High Visibility Men (Performance Documentation) is an act appropriating the work of technicians, who were setting up and dismantling the installation One, Two, Three Swing! at Tate Modern in London between September 2017 and April 2018. The video shows the working days of figures, who, in the art system, are usually ‘invisible’: the art-handlers. 
This is an unauthorised project, aiming to appropriate all the setting up and dismantling phases of the Hyundai Commission scheduling, turning them into a performance documentation.
Through readymade, appropriation and artistic documentation practices, the project attempts to define a form of un-theatricalised action, in which the acts of the filmed subjects, the ‘performers’, had no pre-set directions. The result is the documentation of a found, captured, post-produced situation. This project is based on a personal, theoretical study, through which the abovementioned art practices have been reread. The Duchampian readymade concept is not applied to objects, but to actions (‘already-made’ actions). The appropriation is understood as an appropriation of a situation. Via Boris Groys’s theory of ‘Art in the Age of Biopolitics’, the documentation is used as an artwork itself.

The amateurish aesthetic of the video emphasises its illegal aspect, and the slowness of the scenes is intended to report to the public, as much as possible, the found reality.
High Visibility Men (Performance Documentation) is a 45’, full HD video.