissen über Kunst vermehren, Frankfurter Allgemeine Zeitung, 07.1. 2012, „Bilder und Zeiten“, Z3.
Sylvia Sasse: “KGB: The Art of Performance. Action Art or Actions against Art?” Artmargins, http://www.gss.ucsb.edu/artmargins/ 1999.
BSTU: “Eingeschränkte Freiheit.“ Der Fall Gabriele Stötzer, Berlin 2014, 45, 54, 62.
Buldozernaya vystavka (Bulldozer Exhibition), 1974, http://www.istpravda.ru/artifacts/10736/.