‘It’s About Cross-Over’: Cross-Art Performance

Abstract

A twenty-first century contemporary snapshot reveals artists working together in a number of collaborations, making cross-art forms that experiment and explore the relationship of art, performance, landscape and memory. In December 1999, as the millennium approached, the theatre and opera director, Deborah Warner, told me that cross-over was where the untapped energy lies and how there was so much more to be done in the next century.¹ Artists are filling the ‘empty space’ with 14,000 translucent, white boxes (Rachel Whiteread’s Embankment, 2005), 90 porcelain vases (Deborah Colker’s ‘Vasos’ in 4 Por 4, 2003), radio waves (Graeme Miller’s Linked, 2003), carpets (Rosemary Laing’s Groundspeed, 2001), living grass (Heather Ackroyd and Dan Harvey’s Dilston Grove, 2003), wood (Ana Maria Pacheco’s Dark Night of the Soul, 1999), multiple video installations (Bill Viola’s The Passions, 2003) and angels (Deborah Warner’s Tower Project, London, 1999; Angel Project, Perth, Australia, 2000; Angel Project, New York, America, 2003).