Invited to manifest the book Public Sphere by Performance which she co-wrote with Ana Vujanović, in this space, and working with and amongst Tate’s mass audience, Cvejić invites choreographer Christine De Smedt, filmmaker Lennart Laberenz, Neto Machado and Nikolina Pristaš to test choreographic patterns for Tate Modern’s visitors, elaborating upon and interfering with the audience flow.
After the claim that ‘the public can only be performed’ in Public Sphere by Performance, Bojana Cvejić investigates Tate Modern as a model of public institution exhibiting and producing contemporary art.
At various intervals during the day on Wednesday 21 May; Friday 23 and Saturday 24 May 2014, the flow of visitors through the Turbine Hall is filtered through by a choreographic inquiry. As a result of questions which discern citizens as they perform their individual selves in relation to each other, group movements, postures and formations spontaneously emerge in the open public space of the Turbine Hall. Tate Modern’s audience flow is reordered in choreographic patterns that reflect the visitors’ Spatial Confessions. The arising choreographic images reveal how the museum’s visitors appear as a public in the vast public arena of Tate Modern.