ABSTRACT
Artistic media seem to be – more than ever – in a permanent condition of mutation. Mutation is a term borrowed from molecular biology and genetic science referring to the permanent change in the DNA sequence of a gene. Mutations in a gene's DNA structure not only alter the connectivity within the DNA sequence but might also change a protein produced by a gene. In much the same way, we inhabit an ever-mutating media landscape where once separate media levels are interconnecting in novel configurations and where different media devices and forms shape-shift in a most surprising way. Take the example of the applause, one of the devices that 'belong' to the live performing arts. The act of clapping is an expression of approval or admiration towards live performers. However, we found ourselves applauding before a machine in Kris Verdonck's Actor #1 (2010). It is obvious that Verdonck's creations are situated in the transit zone between visual arts and theatre, between installations and performance, dance and architecture. This not only affects the mutual relation between these media but also our attitude towards their mutating devices and forms. Have you ever found yourself applauding in a museum, before a 'dead' painting? Did you ever wonder why (not)?
