'n Ondersoek van performance-kuns in terme van metaskilderkuns en antiteatraliteit

English: This comprehensive research project comprises an exploration of performance art in terms of meta-painting and antitheatricality and consists of two parts: a theoretical account and studio research. The two components are integral parts of the same investigation. In this research project I used a reciprical explorative process where both theoretical and visual research components conceptually and creatively interelate. Meta-painting is a performance of the nature of painting and visual representation. The characteristics of meta-painting or meta-representation derive from W J T 'Mitchell's concept of metapictures. He distinguishes three types - the picture that reflects the production of the picture; the picture within which another picture is recontextualised; the picture that reflects on picturality through its placement within a discursive frame. The concept of antitheatricality derives from Michael Fried's theory that an artwork is anti theatrical when there is complete identification between the subject pictured in an image and the activity represented. On the one hand, an artwork is said to be antitheatrical when it appears as if the figures represented in it are unaware of, or independent from, the spectator; the artwork does not "act" for an audience. On the other hand, the denial of spectatorship through a picture's metaphorical turning of its back on the spectator is a conscious, even theatrical action; the picture "acts" unaware. The relationship between theatricality and anti theatricality, or selfawareness and unawareness is therefore essentially dialectical. Antitheatrical meta-paintings are dialectically performative - their performativity entails self-awareness and self-referentiality, which is achieved through the apparent cancelling of spectatorship. Performativity in this thesis refers to artworks that appear self-aware of their own coming to be, as well as to performative actions that are not only represented, but that are also inherent in an artwork in terms of representation and medium. Moreover, it is possible to intertwine performance art, meta-painting and antitheatricality because performativity forms the basis of the discussions, constructions and deconstructions of pertinent artworks. Throughout the thesis emphasis is placed on art as involving a mediation of dynamic, performative actions between artist, artwork and spectator. Affinities between meta-painting and performance art are considered on the basis of the performative character of specific artworks or actions. On the basis of the performative nature of their self-reflexive and allegorical mediation on their function in the world as dialectical, self-denying objects or images, seventeenth century vanitas still life paintings are explored as special examples of meta-paintings. The allegorical reference to something other than what is represented is an example of performativity that is at stake in performance art as well as in photography. The discussion of photography as allegory of death by amongst others Roland Barthes and Gerhard Schoeman, in a manner that lends an element of vanitas to photographs, serves as supplement to the discussion of meta-painting and performance art. The affinity between performance art and meta-painting is explored further with regards to a performative, internalised iconoc1ash - resembling both iconophobia and iconophilia. Iconoc1ash here involves an image's simultaneous meta-representational and self-reflexive construction and deconstruction, vitalising and self-critical selfdestruction. Time (in terms of transience and passage) and space (in terms of the space that is made visible within an artwork through iconoc1ash and the dialectical, performative action between spectator and artwork) serve as catalysts for the performance or affirmation of internal iconoclash. The dialectics of anti theatricality in performance art and meta-paintings is discussed and highlighted throughout the thesis. Visibility and invisibility, presence and, absence, appearance and disappearance are shown to be mutual characteristics of the operation of antitheatricality. The boundary between performance art and metapainting is transcended through these mutual characteristics that flow from the dialectics of theatricality and antitheatricality, self-awareness and unawareness, acting and not acting.