Arts

This paper examines Ljuzem’s Walk (路之行走), a performance by the Paiwan choreographer Ljuzem Madiljin (路之·瑪迪霖), founder of Tjimur Dance Theatre, presented at the Taiwan Art Biennial 2022, Love and Death of Sentient Beings, at the National Taiwan Museum of Fine Arts. Wearing twenty-five kilograms of ceremonial regalia, she walks from the museum plaza through its galleries and lays the regalia on earth inside the company’s installation. I draw on firsthand observation and a June 2024 interview with the artist, writing as a co-curator of the Biennial and a long-term collaborator of the company. I argue that the walk folds ancestral memory, personal history, and present Indigenous life into a single embodied duration. Visitors may choose how long to stay; Ljuzem carries the weight throughout. This unequal demand on time links spectatorship to the gendered labor of sustaining family and company while carrying cultural responsibilities. Claire Bishop’s critique of dance in museums distinguishes the event from its exhibition framing. In light of decolonial museum scholarship, I read the performance as proposing relational repair. Its force lies in making other relations to time perceptible; its institutional consequences remain open.

This article examines how Rebecca Salvadori’s moving-image practice negotiates the boundaries between video art, documentary, and performance through audiovisual fragmentation. Drawing on a qualitative comparative analysis of five purposively selected works: Rave Trilogy (2017–2020), The Sun Has No Shadow (2022), Messengers (2022–ongoing), All We Got Is Us in the Moment (2023), and A Forbidden Distance (2024), the study investigates how visual composition, editing, sound, and temporal organisation contribute to documentary representation. The analysis adopts a post-digital perspective concerned with the artistic uses and coexistence of technologies, alongside theories of documentary performativity and embodied perception. The findings demonstrate that fragmentation acquires distinct functions across the corpus, including disclosing documentary construction, reorganising personal archives, articulating collaborative encounters, and connecting individual testimony with collective environments. The article proposes sensorial documentation as a situated analytical concept describing how identifiable documentary materials are recomposed through audiovisual form to articulate experiential, relational, and conceptual dimensions of recorded situations. Rather than treating sensory intensity or fragmentation as inherently documentary, the concept emphasises the relationships between recorded material, formal organisation, and the experiences or ideas made perceptible. The study contributes to discussions of performative imaging and post-digital moving-image practices without making empirical claims about audience reception.

This article examines the emergence of live doc as a performative modality of documentary practice within Brazilian experimental live cinema. While live cinema has been widely recognized as an expanded audiovisual form, its intersections with documentary practices in Brazil remain under-theorized. Drawing on the concept of documentality, particularly as articulated by Hito Steyerl, this study investigates how archival, testimonial, and reality-based images are activated through real-time audiovisual manipulation. Through close analysis of three Brazilian performances—Sequenze (Raimo Benedetti 2010), Are We Doing Right? Remix (Embolex 2013), and O Pianista Fracassado (Manuel Pessoa de Lima 2018)—the article argues that documentality and performativity operate in productive tension. Rather than stabilizing documentary material into fixed representation, live doc reconfigures the real as an event, exposing it to contingency, co-presence, and recomposition in the present moment. By situating these works within a Global South context, the study contributes to broader debates on documentary, performance, and expanded audiovisual practices.