An essay on and a collection of audio documentation of performances by Antonín Brinda.
We are used to see photos from performances as well as we watch the (edited or not) video documentations. It does not matter if it is a theater, dance or performance art piece, when live action is included, the recording medias always present fractions only. We will never be able to experience the event in a way it was executed for the audience present in that notorious “here and now” situation. But even those fractions are very valuable – it helps to preserve the art piece, share it with broader audience. Not all of the artists would agree about this usual praxis but it is much more common nowadays to rather documentate than not to do so.
From my position as an artist the documentation of my work also gives me an opportunity to reflect about what I did, so I learn from it similarly as if having a talk about the piece or reading a review. Than of course the question of “the other person” appears. It does not matter if it is your friend who gives you his or hers opinion about your work or a theoretician. There always will be an interpretation. The same comes with a documentation. If you see a photography of a whatever live action it is always work of at least two people – one who did the live action itself and the second who documentate it – and did it in his or hers specific way. So photography or video and other forms of documentations are also an interpretations and there is nothing we might do about it. Because that fact is so inevitable lets not just complain about an absence of a neutrality in a documentation – it might work the very same way as a good review. A good photographer should be able to catch the spirit of a piece, to present the essential parts of it, so the atmosphere, main idea etc might be somehow understandable. And it also might serves for the purposes of the artist itself – one might observes one’s own artwork from a different perspectives, finds different layers and thoughts which were unseen so far.
Audio documentation from Lynn Lu’s and Saana Svärd’s performance Menetys
8x30s sound with 5s breaks
I am not a good sound designer, to be honest I am not a sound designer at all and I do not work with a sound very often. But in my audio recordings I am trying to explore that field, to present a different approach how to experience the live art work – for the audience present during the execution of the piece, non-present audience and possible for the artists as well. It is funny for me to listen to those almost abstract sounds which gives in a way very vague impression about what happened, on the other way are very precise. They speaks about the soundscape in a piece, about an atmosphere, about attitude of the audience etc.
During the process of a documenting I am mostly trying to record as randomly as possible and not to push myself so much into it, but sometimes I can not resist and record what interests me more. The result than is partialy subjective, partialy “objective” audio message…