New York

Tim Etchells

P.S. 122

While not exactly a school or a genre per se, the lecture-performance has a history all its own that is just beginning to be examined for its own merits. Recent practitioners in the art context range from Andrea Fraser to Walid Raad; earlier iterations include Robert Morris’s 21.3.1964, in which the artist lip-synched to a projection of Erwin Panofsky delivering his lectures on Studies in Iconology; Bernar Venet’s invitations (1967–71) to experts to present lectures in a range of subjects to accompany his own painted scientific diagrams; and Joseph Beuys’s famously engaging lecture-actions. Mostly practiced by artists who also do other things, lectures often serve to query not only what the artists are doing but also topical subject matter and artistic practice, like reality versus mediation or interdisciplinarity. Implied in the course of performing is the question Is this a real lecture,

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