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TAR BOOK

BY MARGUERITE HUMEAU

THE THINGS

TAR

presents

TAR

 

'"TAR is a tremendous flight of fantasy for those who need to plan a way to escape from this planet or to save it."

@TarMagTwits

is proud to present

THE NOMADIC  GLASSHOUSE  TRAVEL BOOK

South Africa, August 21- September 4

Lital Dotan & Eyal Perry  with guests TBA

 

DAILY ROUTINE / ONE-ON-ONE PERFORMANCES / HOSTING PRACTICES

 

in collaboration with TAR MAGAZINE

 

DAY 14

 

Poetic Claim Of Territory (Free-state, South Africa)

Roadside is a town at Free State province. It consists of a police station only. No residents. Years ago it had a post office too, but it closed down. This open gate to a burnt field is the only open gate we have seen in miles. Between the gravel road and the open gate is where we chose to locate our poetic claim of territory.

DAY 13

 

Share My Plate

Hovering At Low Altitude (Free State)

DAY 12

 

SWIM TO SINK  ( KALAHARI 2014 )

DAY 11

 

NESTING  ( ON ROUTE )

DAY 10

 

TWO RURAL GESTURES

DAY 9

 

Authenticity Vs. Representation Vs. Folklore In Performance Or- Did Performance Art Reach The Phase of Folklore?

 

Some thoughts after visiting Lesedi Cultural Village Today

 

 

Some (extremely) simplified definitions:

 

Authentic is the real thing, of undisputed origin

 

Representation is an entity/manifestation with direct link to the real thing; an authorized mediator

 

Folklore is "based on a true story" but does not guarantee accuracy; a self-proclaimed mediator

 

 

Today I lead us to Lesedi, a cultural village of tribal folklore hosting several local traditions.

 

I remembered this village from my childhood (I lived in South-Africa as a child), I still remember the traditional dance in these performances very clearly. I watched quite a few of those in my childhood, and these were actually my first experiences of performance. Any performance.

But I always referred to these performances as folklore, and often was surprised when people commented at them as being "unauthentic"- They are not meant to be authentic. They are a demonstration, a theatrical reference.

 

When we watched today's show I noticed many changes- the gestures and movement became bolder and refer more to western folk-dancing, the clothing became more conservative, and included some Irish elements in the choice of fabric, the setting takes more from stage theater now, the traditional circle is lost- just the rhythm remained.

 

But it's ok- that's the freedom that an interpretation allows, it is relational to cultural tendencies, it evolves by its own, as a result of its relation to both the past and present.

 

This got me to think of performance art today and it's foundations that are built on the ethos of previous acts.

 

I thought about our own agenda of homage and suddenly wasn't sure- could homage be considered folklore? Does the homage contribute to the experience of tradition? Or does it create more and more variations that blur the link to an original? Could homage be damaging to the understanding of an "original"? And what is the potential of performance today to detach itself from tradition, to become its authentic self?

 

HEIA 1991

LESEDI 2014

DAY 8

 

EXPERIMENTAL VIDEO

 

" Transforming an exhibition space into a psychological exploration into the work of the artist. A collaboration with Roger Ballen at Circa Gallery Johannesburg, South Africa "

 

DAY 7

 

 

" After all the warnings we've heard, on the first day in Johannesburg we were cautiously orienting ourselves around the hotel in Braamfontein.

Walking down the freshly painted colourful streets we saw a tiny store named 'I Was Shot In Joburg'. Immediately all the the tension faded away.

Browsing through the T-shirts, bags, journals and other goods we met Sandile, a young salesman who told us about the project he is part of. We learnt that the store is part of a bigger project led by architect Bernard Viljoen, who gathered former street kids like Sandile and introduced them to the language of photography and it's transformative potential.

We contacted Bernard and met him and some of the other kids at their Maboneng studio for a quick talk (to be edited), such an inspiration. "

 

DAY 6

 

MEETING

 

" With Roger Ballen at his studio, discussing his work, it's relation to performance and the relationships it forms- planning our upcoming collaboration in his exhibition at Circa Gallery titled 'Asylum of The Birds'.

 

DAY 5

 

PLACE OF GOLD

 

Action - Relocation of a brick from deserted gold-rush town to a new location TBA.

 

 

" About 50 years ago, the trunk of this 2000 year old Baobab tree was used as the illegal bar of Leydsdorp, once a gold rush town nearby, now a ghost-town, abandoned in the early 90's.  We learned that from the town's retired police-officer which we met next to the Baobab tree. They had 3 police officers for 8 residents."

 

 

" We followed his instructions and went to Leydsdorp, visited it's abandoned houses, it's bullet pierced street signs, it's vast empty pub, all left when the gold seekers moved their dreams of wealth to the next location. "

 

 

" We found this brick next to the first house built here in 1891.

We carefully took that brick with us to Johannesburg, the provincial capital of Gauteng (Sotho for "place of gold"), to find it a new place. "

 

DAY 4

 

 For The Sake of Being

 

" Driving through the dirt road today we saw this beautiful tree.

It wasn't the biggest, nor the oldest, but I realized it is perfect.

It wasn't marked on the map as a point of interest,

and it was surrounded by so many other perfect trees of different species.

It grows into this full glory not to be noticed, just for the sake of being. "

 

DAY 3

 

Practicing Coach Potato watching the stars.

Lital making her daily dress in the wild

DAY 2

 

DAY 1

 

DAY O

 

TAR is the sticky stuff we pave our roads and build our roofs with.

It affords us travel and shelters us from the storm. It is also an anagram of the word art.

The editorial staff have taken every care to obtain from copyright holders the authorization to publish the pictures in this issue. In any cases where this has not been possible, the editorial staff would like to make it known that they are available to eligible parties to settle any amounts that are owed.

Tar Editori S.r.l / Corso Verceli 23, 20144 MILANO - ITALY -

C.F.P.IVA: 05488720961

TAR magazine digital edition  wishes to thanks

 

effimera F O N D A Z I O N E maison d'art numérique