‘As you played your part’ (2010)

From the ‘Performance Archive’

1. Porneia

sheslookingforsomething

butnotreallypretendingaleadfiwouldntsldfufufkeepwithherunlessshewasdeliberatelymisl

eadinginhiserhercurrenbtappearance

sheappearstobesomeoneeasilyoffended

noimarytwolitresofmenstrualfluidunleashedatthenickofparacelsussneeddleshame

sdomneonewhoalienatesthosewhofeelsolitundisinuous

thebrustingbellythealiencow

perhapsanorthodoxyofoptimism

cryrapecrywolfcrayrapelittleknownthatthevastamountofreportedrapesaredrunkeninfidelit

esattemptingtobecoveredmarymaryafterthtirtydoublestattoooflifering

my viewisobscuredbuytbnuttercaptheflieswillinheritbuttertownschielelelele

inaglitterryhjumper

loadsochineseishidshesleftimnotentirelyunhappy abouthtat

ishouldidcusskanjispeakaboutmyselfspimrailtiyshewouldbefascinated

ihaveanendlessbirthoftopics

imeetthemergencyservices regularly

thereareaseriesofattractivewomenwhoarefarmoreinteresting

2. Kenodoxia

ivepleacedmyselfimmediatelynexttothisonehadbiggerlegsthaniimaginedilmaby

ihaveanambiguousfeelingabout himmisguided complacentperformnancecompiled

thisperformanceisassuredlyindfifferentprobablynorhternborn

inadvertantlyreducinghimselfasiundeliblyofthatregiontooconfusingundereedutction

urbandeprivationlinguisticatrophywithcolourvoourasprimarysensoryexhaustion

tonotbeforgottenbutpreditcactlygenericforthisdesireeveryoneintheroomdoesnt

wantobegeneristheresultiscleagenericismthoseawhorearenaturallyattractiv

notsuseueudedususususueusudusususedasanambiguousword

remainsotherestappearworseforthesubtefyudeheappearsworseiwouldbeable

tobullyhimbuticouldmostdefiniteltbeattheshoutoutofhim

idstepbackoneshufflesteptomyrearsouhteastthenstepforwardintothelefthook

followedbyrightcrossifnecessarythepunchwillowshaketheskilltouching

thebraintoboneasitdoessorenderinghimshutodwnunconsciouswheredescendinginthe

femalereactionin the room deemsitnecessaryimayhithimfurtherprone

3. Orge

inowthisabsolutefukingobshtealreadyspecialneedas

whensomeonecheksthey’rereflectioninflated

iveseenthisonespeaktpeople

headinamirrorbeingdfunfdamentallyusedinanartwork

hesupat night headphgones onhislapton liipsynchingto davidgray

4. Akedia

theconceptofbloodasathingthatcanbecleanordirtyiscontroversialbuttakenliterallyitcanbev

aluable

theconceptofbloodas

athingthatcanbecleanordirtyiscontroversialbuttakenliterallyitcanbevaluable

theconceptofbloodasathingthatcanbecleanordirtyiscontroversialbuttakenliterallyitcanbev

aluabletheconceptofbloodasathingthatcanbecleanordirtyiscontroversialbuttakenliterallyi

tcanbevaluable

theconceptofbloodasathingthat

canbecleanordirtyiscontroversial

buttakenliterallyitcanbevaluable

theconceptofbloodasathingthatcanbecleanordirtyiscontroversialbuttakenliterallyitcanbev

aluabletheconceptofbloodasathingthatcanbecleanordirtyiscontroversialbuttakenliterallyi

tcanbevaluabletheconceptofbloodasathingthatcanbecleanordirtyiscontroversialbuttakenl

iterallyitcanbevaluable

5. Gastrimargia

imatrrarctedtothisoneeventhoughisdumpierthaniim

agineditrytospeaktohetopresentaromanticiopportui

nitythatshehastospirntoaddaseneofrealityoherperfo

rmanceshehastoleavebutsheshesmilesindicatedwh

atimnotsureithinktheinherentlimitationofherperform

ancecontractymakesitsadfeandsoshecanacknowled

etjesymboliccompliementinbredinmyfakeryiotisfake

didtolerateherattetniontowardmebutnotputmuselfut

oputespeciallyforherinthisroomespeciallyrinthisroo

mespeciallyshemustsheethatshesavesaverageravh

eratbestalltheshorthaircrutsallthebloodinthisrooms

hirtbrickshsortskirtstattomongolwithhighheelsheel

walksinandonartowkrscrotumandthisoneisforgotten

tothemongolsfilledinnoselineandcuntbulimiaanoerx

iahiskeeptfromitboyufriendsinkstrainsshekeepsfrom

herboyfriendhereatingdiosorderstrainswithgutflecki

nthesinkburntoffpigmentinherthroatfingerslikeburns

likevitigligogauntandnomoreperiodfertilityisoverrat

ednexttohaveingaschildrlikeboydasfaynaactorlyfash

ion

6. Lype

iveproppedmyselfagainstawindowandthislambyhucktoothcomeswalinguoptiomeeventhe

symbolicchgeeksifshitehawk

hesclearlytoobusybeingahomosexual hsnerovusbonets

oneofthefewcasesofparentsnotbeingproudoftheirsonsdecisiontobegay

hewasconfirmedhewasactingonhisdsireslongbeforehetoldthemhehasnofeelingofbeingco

mpelledtodoanuthingverytalentedchefsooohorememberwhyheadmittedhisloveofmentocu

relreligiousparentsbecauseheshisbrainwasaddledwithcome

therearesomanygirlsherewithtattoos

totseetheatowkrstheartiartworkisanideologicaldistractionoftheirrelvaencayofsexualpredi

cilationdehdefineshimselfwithasexualpeccadilloanothetotherwiseutterlyfineindividualto

beselfeducatedingingidentitytogenitalpreferencehemincesantoosandseemsutterlyfrossly

ateasewiththeguests

somyuchofbeinghomoxzsexualinvoveshtesmelloffrankylfaecesthisisayindifferentlyevena

scompliementaryasitcanbesomehow

sweetunderthefinernails

hardtoimaginehimgivingblowbakorsnowballingbarebackingeventhougjuiknowheisgay

catolicksoheisprobablylikesbeingprinnedandskewereded

7. Hyperephania

I knowthisonetoopersonallytocomment

idrepercussions

alesbiancouple

tattooonherleg

firststagesofpregnancyaglenwithboredom

shelooksofutotoutofplace

homsebase

shouldtherebeapoetryfortheobese?

‘As you played your part’ is a work from an archive of a projectinstigated by the artist and conducted by seven participants between the 29^th October 2009 and the 2^nd of January 2010. The project, which has since been referred to as ‘Performance’,was loosely inspired by an event ­­conceived by Genesis P- Orridge in 1978. Everyday, each member of ‘Performance’ developed a fictional character inspired by a set of clothing and improvised the character throughout the duration of the day. This was repeated daily until the demise of the project on the 2^nd of January 2010. The project took place in an empty house in South East London.

The seven participants of the project (James Nicholson, Paul Farance, Joseph Scruz, Peter Madonie, Roselyn Muhammad, Josephine Baker and Blanca Nicholas) were invited to the opening of the RCA’s Sculpture interim exhibition on the 26^th of April 2010 and instructed to enact the role of gallery visitor in silence for the duration of the event. Three writers were invited to anonymously observe the participants and produce a series of fictional texts.

­

Robert Lye (1982) is an artist currently based in London.