When does a performance end?

Or does it really end?

Can it (still) exist in different forms and formats 

meaning can it lead different double-triple life through its remains?

This performance emerged from my interest in the performativity of the archive, and of how we can archive, curate and experience a performative work that has passed. As a newcomer of the art scene, often time I get to experience a performance through photographs, recollection and rumors, and very rarely video documentations. By now, we all have come to accept that these means of archiving will never do justice to the performance itself — they can never reenact the truest state of the performance. As my performance studies hero Rebecca Schneider posited that we are obsessed with the archive because we think performance really disappears, and in turn, the existence of the archive leads us to think that performance really disappears. This leads me to examine different afterlives that a performance would have through its archival remains.Then, I realize, we all forget about one more possibly of re-living the performance: it’s through the body. The performance remains in the body, in its memory, and at the same time improvises, overwrites.

*Read the performance score here.