ournameisgoodinovertencountries

Ournameisgoodinovertencountries

Since 2006, Intervention/Performance

“…met in Prague where they first started the electro clash project “PeterVenkman’s Ucockl”.

Since spring 2006 we have also been showing interactive installations as OURNAMEISGOODINOVERTENCOUNTRIES.

In June 2006 Tim Birtwistle and I, realized a performance together. The piece was presented as part of a group exhibition in the Atelier Sedivy in Prague. Our idea was to “give everybody the chance to buy an art work for an affordable price”, made possible, by purchasing Tim.

The basic price was very low but became more expensive depending on what people were asking for. In this situation a number of things changed. Acting as a ‘middleman’, I propositioned the purchaser, who entered the room individually, to use Tim to realise his or her own ideas. Tim became an instrument in the completion of the work or action while the idea, the creative part, was that of the spectator. We offered an open creative space, in which the spectator was forced from the position of mere passive consumer to take responsibility for what was to happen.

The project was based on the idea that every creative process contains three factors: the circumstances, the environment which creates the basis and offers the physical space where things can happen; the idea or the concept, the reason to do a creative act; and the execution, the realisation of the idea, the proper work or action. Without an initial idea there would be no reason to do anything, there would not be any artwork; without the realization of an idea, the idea would not have any effect; and an adequate environment is needed to make a realisation possible.

For the common project this means that I had to create the ambience, the audience was invited to bring the ideas, and Tim Birtwistle had to realize these ideas. The project was within a high degree of creative interactivity with a potential far beyond a smoothly presented and nicely arranged performances or well designed ‘Human-Computer Interaction’. Here there is no limitation. The spectator is not asked to act in a well-prepared and predetermined situation. Here the spectator is an emancipated part of the actual creation of the work.

The core of the work is not the representation of a produced art work, but the production of a piece itself. It is thus not to exhibit something for the spectator, but to share an experience with her/him.

www.ournameisgoodinovertencountries.org
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