Writing
Exercise On Experiencing Ephemerality

The following performance exercise is by Marilyn Arsem. You can find it on page 192 of the new publication about Arsem’s work entitled Responding to Site: The performance work of Marilyn Arsem.



Exercise On Experiencing Ephemerality

In a course on documenting ephemeral work, I being by examining the reasons that we try to hold onto the past, as well as the ways that our memories are fluid and elusive. Early in the course I give this task:

  1. Chose a place nearby that you have always wanted to visit and see, but have not yet gone.
  2. Go there, taking as much time as you wish to explore and experience the place.
  3. Before you leave, choose one object to bring back as a souvenir. Only one.
  4. And finally, you must agree never to return to that place again.

Initially this exercise appears mundane, until the final stipulation of never returning is added. The most revealing part of the process is each student’s debate on where they will go, knowing that they can’t return. The ones that choose the place they most desire have the most intense experience, and those that play it safe and choose a place that has minimal significance for them have the least meaningful experience.

I designed this exercise in an effort to replicate the experience of making a performance or other ephemeral work, and the profound feeling of loss that can occur when it is over. In particular, I am interested in pointing out that this kind of work is not unlike one’s own life, in that you cannot return to the past, but only—and if you are lucky—save a relic or memory of it.

Artist
Marilyn Arsem

USA
https://marilynarsem.net/

Marilyn Arsem has been creating live events since 1975, ranging from solo performances to large scale, site-specific works incorporating installation and performance. Arsem has presented work at festivals, alternative spaces, galleries, museums and universities in North and South America, Europe, the Middle East, and Asian. In 2016 she completed a 100-day performance at the Museum of Fine Arts, Boston.

Many of her works are durational in nature, and minimal in actions and materials. Created in response to the site, they engage with the immediate landscape and materiality of the location, its history, use, or politics. Arsem has often focused on designing site-specific events for audiences of a single person, allowing her to explore the unique properties of live performance: the possibility of direct interaction between performer and audience; the opportunity to engage the audience’s full range of senses including taste, touch and smell; and addressing the implications of the temporal nature of the live event, which can be retained only in memory. The performances often hover at the edge of visibility, creating an experience in which the viewer must stretch her or his perceptual capacities to their furthest limits.

She has been the recipient of numerous grants, including a Research Fellowship at the American Antiquarian Society, 1997; a National Endowment for the Arts Solo Theater Fellowship, 1994; an Artists’ Projects: New Forms Initiative Award, 1992, from the New England Foundation for the Arts in partnership with the National Endowment for the Arts, the Rockefeller Foundation and the Andy Warhol Foundation for the Visual Arts; and a Massachusetts Artists Foundation Fellowship in New Genres, 1991.

Her work has been reviewed in many publications including The New York Times (Dunning, 1994), Parachute (Todd, 1998), Text and Performance Quarterly (Anderson, 1994), Women and Performance Journal (Todd, 1996; Parker, 1988), P-Form (Askanas, 1998, 1994), New Art Examiner (Abell, 1992), and High Performance (Engstrom, 1991; Sparks, 1990; Miller, 1990; Perez, 1986; Pederson, 1986; Sommer, 1985).

She is a member (and the founder) of Mobius, Inc., a Boston-based collaborative of interdisciplinary artists. She taught at the School of the Museum of Fine Arts, Boston for 27 years, establishing one of the most extensive programs internationally in visually-based performance art.

Series
Performance Resolution(s)

Resolution:
a firm decision to do or not to do something.
the quality of being determined or resolute.
the action of solving a problem.
the process of reducing or separately something into its components.
the smallest interval measurable by an optical instrument.
the conversion of something abstract into another form.

ARTISTS
Cindy Baker
David Bateman
Kate Barry
lo bil
Kiera Boult
Alexis Bulman
Ulyssess Castellanos
Chipo Chipaziwa
Keith Cole & Jeanne Randolph
W. A. Davison
Emily DiCarlo
Claudia Edwards
Vanessa Dion Fletcher
Serge Olivier Fokoua
Marie-Claude Gendron
Moynan King
Hélène Lefebvre
Tess Martens & Holly Timpener
Roy Mitchell
Laura Paolini
Diana Lopez Soto
Jordyn Stewart
Clayton Windatt

Performance Resolution(s) is FADO’s 2021/2022 at-home residency series. Participating artists were chosen from a Canada-wide open call for submissions inviting artists to propose performance-based research projects that engaged with the theme of ‘resolution.’



It goes without saying that 2020 changed everything. The world is now a very different place than before. (We resolve never to say, “it goes without saying” again.) For artists working in live art and performance, events were cancelled and festivals postponed. What happens to embodied practice when the bodies can’t be together irl? With dizzying speed, we were compelled to bring performance to the tiny back-lit screen as an alternative. Sometimes that worked. Without being able to gather in large groups, sometimes we leaned on old tricks (what performance artist doesn’t know what it’s like to perform in a half-empty theatre?) to shoehorn our work into the current context. More often than not, to keep moving, we stuck with the script—over producing and addicted to presentation.



But thankfully the new year brings with it fresh starts, new directions and an opportunity to reflect. We make promises in the form of new year’s resolutions—a private or public personal commitment to change. Most resolutions dissolve by the end of March, or sooner. If 2020 taught us anything, it taught us that transformation comes slowly. The real breakthroughs are still in the (social) distance, but a seed has been planted.

Our inspirations for Performance Resolution(s) are the hope for a better 2021 for all, and a profound performance exercise designed by Marilyn Arsem that we think about from time to time. Read Marilyn’s exercise below.

Some of the projects in this at-home residency series will have tangible outcomes; many will not. The point was not to find to way to support artists through replicating old ways of doing things by keeping the hamster wheel of production going. Instead, we encourage a slowing down and a deep dive into what it means to have resolve, even if you don’t have the answer. 

Watch this space for updates on various projects and research contributions as they reveal themselves over the 2021–2022 programming year.

Series Purple

An ode to FADO's history, Series Purple is composed of a collection of purple fragrance materials dating back to the Roman Empire. Dense, intense, and meandering, this fragrance tells us non-linear stories.

Top Notes

huckleberry, violet

Middle Notes

cassis, lilac, heliotrope

Base Notes

orris root, purple sage, labdanum