When working with art in live situations, documentation tends to be the necessary evil where the work is forced to change to something rather static. In Living Documents we are embracing this friction by examining documentation formats and approaching work of us and our collegues with documentary methods. We are also playing with what "ephemeral documentation" could possibly be.


After an initial phase in atumn 2017 we began working with loops. For us, the format of the loop creates different access to how something can be “read”. Live-loops borrow the quality of recordings in that they can be viewed / played over and over but since we and the audiences present are unavoidably different every time, the loop also enhances the live situation by making small differences visible in conjunction with memory.


Living Documents received initial funding from Ma7 Stadt Wien and Arts Grants Committee Sweden in 2017. Three installations with Dominik Grünbühel (A), Charlotta Ruth (S/A) and Anna Öberg (S) premiered in Vienna November 2017 inside a choreographic exhibition realised in collaboration with

Die Labile Botschaft and the department Social Design – Arts as Urban Innovation University of Applied Arts Vienna.The continuation and creation with Jenni-Elina Von Bagh (F) and Peter Mills (UK/S) begins in February 2018 funded by Swedish Arts Council.





Living Documents I – III 3 looped Performance-installations connected through a walk in the 3rd district in Vienna 25. 26. November 2017,

Open 15h – 18h, visitors could enter and exit at any point in time.

Development Team 2017:

Performance: Anna Öberg, Charlotta Ruth, Dominik Grünbühel

Dramaturgy and Content-management: Julian Vogel

Sound Design: Johannes Burström

Space Design: Luke Baio, Andreas Strauss

Graphic Design, Production & PR: Maiko Sakurai

Programming: Johannes Burström, Johanna Pfabigan

Technique: Roman Harrer



Rooted in the urge and curiosity to develop choreographic live-objects existing outside traditional stage settings, Living Documents embraces a context where live-performance is naturally forced to transform its temporality: the context (the question) of documentation.


The Living Document methodology examines the negative space of "the product". It is the activity and the modus operandi of the artist in relation to the viewer rather than fixing the artist inside one position. The movement of the workflow. The returning questions. The familiar patterns. Objects that stalk the artist. If comparing the approach to the methodology of painting, Living Documents work with creating an impressionistic access to situations. The performance installations are not documentary portraits, rather slices or zoomed in details of "bodies of work" put into play with a documentary approach.


Depending on the different artists and their respective practices reflected inside a Living Document, the performance installations are developed with different choices in relation to aesthetics, style and content but share a common parameter in relation to time, the loop. The aim to develop the Living Documents as looped live- performances is to give access to the choreographic object and the performer differently than through one- time linear reading which is often the situation on stage. Living Documents aim to simultaneously put artistic practice, ”final product” and through the loop also put rehearsal and documentation into play.




Copyright © charlotta ruth