1. Tate Britain, London, 15 May, 2010
Yane Calovski invited the artist/researcher network OuUnPo that Huttner was a part of, to make an event in conjunction with his exhibition “Ponder Pause Process (a situation)” at Tate Britain. The group met within the context of Calovski’s installation on 15 May 2010 for discussions and performances. Calovski was the second artist in the Contemporary Art Society series of exhibitions at Tate Britain. He used the invitation to work with pieces from Tate’s collection and archive as an opportunity to start a period of research. His installation brought together artworks that relied on an active audience engagement to fulfil their conceptual promise. The works anticipate the effect on the viewer, who was invited to experience fresh ways of acting and thinking.

Huttner was the first artist to present something. He started by telling the audience that he was having an affair with a married woman at the time. He also said that her husband knew about their liaison. As he was telling the story, he gave enough detailed information about where, when and how the two had met. All of a sudden man in the audience stood up and approached Huttner while repeating “You, it was you!” He seemed ready to attack and Huttner ran away and the jealous husband followed him close behind.

Calovski chased after the two men and found them laughing together outside the museum. Calovski understood that Huttner had staged the whole event together with actor Joe Wredden. It was a practical joke that constituted a performance. Calovski returned to the waiting audience and told the them that he could not find the two combatants. Huttner returned 10 minutes later with his shirt blood stained and torn. He refused to discuss what had happened.

2. MACRO, Rome, 23 January, 2010
The performance took place during one of the public discussions that formed part of the first OuUnPo session and which was lead by curator Adrienne Drake. During the conversations Drake would be become more and more rude to anything that Huttner said. Her remarks became more and more vile, patronising and offensive as the discussion progressed. In the end Huttner became silent. The people in the room clearly took notice of the odd situation and found Drake’s behaviour offensive. No explanation was given to her behaviour. Neither Drake nor Huttner commented or explained what happened to the audience. The two had agreed on this strategy before the event had started.

Both performances are clearly influenced by the work of American showman Andy Kaufman. In order to keep them more credible, no documentation exist of the two performances.