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The primary intention of the Alotrium exhibition is not documentation, but rather the expansion of performance art: illuminating its origins, manifestos, and motivations. The curators' goal was to use the exhibition to make accessible what we might call the theory of practice. There are festivals, performance art is taught at art colleges, and in recent years there has been growing interest in reflecting on its historical documentation. What is missing, however, is an explanation of the context, movement in the expanded field of meanings, and a search for connections to anthropology, ethnography, and performance studies. The exhibition can be divided into two areas of meaning. The first comments on the personal approaches of the exhibiting artists. It reflects on the reasons and manifestos in which they illuminate their work, thus revealing the world behind the curtains, hidden and otherwise unreadable motivations. The second area deals with performance in relation to art education and as a fundamental characteristic of communication. The exhibition is the third presentation of the long-term project Expanded Performance, which deals with performance art in the expanded context of artistic and non-artistic meanings.
