Following Pieces: On Performative Photography

This article explores the concept of performative photography, particularly in the context of Surrealist and conceptual art. ​ It begins with Denis Hollier’s analysis of the cast shadow as an indexical sign admired by Surrealists, emphasizing its contemporaneity and lack of exchange value. ​ The article discusses André Breton’s literary works, which replace descriptive realism with performative realism, urging writers to record experiences factually. ​ The connection between indexicality and performativity in photography is examined, highlighting how photography can be used as an instrument of discovery rather than merely recording preexisting objects. ​ The works of artists like Vito Acconci, Sophie Calle, and Gabriel Orozco are analyzed to illustrate how they use photography to document ongoing events and performances, often following specific instructions or tasks. ​ The article contrasts this approach with Robert Morris’s critical view of photography, which he sees as denying the reality of time and space. ​ Ultimately, the article argues for a reinterpretation of photographic indexicality, focusing on the performative gesture and the event of inscription rather than just the trace of a past event.