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Performing Online in 2021: Thinking with Graciela Ovejero Postigo, Urich Lau and Daisuke Takeya

With much persistence and nagging from Daisuke Takeya (thank you for not giving up on me), I contributed an essay on three art pieces presented as part of R3: Scape-City (online, 2021). R3: Scape-City is the third edition of an annual performance art festival, Responding: International Performance Art Festival and Meeting, that began in 2018 as an in-person festival between Tokyo and Fukushima Province. The second edition happened in 2019 as an in-person festival between Osaka and Manila. R3 was supposed to happen in 2020 between the Nagano Prefecture and Singapore, but was first delayed then rethought for online presentation.

I wrote down some thoughts about Urich Lau’s Virtual Reverie for Life Circuit (VC_VT_LC), Graciela Ovejero Postigo’s Disambiguation of the Interval (4th essay) and Daisuke Takeya’s Borderland. Daisuke was kind enough to publish these thoughts as part of Discursive Arena, enfolding me in the conversation in the larger festival.

In this essay, I reflect not only on works by Urich, Graciela and Daisuke but further speculate on the nature of presenting recorded performances online.

My essay can be directly accessed here.