Publieksreacties juni 2011 Looking for

Publieksreacties juni 2011 Looking for



Michael Spencer Course Director BA Performance Design & Practice Central Saint

Martins College of Art & Design, London

“I find this exhibition extremely important for my students. I will make this part of

their obligatory program during their visit of the PQ.

Intrigued by the idea of an exhibit that was part experienced outside of the exhibition

building, I initially received a lesson in how to use an iPhone (I have a thing about mobile phones and don’t own one, never mind an iPhone). Having been instructed, I marched out and followed the map, watching my satellite blob and stopping to hear text, see images to assure me I was on the correct route, and take photos. The idea became more intriguing over the hour I spent experiencing it – I granted no other exhibit an hour of my time, which in itself makes this remarkable. After all, performance happens in space over time….My appreciation grew over the hour, at first intrigued, then a bit confused, then delighted and engaged, and finally, illuminated. The central question of when framed life becomes performance and when performance dissolves into real life is very pertinent, and beautifully and elegantly described here. Theory and practice as one.”


Nanay Fanini Katalin (Hungary)

Project coordinator of Festival Art on Site ( in Hungary:

“I liked the walk very much. This is one of the most interesting projects of the PQ

for me.


Carmen (Hongkong)

“I liked the route very much. I liked taking a lot of time. At each spot, I saw

something unexpected because of what I heard you say.”


Mark Eulogio (USA)

“I see that this project is made with a lot of love. I like the dramaturgy, how every

stop seems to be one more step into history.”


Stefanie (Austria)

I liked that you described what’s actually there. That made me try to find the

people you are describing. Like on a stage.”


Hella Prokoph (Germany)

“When I arrived at one of the spots a girl lay down on a bench. I thought that she

was an actress, and I sat down to watch her. I found her performance was very

moving. But at the same time I didn’t know if she was an actress at all.”


Pauline (Germany)

“What’s nice for me is that there is an ambiguity. I can choose to take the exact

picture that you describe, or something completely different. Its not strictly holding

you in. I can go away and have a coffee and come back. I look at all the things,

not just at the things you are asking me to look at.”


Andrew (UK), academic, teaches theatre and performance [E]

“I’m interested in location of performance. What’s the spectators’ experience in

site specific work. What’s my work while I’m walking around. It’s for me to imagine

this theme, to locate myself, to see what’s around me, where am I in Prague, who

am I in Prague, and how do I relate to the history of what has gone on before.

1968 is floating around, how was life under communism?”


Yoko Yamamoto

“Instead of the building, I took a picture of a dog running down the path. I find

this idea great: to take something away with each shot of the camera. It made me

think carefully of what is really important to me at this moment.”


Viola Weltgen (Germany)

“ Waiting for the tram Trams were gone. Nobody was there. I looked around

me: I’m sitting on something modern here, this wasn’t here in the 1960’s. The fact

that the tram-stop was empty made it more interesting for me.”

“We liked the recording, especially the fact that you can hear different sources

from editing of sound. But you could have added sound of the street. I enjoyed

most the audio recording at Expo building (L4): to be asked to choose what I would

keep. It was like going back in history while listening to the text. In general we

thought the texts were very good.”