The Spectator in performative space of Laurie Anderson’s Habeas Corpus: telepresence and a place of empathy and guilt

Abstract

After a performative or experiential turn, the creation and shaping of the viewer's experience becomes crucial part of the artwork concept. In this case, the audience's perception is formed by the performative space. Its specificity is determined by the presence and movement of a person, object, sound, and light — it is dynamic, changeable, and limited in time. All this makes the space closer in character to the event than to the artifact.

By examining an audiovisual work Habeas Corpus, 2015, by American artist Laurie Anderson (b. 1947) the author discusses the ways of constructing and modifying the performative spaces, in which the object itself becomes just an integral part in shaping the event and the nature of viewing changes. The article examines the audience's place and experience in interacting with the hybrid work of installation and performance by Anderson. In order to study the perception and experience of the spectator-participant, the concept of performative space is defined in the first part of the work. Besides, it is explored how, through the special work with space, objects, sound, light, and technology, the viewer is involved in the event at various levels: physical/physiological, emotional, sensual, and psychological. In addition, the author analyzes the role of the audience as participants of the event and socially and politically engaged communication initiated by the artist using various methods and techniques.