It seems only logical that the roles of artist and observer should overlap one another (in practice as well as theory): the artist is also an observer and observers create their own meanings and associations, their own relation/link with the proffered ‘image’.
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A more apt description would be stages or platforms, or - with a premeditated reference to that obscure, but charismatic avant-garde movement of the 1950s and -60s - situations, which place her public within a constellation, that confronts it with the way it observes and interprets.
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The observer (Meijer) describes the work of the ‘makers’ (the artists who exhibited in SMBA) based on his own memories (and imagination) to another maker (Visser) who is (and was) herself an observer of that same exhibition history and who then proceeds to turn that memory into an artwork.
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It is as if each new painting arises solely from the contemplation of his own work (by comparison Mondrian, of whom the same is said, was a paragon of openness to impressions from observed reality, witness his paintings and the incidental references in the titles to music, dance, and to squares and streets in Paris, London and New York).
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If performance was originally intended as something to be observed - almost like an object on a wall or plinth - with the aim of making its audience conscious of its own presence - perhaps making it feel extremely uncomfortable - then Kruip’s work for Bureau Amsterdam could formally be described as a performance in which the audience is simultaneously performer and performance, within the framework of the surroundings in which it finds itself.
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