In this way I toured the small, medieval Spanish town of La Bisbal and its market place, making the occasional territorial pissing with exaggerated relish.

This piece was devised with little exegesis in mind: whereas the image could be interpreted as some kind of environmental protest (the world pissing its resources away, perhaps), that wasn’t what I intended. Rather, I began with the still-shocking ‘Fool’s Cap World Map’ anonymously produced in c1590. This image seems to imply that the order represented by a ‘world map’ will always be bounded by the anarchy of folly – a phenomenon well-illustrated since that time by the blunder and chaos of colonialism.

But in the days of the ‘Fool’s Cap World Map’ it would often fall to some variant of holy fool to produce an ingenious ruse or image to rouse a small, local populace from its habitual stasis. Likewise, one of the more interesting aspects of contemporary performance for me is that it presents a sustainable structure for art that needn’t be compromised by scale, commerce or applause.

But on the other hand, however, in practice there are times when one experiences a radical disorientation that could be described as ‘performance tourism’. That is - when you find yourself performing strange, antisocial actions on the streets and squares of foreign towns and cities, there arises the doubt that you are in fact encased in some ‘world map’ of your own making, marking out territory as you ‘piss’ on the streets.