Juste Peciulyte (ESR9) directed two workshop-performance sessions named ‘Interior performance’ at ARTVILNIUS 17′ International Contemporary Art Fair (June 8 – June 11, 2017).
As a part of her research methodology she has been setting ‘staging sessions’ in diverse contexts and circumstances. This time during ARTVILNIUS17′, under Malunu 5 (exhibition space at Vilnius Academy of Arts) educational programme she proposed to enact a sort of ‘living model’ where a group of designers – performers – dwellers staged interior atmospheres through improvised material settings by building scenes with given surfaces and equipment.
The main focus was on the shifting artificial and natural light conditions in relation to light reflective and light absorbent surfaces (Ludvig Svensson interior climate screens amongst). The overall setting grew into an improvised shooting stage with prop-like surfaces of several kind: wearable surfaces, portable and interchangeable screens.
Interior performance in this context becomes a suggestive playground – a studio as stage, were abstract material shapes, performers, cameras and tripods form a dynamic interior setting.
The key reference in the reflection on this staging experience is Peter and Alison Smithsons’ proposal for the House of The Future (1956). They envisioned the future ways of living triggered by the emergent material of that time (plastic) not only through usual representation forms (drawings and full-scale mock-up), but also through performative, experimental ones (clothing, enactment, mediation). Beatriz Colomina in her article about this project ‘Unbreathed Air 1956’ (2004) names it a ‘media machine’ and ‘a theatrical stage set where fantasies of the future are scrutinised by an ever-curious, constantly watching audience’.
‘The House of the Future . . . “staged” as an exhibition house, confronted the changes that domestic machines, the emergent consumerism, the anticipated technology of the nineteen eighties; as two generations earlier the Pavilion de L’Esprit Nouveau had confronted the use of the products and the technology which it assumed would soon be generally available. The Smithsons’ house echoes the way Le Corbusier constructed a model apartment and filled it with everyday objects to present his vision of modern living—with the difference that the Smithsons would display and draw from the “transient materials” of an ever-changing market.’ Alison and Peter Smithson, “Staging the Possible,” in: Alison + Peter Smithson, Italian Thoughts (Sweden, 1993: A&P Smithson)