Oskar

Oskars

Corpus note

Oskars has a partial corpus, primarily Term 2. The available material should not be treated as documentary evidence of equal depth across the cohort.

Oskars approaches performance through procedures and infrastructures. He repeatedly asks how a question, score or environment can organise action without dictating its content. The RSVP Cycle and Viewpoints become useful because they break creation into relationships among resources, scores, evaluation, performance, space and attention. His interest in object relations introduces another, psychological use of the word “object,” distinct from the Object-Oriented Ontology used by Gala and Avery.

He also pays unusual attention to conditions of access and group organisation: relaxed performance, chill-out spaces and the possibility that devising structures acquire cult-like dynamics. Artistic methodology therefore cannot be separated from the infrastructure through which people are invited, controlled, supported or excluded.

For Clarisse, Oskars is primarily a methodological reminder that the conditions surrounding a practice are part of the practice. Clarisse is often drawn toward the symbolic and experiential centre of a performance; Oskars's questions redirect attention toward the systems that make that centre possible. This becomes especially relevant wherever Clarisse works with endurance, ritual or vulnerability: intensity cannot be separated from consent, access, recovery and the social architecture surrounding the performer.