Research 5.5: Performance, expanded cinema and animation

Find examples of animation that challenge the role of the audience. Reflect on how the audience have been included in the performance or presentation of the animation, and how this challenges ideas of audience, participation, cinema or animation.

Tip: Writing a gallery proposal
When working with galleries, whether you are making work to be shown inside or out, as a standalone piece or a performance you need to develop a gallery proposal. This short document sets out the nature of the work being proposed and practical aspects of installing it. Any proposal should contain a description of the work itself, its content or concept, scale and duration, any technical information or installation requirements, and proposed audience.

As a starting point, consider the following performances:
● Man Ray, White Ball (1930):
All party guests were dressed in white, Man Ray and Lee Miller projected
tinted films by Georges Méliès on them while they danced.
● Giovanni Martedi, Matérialisme Dialectique l’art (series)(1978):
Its action consisted of projecting the beam of a projector loaded with any
film- “found in a trash can” or “ready made”– onto a rotating circular
mirror attached to a drill. The mirror thus reflected the images all over the
space by flashes and fragments. This performance took its inspiration
from Valie Export’s Abstract Film Number One (1967-68).
● Maurice Lemaître, Montage (1978-1990):
A performance made with aleatory found footage projected onto a screen
made with newspapers, while the audience reads imaginary scripts
distributed by Lemaître himself.
● Roland Sabatier, Look Somewhere Else (1971):
“The audience is invited not to look at the work or at its execution.”