In 2023, I began creating the ‘autobiographical condition report’ series for my performance pieces as part of the ongoing conversation about alternative performance documentation. This project intertwines my artistic practice with my experience in the conservation of contemporary art within museums. While traditional conservation focuses on tracking and documenting artworks' condition over time, methods for acquiring and caring for performance art are relatively new and evolving compared to those for more tangible art forms. The primary objective of conservation is to protect and maintain artworks, ensuring they retain significance forfuture generations. In contrast, the essence of performance is rooted in the present—the immediate experience of what unfolds in real time. This dichotomy raises compelling questions about revisiting performance pieces over time and the importance of their repeated presentations.

 

Performance art frequently employs a range of media, including video, installations, and 2D and 3D objects, making conventional evaluation methods less applicable. Due to the unique challenges of performance art, Tate Modern has adopted an innovative approach to conservation. In 2016, they established a specialised team comprising curatorial acquisition and multimedia conservation experts, revolutionising how they document and preserve performance works. Their enhanced strategy centres on capturing the ‘liveness’ of performances through comprehensive documentation that transcends a single, static representation. Tate’s meticulous attention to detail in presenting performance pieces is remarkable, as evidenced by their glossary’s preference for the term ‘activation’ over terms commencing with ‘re:’, emphasising a dedication to originality and continuity in the artwork.
 

Inspired by these innovative approaches, I further refined my performance documentation methodology. By crafting a personalised template for condition reports, I meticulously record details for each performance piece, encapsulating the dynamic nature of every activation. The specified record-keeping items encompass a range of factors, from logistical details to performer metrics, providing a holistic view of each performance instance.
 

- Artist:

- Title:

- Year:

- Medium:

- Dimensions:

- Duration:

- Description of Work:

- Date of activation:

- Starting time:

- Duration of activation:

- Venue:

- Weather conditions:

- Object components:

- Performer:

- Age:

- Height:

- Weight:

- Pulse rate (BEFORE activation):

- Pulse rate (AFTER activation):

- Dress code:

- Constant elements/ rules of activation:

- Unpredictable circumstances during activation:

- Audience:
 

By developing autobiographical condition reports as complementary materials to live performances, I delve into the core concerns of my performative practice. Unlike the detached perspective of a conservationist examining external artworks, as an artist-performer, I am uniquely positioned to capture both the enduring constants and the transient fluctuations within each activation. This comprehensive documentation tracks the evolution of my performances and underscores my commitment to prioritising performers’ physical and mental well-being throughout the artistic process.