My Documents is a lecture performance cycle where artists from different backgrounds present personal research, a radical experience, a story that secretly obsesses them.
My Documents has a minimal format: the artist on stage with his documents. A way of bringing to light the kind of research that often gets lost in a nameless folder in a computer.
About the genre:
The genre of lecture performance was created in the 1960s by Joseph Beuys and Robert Smithson, as a way of turning a speech into a work of art. In recent years, the format has proliferated in theatre, dance and the visual arts, becoming one of the variants of conceptual theatre. Artists such as Rabih Mroué, Tim Etchells and Jérôme Bel have reinvented the genre, making these non-academic lectures a way to present and talk about research and experiences.
The cycle seeks to delve into the genre in search of a contagion among conceptual art, research, and theatre. A space where speeches, formats and audiences can come together from different disciplines.
Editions of the cycle:
The cycle has been held for three consecutive years, in 2012, 2013 and 2014.
At My Documents 2012, Julian d’Angiolillo presented Official Pirate, a look at the art of piracy, from Parque Rivadavia to La Salada. In Simultaneous Translation, Sofía Medici narrated the erratic research process she went through to put together a performance about the House of Independence in Tucumán. Mariano Llinás reconstructed The Voyage of the Salado del Sud Steamer to Chascomús, the story of a steamship that crossed the plains of the province of Buenos Aires in 1857. Nele Wohlatz and Gerardo Naumann in 7 Journeys talked of the negotiations to film in Aurora, a town of German descendents in Misiones where God decides what can be filmed. Lux Lindner reviewed the rare books her family inherited, looking for a ghost’s fingerprints in The Happy Man’s Library. Beatriz Catani presented Today, a diary she began when her partner died, and at the same time an investigation into the world of the poets in the city of La Plata in the 1960s and 70s.
At My Documents 2013, Ana Gallardo drew a portrait of her father through his passion for collecting cockerels in Cockerel Collection. Félix Bruzzone wrote his views of Campo de Mayo –military garrison, refuse dump, extermination camp– from a jogger’s erratic point of view. In Ricky and the Bird, Martín Oesterheld told of his random encounter with the artist Alberto Heredia, who looked after his father’s paitings and him when he was too young to remember. Laura Kalauz and Agostino López presented Vanishing Point, a project consisting of artistic exchanges with inmates at Ezeiza Prison. Andrés Di Tella returned to Photographs, his autobiographical project about the romance between his Indian mother Kamala and his father Torcuato. In The Velázquez Affair, Albertina Carri returned to an old project inspired by her father’s book about Isidro Velázquez, a revolutionary gaucho. And Marsha Gall and Ivana Vollaro spoke about one person’s metamorphosis to meet US visa requirements in Transnational Subject.
At My Documents 2014, the poet and performer Tálata Rodríguez rescued from the damp the letters from her father, a shaman, rocker and tarotist from the Colombian guerilla conflict, in Postcard Father. In The Invisible Piano, the musician Ulises Conti led us through the history of the piano, right up to its disappearance. In Tuning Fork, the writer Iosi Havilio reconstructed the consequences of acting in Jorge Polaco’s first film at the age of ten. In Double Lives, filmmaker Alejo Moguillansky and choreographer Luciana Acuña spoke of their parallel journeys into the underworld of strippers and the world of war submarines. The musician and actress Liza Casullo in Chapter 32 spoke about her father Nicolás Casullo’s novel The Greengrocer with Radiant Eyes. In My Map of Villa 31, the visual artist Leopoldo Estol told of his artistic experiences in the Retiro shanty town, including the construction of a giant trainer that became a portable monument.