We (Laurie Beth Clarkand Michael Peterson) are artists and scholars who make work independently and collaboratively.
In our joint projects, under the group name Spatula&Barcode, we are interested in conviviality, criticality, and geography. There is always food. We’ve staged bicycle tours, Skype conversations, dinners, and coffee dates in Canada, Croatia, Morocco, the Netherlands, and the United States.
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Most awareness of the arts focuses on the final product and the outcome of artistic process: objects, productions, performances, publications and presentations. Mostly, the outcomes are observation based, with audience/community invited to view the end result of creative process, not the development or actual creation of such work.
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I have been thinking about the time/frame bracket of “the performative” with the general proposition that it defies the usual spatial and temporal brackets that is put around “a piece”–be it a dance performance or am event, or a “work of art.” Last fall, I posted a note on Facebook called “Protest is a Performative” which was spurred by the controversy that surrounded Rainer’s letter of protest against the MOCA Gala as directed by Marina Abramovic.
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