N’a pas un gramme de charisme.

with Amelia Saul

2013, The Kitchen, New York

The performance began before it had begun.

The audience was recruited one-by-one.


“Wampler has consistently used audience plants in her work, in some cases filling a venue with up to a half of planted performers.  The plants guide the audience’s response to the performance, inciting disgust, hysteria, excitement… Even though completely manufactured, the audience leaves the exhibition space feeling as if they’ve taken part in a unique, spontaneous group experience. For N’a pas un gramme de charisme., in lieu of using plants, information will be leaked, in the form of videos, sound and images, for several months leading up to the performance.  The ‘education’ of the selected audience, informing their time in the seats so that, instead of seeing something for the first time, they will be responding to shared references and memories, will not produce the usual experience of surprise or shock of the new, but rather an eager anticipation of the manipulation of the known.”

Press Release, 2013


The Audience of the Performing Arts is often treated as a transient, objective and non-influential body that, although essential to the production of the “live”, is considered an anonymous singular entity. Once an audience itself is fully acknowledged as a constituent part of the work, the question arises: how are to understand its consumption, as well as it’s after-life? How does one treat the work’s audience as part of the work?


The combined gaze of a particular group of viewers makes the work APPEAR and fuels its continued appearance through forms of reverberation: Rumor, story, memory… N’a pas un gramme de charisme. began before the audience was aware of it and ended 6 months after the last performance. A final leak, a film “The Script”, the screenplay of which was printed and distributed to the audience during the live show in place of a program, reached all members of the audience concluding N’a pas un gramme de charisme., a relationship, not an object or even an event, between the audience’s desire to witness, the artist’s willingness to provide and, consequently, the audience’s agreement to forever be containers in which the work is stored after the “live” has lived.

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