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[MUSIC PLAYING] We are in London, and are about to meet up with Peter Liversidge, who begins each work by sitting down at his typewriter and writing proposals for what he might like to do.

Some of these he does not realize, like I propose to dam the Thames and flood the City of London. And others, he does. They've included offering gin and tonics to his audience in

hand-etched glasses, flying flags over Edinburgh saying a simple Hello, making a large lightbulb sculpture that randomly illuminates the words before and after, and lodging an 18th-century

cannonball in a wall of the Aldrich Museum. Since 1992, he has done a number of what he calls postal pieces, by placing postage and writing an address directly on an object and sending it

through the postal system to the exhibition site. Liversidge's proposals are invitations to action, dynamically including the exhibition site and you, the viewer, in their creation and

reception. He encourages us to think about what is and is not possible. And today, he's going to offer up some proposals specifically for you. Hello. I'm Peter Liversidge, and this

is your art assignment. [MUSIC PLAYING] I always try to make the work evolve during the show, so the show changes. So it's not always-- there is a live element to it. And that live

element often isn't there, because the live element can just be the visitor thinking about a proposal, which is-- addresses them directly, and doesn't exist as a work. And

it's almost as if they're-- the physical realized works are the support structure for the works that don't exist. So it's almost as if, OK, so-- let's say

you're in the show, and you're looking at the proposals, and you say, OK, well, this exists. This actually has some sense of itself in the space, in a space. Then you read the next

proposal, which is unrealized, and somehow they support one another. It's like saying, well, OK, we fired a 17th-century cannon into the wall of the gallery. So if that's

possible, why is it not possible that this happens? You know, whatever this is. And I thought the idea of a proposal being the quintessential beginning or starting point, you know, you

propose to do something, and then potentially you do it or you don't do it. And that materiality, whether it's a physical thing or just the idea, became really key to the work. It

was about the imagining space, rather than the actual. And in that way, it can be anything. You know, and my version of the work is just my version of the work. If we all, all three of us,

read the same proposal from the same book, we all bring ourselves to it. We have this different way of imagining that. You know, if we all read "Moby Dick," we all know it's

about a whale trashing a boat, but we all imagine that boat slightly differently. You know, you may have more rigging on your boat, or I've got less sails or whatever. Do you know what

I mean? It's that sense of how that-- how imaginations in individuals work, which I'm really interested in because then it doesn't-- the work doesn't have to be just the

work. Your assignment is to respond to three proposals. Now, I've not written those proposals yet. I'm just about to do that. But what I'd like you to do is either pick one,

or maybe all three, and respond to those as you see fit. I very much look forward to seeing your response. Thank you. [MUSIC PLAYING] OK, John, which of these proposals would you want to do

the most? Well, this is not going to surprise you because you know that I am obsessed with the relationship between the experienced world and the actual world, and the relationship between

matter and sensation. So you're gonna kick a rock? I'm gonna kick a rock. As for me, I thought I was gonna go with the dress like your parents, but I already kind of dress like my

mother a little bit. Yeah. Although to be fair, your mother is very fashionable. She is. Thanks. So I think I'm gonna go with the mountain stream. And that's gonna be my way of

dealing with the world. So Peter's talked about how he was influenced by Brian Eno and Peter Schmidt's card game "Oblique Strategies." Right. It's a set of 100 cards

that they designed in 1974. And it's different strategies for dealing with creative dilemmas. But this is a little bit different because, you know, Peter isn't offering us an

oblique strategy, he's offering us specific instructions. Right. This is textbook instruction art, where Peter is asking you to do this thing, and by doing it you are bringing into the

world Peter's artwork. But of course, those of us doing the assignment do have a lot of agency in how we execute these proposals. Exactly. Everyone is gonna respond to these in

different ways. And this gives me the chance to talk about this book, "Do It," that actually exists in real life, as well. And it's an exhibition that was conceived by the

curator Hans Ulrich Obrist beginning in the mid '90s. And he invited artists from all over the world to submit instructions for artworks that could be made and remade in different

exhibition sites. And I'm gonna share with you a few of those instructions. Some result in things that can be seen in a gallery, like Sol LeWitt's instruction, a black,

not-straight line is drawn at approximately the center of the wall horizontally from side to side. Alternate red, yellow, and blue lines are drawn above and below the black line to the top

and bottom of the wall. While others, like Allan Kaprow's, dictate something that happens during the course of the show-- sweeping the dust from the floor of a room, spreading the dust

in another room so it won't be noticed, continuing daily. Or Andrea Slominski's instruction, tip a bicycle seat so that the front points upwards, and use the seat to squeeze

lemons. Or Maurizio Cattelan's demand, the curator or organizer of the exhibition must wear only his or her underwear and shoes at the opening of the show. Others are prompts for the

audience to do a particular thing, like Simone Forti asking us to think about climate change, sit for some moments in dumb grief, dumb knowing, dumb amazement. Like the "Do It"

instructions, Peter's proposals for us signal the wildly diverse and divergent ways that prompts, even very specific ones, can be interpreted and reinterpreted and shared with the

world. I propose to write a choral piece to celebrate the opening of a new building at Tate Modern. The choral piece will be performed once by a choir of 500 singers presented in the Turbine

Hall. The songs and vocalizations that they perform will be based on interviews and observations of Tate. The interviews will be conducted with members of staff, from the director to the

porter, with the architects and builders of the new building, with visitors, Friends of Tate, local businesses, and a local primary school, so to obtain as rounded an impression of Tate as

possible. The gathered material will be distilled into songs and vocalizations that trace the museum's history from when it opened on the 12th of May 2000 to the opening of the new

building to the public on the 17th of June 2016. The performance on Saturday the 18th of June will be sung by 24 different choirs, representing many different communities from across London,

echoing how the original material for the songs was gathered. And that's the end of the proposal. So it just describes-- and that's one of the key things of the proposals,

they're descriptions. They don't say, in this case, it's [INAUDIBLE] although there were 25 choirs by the end of it, that it represents the beginning of something. That sense

of a proposal, I think we were saying at the start, is just the beginning. It's always-- it always has this sense of being in a moment. Not necessarily the moment, but a moment. And in

this, this just describes the work, but not the work. It gives you a beginning, an introduction. Yes, they are proposals, but they are also potentially a starting point for someone to do

something that they wouldn't necessarily have done otherwise. Now, that will appeal to some people, and not to others. So I'm just as happy for them to be unrealized as I am

realized. Perhaps that should be one of the questions to people, why did you realize the work? [MUSIC PLAYING]