With the additions to the show from the fourth and last opening, the exhibition is complete and will not undergo any more changes until it’s over. One of the additions is by the artist Regina José Galindo, whose own body is always the starting material for her works of art. Galindo’s earlier works were primarily devoted to the socio-political unrest in her homeland of Guatemala, while her more current pieces investigate universal and ethical effects of social injustice, discrimination, or other problems evoked by unequal power relations. To do so, she exposes herself to extreme situations, whose physical and psychic pressure also remains palpable in the documentation, especially in the two videos that are part of “Yes, but is it Performable? Investigations into the Performative Paradox,” “Caparazón” (2010) and “Tierra” (2013).

The artist Stefanie Seibold employs appropriation, repetition, and their documentation in variable displays that can adapt to different spaces, in order to show how the history of performance can be performed. Starting with her research on the performance pieces by the artist Gina Pane, the artist is interested in the remarkable over-representation of self-injury in the reception of performance. In her artistic, investigative explorations, she makes more room for active reinterpretations, while also featuring cases of mythologizing.

The exhibition’s series of live performances finishes with the artist Marie Karlberg. Karlberg is known for performances that deal with the interdependency between expectations of young artists’ marketability and the careers that consolidate out of that. In today’s accelerated era, when artists must occupy themselves with the business of being artists in a way that has rarely been seen before, Karlberg’s “1 hour of limited movements” contrasts a presentation of constrained presence with a focus on her own exposed existence.