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Lecture 8: Delegated Performance

Hi class,

For these final two sessions with required readings (Nov 18 and Dec 2) I’ve decided to do things differently. Unlike the first two months of the semester, something tells me my pre-recorded lectures are no longer proving successful. Aside from a handful of you, the comment sections have tapered off, as have the discussions over Zoom. So, as a way of getting the majority of you more proactively engaged, I’ll be posting specific reading questions instead of a video. This way you can be attentive to the reading and offer the class a bit more in the comments/discussion.

For this week’s reading, “Delegated Performance: Outsourcing Authenticity,” 219-239:

What is a delegated performance? And how is it related to the idea of “outsourcing”?

Bishop claims there are 3 different types of delegated performances. What are these 3 different types? Then, choose one delegated performance that Bishop mentions to discuss (probably the one you found the most interesting, but make sure not to pick a work by Santiago Sierra, who will be presented on my Sandzida and Dulce). Please do a bit of extra research on this work to provide richer information for the rest of us (feel free to add video links or documentation, which is always great). And please offer your own critical assessment of the work you choose, i.e. an informed opinion or argument, rather than simply summarizing it.

Please have this comment up by Thursday. For these next two weeks, if you reply to one of your peer’s comments in a sincere, thoughtful, and clearly developed way, I will award you extra attendance credit (this is a chance for those of you who have not kept up in the comment section or participated much in our Zoom sessions).

Please email me if you have any questions, stay safe and until Wednesday!

12 thoughts on “Lecture 8: Delegated Performance

  1. Nanako Senda

    Delegated performance is that the artist hires non-professionals or experts from other disciplines to act on behalf of him/her. Participants are collaborators who agree to participate in the experimental attempts of art, and who represent their socio-economic categories or identities (class, race, age, gender, occupation, etc.).
    It is related to the idea of “outsourcing,” because Delegated Performance is a performance in which artists use others as materials for their own expression. It is also an art practice related to today’s labor ethics, more specifically, the inequality in globalization where wealthy countries “outsource” work to low-wage workers in developing countries.
    Bishop claims there are 3 different types of delegated performances. The first one is to hire non-professionals. Performers are representatives of a certain class or race, such as people in working class, or racial and sexual minorities. The second one is to invite professionals from different disciplines. Performers are appointed on the basis of their professional identities, such as opera singers, pianists, police officers, and university professors. The last one is to create a situation for videos or films. The artist is required to devise the whole situation to be photographed, and the participants are required to act themselves, which is the similar idea with the reality TV shows in the U.S.
    Among these three types of delegated performance, I like the second one most. First of all, I like the idea that artists provide skeptical awareness in our daily life and habitual experiences, because most of our beliefs and habits are controlled and planted by the media, and we rarely have an opportunity to doubt about them. I especially like Dora Garcia’s works and her style of, what Bishop expresses, being less visible. This is similar to the concept of “Show, don’t tell.” I believe that we want to be inspired, but don’t want to be lectured by art. But we also don’t get puzzled by what we see or experience. This type of participatory art is very challenging for the artists, because they have to trust both their performers and viewers in order to convey a concept.
    The project that caught my attention was “the Romeos.” Bishop introduces the one held in London in 2008, but Garcia actually brought this project into Japan at Aichi Triennale in 2009. She recruited the local participants, male performers at their age between 18 and 35. This artwork is based on the spy strategy that existed in Germany during the Cold War. Most of the time, Japan and Germany are said to have a lot in common in their cultures, and it is interesting that Garcia decided to perform this project in Japan. I assume that even though participants were given a direction by the artist, “the Romeos” in Japan is very different from the one in London, because the cultural background which creates the personalities and characteristics of participants could be different.
    Unfortunately, the Aichi Triennale became one of the most unsuccessful contemporary art festivals after the organization had temporarily closed its exhibition themed the issue of censorship. More specifically, they concerned one of the installation themed “comfort women,” the topic continuously evoking the dispute between Japan and South Korea. After the closure, other artists including Garcia (and also Tania Bruguera) protested and cancelled their installation.
    https://news.artnet.com/art-world/aichi-triennale-government-report-1738071

    1. Talisa Velazquez Grossman

      I want to comment on your reflection on Bishops second type of delegated performance, where the performers are professionals and hired by the artist based on their professions. Bishop towards the end of the chapter makes a reference to the relationship between the artist and the performer, which you speak about in your comment. You say that is very challenging for the artists because they have to trust their performers. I was also thinking the same, that the artists rely heavily on these professionals to be good at their jobs or good at what they do enough to be “useful” for the artist. I was thinking about this sense of trust and natural quality that there needs to be in order for the performance to be successful. I think its interesting to think that for the performance to work, there needs to be trust between artist and professional but there also needs to not be a performance from the professional. I think about it similarly to an actor. If an actor on stage is focused on acting, the performance will fall flat. If the actor focusing on being the character, then the actor will be successful. So, in terms of delegated performance, I think that there must be trust in the professional to do their job, not to perform their job and for the artist to create the performance so that the professional only has to do.

  2. Lauren Hynd

    Bishop describes delegated performance as works of art that go beyond the realm of the sort of durational and anti-market style of performance we’ve seen so far. They involve hired non-professionals and specialists in outside fields to be present in the work guided by the artist’s instruction. These people operate as representations in the medium through their socio-economic identities, such as gender, ethnicity, or class.

    Its relation to outsourcing comes from labor changes during our current stage of capitalism. With globalization in the 1990s came the offshore outsourcing of many company positions that are essential but considered less critical to the core function. This meant the exploitation of developing countries where those jobs were relocated to increase profit at home. In the realm of art, the element of outsourcing increases the unpredictability of the outcome. This creates an element of immediacy but also makes the work repeatable, keeping it within the confines of gallery time and accessible to the market.

    The first type of delegated performance that Bishop mentions is described as live installation. This is keeping with a formula mentioned above where the directed people are representatives of their category and act in works characterized by “light and playful” tones. This style was typical of European works (Jeremy Deller, Maurizio Cattelan) and could be somewhat confusing in their lack of a straightforward political message. The press that Cattelan’s “Southern Suppliers FC” received rested on the fact that his Italian soccer team was made of all black players. The allusion to immigrant labor when employing foreign members on sports teams was already being debated made the work potent but open-ended. This act of body art, or using the body as part of the medium extends from performance during the 60s and 70s but adds the economic component of paying someone for their presence. It also calls into the discussion issues surrounding the ethics of representation.

    The second type is when artists utilize people of expertise, such as Tino Sehgal’s “The Objective of that Objective.” These rest more on their profession and tend to cause far less controversy. Sehgal who described his works as “situations,” paid academics to have scripted conversation with people as they entered a gallery space. This type of work makes the participants like interpreters of their own instructions and could be performed in shifts by a number of people making the result less original and participatory.

    The third takes the form of docu-drama where works are made of situations that are difficult or too sensitive to repeat. The audience is also somewhat unaware of how much is staged or scripted. The editorial role of the artist becomes an important factor as watchability contributes to its success–much like reality TV.

    Santiago Sierra’s “160 cm Line Tattooed on 4 People” is a prime example of the first type. Like the similar work Bishop mentions in the book, this one uses the bodies of four prostitutes to illustrate the lack of agency for those living in lower economic margins. All four are confirmed heroin addicts and he pays them the price of one dose to get a line tattooed along their backs. As part of the medium, they are there as representations of exploited workers and the performance turns into spectacle through the meaningless and dehumanizing task put on display. Sierra could be criticized for committing the very crime that the work highlights.

    While my reaction to much of his work involves discomfort and a tug at ethical intervention, I do agree with Bishop that to dismiss or “cancel” his work at first glance is to miss the point. He makes it very hard to unsee the ugly that members of society with greater agency work very hard at keeping invisible. Perhaps the critique of his work should be centered on a scale of how effectively a point was translated while mitigating exploitation for the sake of shock value alone–since this is still participating in the market. The artist makes their point. Does it offer a solution? Or hope? Or something more than surprise? Can we really be angry with him for a work that reflects the unfortunate realities we support every day without much thought? The truth is that our reaction is one of disgust because it reflects something that reasons the viewer to contemplate a degree of responsibility or their part in the construction of the perversion in front of them.

    1. Talisa Velazquez Grossman

      I want to comment on your last paragraph about ethics within the performances. I also agree with Bishop that dismissing the work at first glance from an ethic perspective is missing the whole point of the performance itself. Yet when I think of the intention of the work, perhaps like you say surprise or shock value, it’s hard to not be upset and think, was this all really worth it? I think its important as a art historian to create their own criteria for how to analyse the work, but what about the artist? Should the artist also have a criteria for judging and creating their own work. What I am getting at is that yes, the artist should be judge for how effective their work was at explaining and effectively getting their point across. If their point or idea is outshined by shock, what is the whole purpose of the performance or project itself? Yet, at the same time I think it is hard to use this criteria to critique their work years later, when perhaps we do not really know if their strategy was effective, because so much is needed for the audiences input in that, which in a way creates a whole other world outside of the performance itself.

  3. Kalia Gooding loadholt

    Delegated performance is a act of hiring non professionals or specialists in other fields to undertake the job of being present and performing at a particular time and a partilar place behalf of the artist and following his or her instructions. This related to the idea of outsourcing because how artist Express themselves. The 3 delegated performance was A provisional Typology, performance as Labour and pleasure, and Perversion and Authenticity.The one that Was interesting to me was performance as Labour and pleasure Because it talks about the hard labor of artist. In the 1990s suggest that the latter exists in complicity with the former, even thought it seems telling that a boom in delegated performance. Both performance and business are now place a premium on recruitment, and in may cases, the work of finding suitable performance is delegated to the curator. Since contemporary performance increasingly tends to be on display for the exhibition shit work becomes necessary. Financial transactions have become increasingly essential to the realization of delegated performance.

  4. Hsin Liang

    Bishop explains “’delegated performance’ that the act of hiring non-professionals or specialists in other field to undertake the job go being present and performing at a particular time and a particular place on behalf of the artist, and following his/her performance.” It is different from conventional theatrical and cinematic structures that hired actors mirror the director’s orders even though they do have certain space to control the role they play. However, the actors in delegated performance have more freedom to present their roles. By doing so, the artists can ‘outsource authenticity’ since the they actually delegate power to the performers they hired. Delegating power is not the one way process. Instead, it is the exchange of reality between the artists and the performers. The performers bring the true moments to the artists’ presentation, which makes the display itself more convincing.
    Within the work Bishop discusses in the chapter, I am really interested in Dora Garcia’s The Messenger (2002). After doing some research, this project actually lasted for years and went through different city over the world including Brussels (2002), Paris (2006), Barcelona (2002), Metz (2008), Hong Kong (2008), Copenhagen (2008), Nice (2010), Toulouse (2010), Guadalajara (2010), London (2015), Chicago (2017). There is The Messenger full dairy which includes “posters” of different cities, and each of them only have the project title, the city name, and the instruction “A messenger must deliver a message of vital importance. But First she must find the one person able to understand the message.” Garcia asks the agent to embark the project in low intensity mode, which means the priority of the project is not to find someone who can understand the message. Instead, the journey of searching is more important than finding the person. During the journey, the messengers able to build connection with communities he or she had never encountered. And, all the people the messengers met depending on the messengers’ choices without pressure. I like the idea that Garcia stresses the process of searching rather than the result. Under the highly motivated environment, people work hard because there is an ultimately goal to reach. Hence, they cannot enjoy the journey before getting the result. Garcia provides the chance for people to really develop connection with their surrounding even with the task to commit, but it does not matter if they get the message translated.

  5. Andalif Syed

    To best describe delegated performance, it is the act of hiring nonprofessionals to perform aspects of their identities at a designated exhibition all while following the artist’s instructions. This art form’s idea of “outsourcing” is found explicitly in the fact that nonprofessionals are being hired under the directory of an artist’s instructions. The act of outsourcing can also be seen as a supplement or a call for resources. Often at times, the supplier is from a foreign background. From a professional working atmosphere, this is critical if we are to consider the economic, ethnic, or social backgrounds these nonprofessionals may come from.

    Among the three forms of delegated performance that have been described by Bishop, the first of the three comes in the form of outsourcing nonprofessionals. As previously mentioned, the ‘live installation’ tendency involves the performance of these nonprofessionals in live exhibitions under the direction of an artist. This type of performance dates back to Europe in response to American identitarian politics in the 1980s. The second type of delegated performance is a 1990s style which indicates the involvement of professionals from foreign or separate backgrounds. To target professionals by their work frame than to target them based on artistic priorities. their race, or their ethnicity. The final type of delegated performance comes in the form of documentation. Particularly with video and film where situations are captured. By doing this, the illusion of whether a performance is staged or not can be left to the audience’s interpretation. While the watchability can vary based on the viewer, it does insight criticism from the left and right-wing media.

    Among these aspects of delegated performance, the most compelling may be the third being the exception out of the other two. The other two types can debatably work hand in hand with one another while film and video can always be a new topic of what contemporary art should aspire to. Spectatorship will always be a question of what contemporary art could insight and film and video only adds more questions especially when it can be weighed on both political spectrums as it does. Based on Phil Collin’s They Shoot Horses. Directing 9 school students who are separated into two groups, the eight-hour marathon which would ensue would make them dance to pop music until they were driven to the point of exhaustion. Given the critical reception of the artwork, it is fair to expect the critiques of exploitation Collins will go through. What was most unique was the name of the performance which takes a nod to the book and film of nearly the same name. This nod to They Shoot Horses, Don’t They gives more insight into the significance of the title. The partaking of this contest for the sake of money and performing to the extent of absolute exhaustion. The exploitation may be worse than those inflicted on an animal such as a horse for example. Given this purpose, it is my opinion that like most participatory artists, Collins is right to expect this criticism and dark given the extremes. But nonetheless, the goal is still achieved. The emotional response of a disturbed audience at the torture or likely exploitation that the video presents.

    My research page:
    https://www.tate.org.uk/art/artworks/collins-they-shoot-horses-t12030

    Here is the link for videos of the performance I found (WARNING: THE AUDIO IS VERY LOUD SO WATCH AND LISTEN AT YOUR OWN RISK): https://www.youtube.com/watch?v=b88FwjYcnQc

  6. Dulce Marie Zuniga Lopez

    A delegated performance as discussed in the reading is the act of hiring non professionals or specialists in other fields to assume the job of being present and performing at a certain time and location on behalf of the artist all the while following his/her instructions. Its relation to “outsourcing” stems from the corruption societies remain facing when dealing with capitalism. When looking at globalization, the more affluent countries seek to outsource work from countries that have yet to advance economically and socially. In this situation those countries and their businesses profit greatly, while the developing countries and laborers don’t and only receive low wages. In relation to the art practice, the artist hires an individual, artistically skilled or not, to perform, paying them a low sum of money. The artist receives a greater benefit between the two, but ultimately it’s all for the sole purpose of entertaining the wealthy who obtain the most authority and greatly partake in the reality of these works.
    Bishop mentions that there are 3 types of delegated performance. The first one being the act of non professionals recruited to perform. The second type is the use of specialists in fields other than art. This form of delegated performance tends to receive a lot less criticism because the people who are hired are determined by profession and not by race or class like the first type. And the third type is when situations are acted out and recorded. Capturing the events is crucial because sometimes the acts are too intense to recreate.
    The first type of delegated performance is the one that mainly catches my attention. Initially when first viewing these types of works, more specifically works by Santiago Sierra, I questioned a lot. I definitely had moments where I had to reread sections and really let the work sink in. But I think going through that process of doubting and questioning for a moment is necessary. The works he tends to make, like “250cm Line Tattooed on 6 Paid People”, are works where normally people that have no relation to the art world are paid to perform acts; most of the time uncomfortable or degrading. The 6 people paid for this performance were young unemployed men from Havana. And although at first, his works may come off as immoral, they place the audience face to face with obstructions that have always been present in society. Issues that make us uncomfortable and want to avoid, once again.

  7. Justin Gordon

    A delegated performance as explained in the reading is the act of hiring non-professionals provide the job of performing at a certain act at a time and location while some things are in control of the artist. Being that they aren’t professionals it’s not fully choregraphed and controlled by the artist. The three forms would be hiring individuals from different disciplines or professional practice. Then there’s also by class, race, or racial and sexual identities/minorities. Then last there’s one that create a film or video. Which is similar to the one I choose to discuss being that I love films and video editing.

    https://www.youtube.com/watch?v=b88FwjYcnQc (a quick preview of the work)

    The piece of work I choose was they shoot horses, 2004. The name really intrigued me but to go into detail about the piece the artist Phil Collins had participants dance to Western pop music. There’s two screens with the music synced up with different dancers on both screens. They danced for hours with no break and there’s time where you could see the dancers actually exhausted. The name comes from a work by Horace McCoy 1935 which was adapted into a film by Sydney Pollack in 1969. Basically it’s about a dance marathon held during the Great Depression in the United States. The work by Phil Collins is supposed to represent cultural translation and cultural imperialism. And about the liberating power and nature of music.

    I found it interesting how something as trivial as just a dance marathon can show the resilience of an individual. The work seemed interesting enough and as the marathon continued there was a connection between them. I wasn’t able to find the full video, but I saw a lot small clips at different times. And during these times you could see that there began to grow a connection between the dancers. While some kept dancing there was a since of empathy I had for the ones who were tired. While being forced to dance with no break it makes me think about the class I had with you before Professor when you talked about a zoo that had “savage cultures” on display. And it was a where countries would gather to see what other countries had. In that since we’re watching these culture dance to music it’s used to with no break. I see the connection in that area. I think Phil was trying to reference that in his work and from what I gathered and researched people thought he executed it perfectly.

  8. Jackeline Sanchez

    According to the reading the definition of “delegated performance is the act of hiring nonprofessionals or specialists in other fields to undertake the job of being present and performing at a particular time and a particular place on behalf of the artist, and following his or her instructions. This strategy differs from a theatrical and cinematic tra- dition of employing people to act on the director’s behalf in the following crucial respect”. There are three types of delegated performance that Claire Bishop discusses in the reading but the one I would like to focus on, is the first one. The first type of delegated performance comprises actions outsourced to non professionals who are asked to perform an aspect of their identities, often in the gallery or exhibition. It’s considered to be a “live installation,” can be seen in the early work of Pawel Althamer (working with homeless men in Observator, 1992. The work is most likely developed in Europe and it’s described as “light and playful tone marks a decisive break with the more earnest forms of identitarian politics that were so crucial to American art of the 1980s.” Pawel Althamer (working with homeless men in Observator, 1992, the artist worked with the Warsaw-based Nowolipie Group, an organization offering rehabilitation for victims of Multiple Sclerosis. Over the course of many years, the group learned ceramic techniques and together made an exquisite corpse-style reclining nude woman, which was later cast in bronze and turned into a fountain. The sculpture, Sylwia (2010) is permanently on view at the Museum of Modern Art Warsaw. Pawel Althamer stated that for him , that street scene recalled operations on a number of levels. First, there was the aspect of cleaning. Then it involves poor people unaccustomed to public performances, or people from the margins, prisoners, the homeless, and so-called “problem kids.” These people took the roles of “prisoners”. They hardly moved. It was horrible and made him think of concentration camps. To add on, Pawel Althamer also stated that this is not just based on social awareness, fighting for equal rights, or community building. It’s far beyond that. Thinking beyond what would happen if Pawel offered someone a new social role. By seeking out such experiences and looking beyond the art itself . Acting in a larger group just makes it more exciting. You get a broader range of experience, more possible interpretations, as well as exchange between participants. This was what drove Pawel. Another aspect is the exceptional availability of people who have merely a handful of life roles to choose from, who let others decide for them. That’s why Pawel invited them.

  9. Sanzida Islam

    Delegate performance is known to be the act of hiring non professional or specialist within other fields to fill in a job on behalf of an artist such as being there, performing, and being on time.

    The way it is related to “outscoring” is that societies where known to be corrupted fue to capitalism.

    Bishop had claimed there are three different types of delegate performance. The first one is comprised action outsources to non professionals. They would be asked to perform their identity within a gallery or exhibition. Some examples could be with Maurizio Cattelan. He was an Italian artist who had assembled a soccer club of North African to play local matches in Italy. They where also given shirts to wear that emblazoned with fictional sponsors. These gestures where able to draw contrast between two type of foreign labor within different ends of economic spectrum where the soccer players where rarely precieved at the same term as working class immigrants without the discernible of Marxist rhetoric. In my opinion this was a great way to get the message across as well as the enjoyment of the soccer game. Another example was a Spanish artist name Santiago Sierra. He had displayed work which featured minimalism and urban intervention. His work later shifted from installations that were produced by the low-paid workers to instead show of the workers themselves. In my opinion this is a great example since he was showing putting the harsh conditions and treatments people where going through on a daily basis.

    The other type of delegate performance was the concerns use of professionals from other spheres of expertise. These performers where known to be specialists in fields other than of art or performance. It instead where more towards the basis of their professional identity, rather than being representatives of a particular type class or race. This is a great example since they get to explore different types lf fields other than art. Some examples include Tino Sehgal, who was known to be a adamant. His practices would be comsidered not as performance art but rather as situations and his performers be referred to as interpreters. Many had also observed that Sehgal’s work, and his relationship with dance. They notice the critics and being trained within the choreography and economic field before he turned to the visual art field. Another example was Dora García a Spanish artist. Many of her performances during the early stages where known to explicitly allude to avatars and surveil- lance such as Proxy/Coma, 2001. Her most compell project however was The Messenger (2002). In my opinion this had gave the actors the path to send out the message and make the overall work more powerful.

    The last type of delegate was choreography and daily life. Recording images where considered difficult since they frequently captured situations that were difficult or sensitive to be repeated. An example, is Phil Collins who produce They Shoot Horses (2004). Collins had payed auditioned nine teenagers in Ramallah to undertake a disco-dancing marathon that was eight hours. It featured a garish pink wall featuring compilation of pop hits from the past four decades. The video end result was a two-channel installation, where the performers project in more or less the same size as the viewers. This cause a equality between them. To me, this had not only help teenagers recieve a little money but they where also able to express themselve and find out who they are. Another example was an artist nsme Artur Żmijewski’s and their work Them (2007). It had offer a complex narrative, it was less concentrated with portraiture than with the role of images. The artist would set up a many painting workshops for four different groups in Warsaw. These would include ladies from the Catholic Church, young socialists, young Jews, and Polish nationalists. They where known to each group produced a symbolic depiction and this was printed on T-shirts that where worn by each of the member in the group. To me, this was good because the female gender from different areas is being used and with t shirts making the message are getting acrossed.

    Here are some examples of the delegates

    https://youtu.be/naoYNgnDUl8

    https://youtu.be/omrtctTNySA

    https://youtu.be/cGMgUCyiHg0

  10. Sanzida Islam

    The Delegate performance is known to be the act of hiring non professional or specialist within other fields to fill in a job on behalf of an artist such as being there, performing, and being on time. The way it is related to outscoring is that societies where known to be corrupted due to capitalism. Bishop had claimed there are three different types of delegate performance. The first one is comprised action outsources to non professionals. They would be asked to perform their identity within a gallery or exhibition. Some examples could be with Maurizio Cattelan. He was an Italian artist who had assembled a soccer club of North African to play local matches in Italy. They where also given shirts to wear that emblazoned with fictional sponsors. These gestures where able to draw contrast between two type of foreign labor within different ends of economic spectrum where the soccer players where rarely precieved at the same term as working class immigrants without the discernible of Marxist rhetoric. In my opinion this was a great way to get the message across as well as the enjoyment of the soccer game. Another example was a Spanish artist name Santiago Sierra. He had displayed work which featured minimalism and urban intervention. His work later shifted from installations that were produced by the low-paid workers to instead show of the workers themselves. In my opinion this is a great example since he was showing putting the harsh conditions and treatments people where going through on a daily basis. The other type of delegate performance was the concerns use of professionals from other spheres of expertise. These performers where known to be specialists in fields other than of art or performance. It instead where more towards the basis of their professional identity, rather than being representatives of a particular type class or race. This is a great example since they get to explore different types lf fields other than art. Some examples include Tino Sehgal, who was known to be a adamant. His practices would be comsidered not as performance art but rather as situations and his performers be referred to as interpreters. Many had also observed that Sehgal’s work, and his relationship with dance. They notice the critics and being trained within the choreography and economic field before he turned to the visual art field. Another example was Dora García a Spanish artist. Many of her performances during the early stages where known to explicitly allude to avatars and surveil- lance such as Proxy/Coma, 2001. Her most compell project however was The Messenger (2002). In my opinion this had gave the actors the path to send out the message and make the overall work more powerful. The last type of delegate was choreography and daily life. Recording images where considered difficult since they frequently captured situations that were difficult or sensitive to be repeated. An example, is Phil Collins who produce They Shoot Horses (2004). Collins had payed auditioned nine teenagers in Ramallah to undertake a disco-dancing marathon that was eight hours. It featured a garish pink wall featuring compilation of pop hits from the past four decades. The video end result was a two-channel installation, where the performers project in more or less the same size as the viewers. This cause a equality between them. To me, this had not only help teenagers recieve a little money but they where also able to express themselve and find out who they are. Another example was an artist nsme Artur Żmijewski’s and their work Them (2007). It had offer a complex narrative, it was less concentrated with portraiture than with the role of images. The artist would set up a many painting workshops for four different groups in Warsaw. These would include ladies from the Catholic Church, young socialists, young Jews, and Polish nationalists. They where known to each group produced a symbolic depiction and this was printed on T-shirts that where worn by each of the members in the group. To me, this was good because the female gender from different areas is being used and with t shirts making the message are getting acrossed.

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