Those who think of contemporary art as a cultural activity tend to rely on performance to bring a degree of variation to the exhibition format. Given its nature as an event, performance can lend a program a rhythm. Contradictory Statements, Michèle Graf and Selina Grüter’s proposition for Fri Art, involved a series of appropriative strategies as well as a method of what you could call programming performance. In doing so, it deviated from the prevailing tendency, which establishes a dialectical opposition between performance and exhibition – in much the same way that the living oppose death.
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