Once we started, we realized that publishing editions really allowed us to play to the advantages of being an artist-run space. The project allows us to facilitate the production of work that might be outside an artist’s usual practice or capability, it keeps us interested in the long term, and it gives us a way to offer our audience original work at an affordable price.
Still, more troublingly some of the performers played directly to the camera, seemingly valuing the photography or filmmaking over the live audience. Having “good” documentation is par for the course in work based in time and space. But, does that “good” documentation have to happen concurrently with a present audience?