Serralves On Stage
Event
Transform your living room into a privileged stage, watching videos of shows and performances that took place in Serralves.
We invite you to watch Mirror Piece I & II (1969 / 2018-2019) performed in May 2019 at the Tennis Court of Serralves Park, after its only outdoor performance in 1970.
Joan Jonas (New York, 1936) is a central and pioneering figure in video art and performance in the late 1960s and one of the most influential voices in contemporary art.
The reconstruction of Mirror Piece I & II (1969 / 2018-2019) marked the return of this exceptional artist to Serralves and was part of the most complete exhibition of Jonas' oeuvre.
The overlapping of mirrors and reflected images experimented in Mirror Piece I & II (1969 / 2018-2019) are striking devices and recurring metaphors in her oeuvre. Its use opens the discussion about the role of performance and the relationship between artist and viewer, as well as about the concepts of reality and reference, image and reproduction.
In this play, several performers perform a series of carefully choreographed actions using mirrors and glass that fragment the space of performance and multiply the image of audiences and performers. Never recorded on film, Jonas based her reconstruction on notes and photographs that, based on the sensation and images collected, allowed him to create new movements and configurations.
We invite you to watch Mirror Piece I & II (1969 / 2018-2019) performed in May 2019 at the Tennis Court of Serralves Park, after its only outdoor performance in 1970.
Joan Jonas (New York, 1936) is a central and pioneering figure in video art and performance in the late 1960s and one of the most influential voices in contemporary art.
The reconstruction of Mirror Piece I & II (1969 / 2018-2019) marked the return of this exceptional artist to Serralves and was part of the most complete exhibition of Jonas' oeuvre.
The overlapping of mirrors and reflected images experimented in Mirror Piece I & II (1969 / 2018-2019) are striking devices and recurring metaphors in her oeuvre. Its use opens the discussion about the role of performance and the relationship between artist and viewer, as well as about the concepts of reality and reference, image and reproduction.
In this play, several performers perform a series of carefully choreographed actions using mirrors and glass that fragment the space of performance and multiply the image of audiences and performers. Never recorded on film, Jonas based her reconstruction on notes and photographs that, based on the sensation and images collected, allowed him to create new movements and configurations.
