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VISITORS OF AN EXHIBITION SPACE ARE SUGGESTED 

TO 'DO NOTHING'

Visitors of an exhibition space are suggested to 'do nothing' deconstructs the idea of 'doing nothing' as losing time, as well as productivity as valuable – because the participants are paid for it.

In a world where economic constraint dispossesses workers of a large part of their time, Visitors of an exhibition space are suggested to 'do nothing' reconsiders free time as a class privilege. ‘Doing nothing’ here is radically opposed to the notion of otium advocated by ancient philosophy and later widely developed in Western thought – an aristocratic grant obtained through the exploitation of others.

 

On the other hand, Visitors of an exhibition space are suggested to 'do nothing' unpacks the social stigma associated with 'doing nothing' as marginal pastime or procrastination. Unlike voluntary and unvoluntary outsiders, practicing inaction and refraining from accelerated productivity is no longer dissident when getting paid.

 

‘Doing nothing’ is thus practiced by the means of the capitalist system, where money is the ultimate measurement of symbolic value.*

 

Visitors of an exhibition space are suggested to 'do nothing' is conceived as a systemic proposal: a modèle reduit, or scale model, that formalizes and points out elements that belong to everyday capitalism. Using procedures, contracts, measured time, compensation, transaction, and so forth, it does not offer a commentary on ‘doing nothing’, but enacts it through a subversive device. It gives an objective, administrative existence to this ‘doing nothing’ and ‘nothingness’ recognized by the state, and by attributing to them monetary value, installs them in a capitalist logic.

 

* ‘Bullshit jobs’ and the notion of ‘bore-out’ are to be further discussed.

Visitors of an exhibition space are suggested to 'do nothing' is a (situational) (expanded) performance by artist Katya Ev. It will be enacted by the artist for the first time in December 2020

For future enactments the artist opens the possibility to any person to realise this performance, within the total finit number of 2000 and through a legal agreement including the  the artist's score and guidelines 

 

Katya Ev's particular interest in modes and forms of conservation of performance art evolves into experimental and moving re-enactment modalities, that embrace new circumstances and locations. Her approach questions how to frame the essence of a performative works in ways appropriate for sales, archives, transfers of authorship rights, reenactment, reproduction. ​