Perform, Repeat, Record: Live Art in History - Softcover

 
9781841504896: Perform, Repeat, Record: Live Art in History
Softcover
ISBN 10: 1841504890 ISBN 13: 9781841504896
Verlag: Intellect Books, 2012

Inhaltsangabe

Bringing together contributors from dance, theater, visual studies, and art history, Perform, Repeat, Record addresses the conundrum of how live art is positioned within history.  Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media, and text, all of which offer new critical possibilities. Among the artists, theorists, and historians who contributed to this volume are Marina Abramovic, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton, and Jean-Luc Nancy.

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Über die Autorin bzw. den Autor

Amelia Jones is an art theorist, curator, and researcher. She is the author of several books, including Seeing Differently: A History and Theory of Identification and the Visual Arts. Adrian Heathfield is a writer, curator, and professor of performance and visual culture at the University of Roehampton, London. He is the author of  Live: Art and Performance and Out of Now, among others.

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Perform, Repeat, Record

Live Art in History

By Amelia Jones, Adrian Heathfield

Intellect Ltd

Copyright © 2012 Amelia Jones and Adrian Heathfield
All rights reserved.
ISBN: 978-1-84150-489-6

Contents

INTRODUCTIONS, 
The Now and the Has Been: Paradoxes of Live Art in History Amelia Jones, 9, 
Then Again Adrian Heathfield, 27, 
THEORIES AND HISTORIES, 
Introduction Amelia Jones, 39, 
Chapter 1: The Performativity of Performance Documentation Philip Auslander, 47, 
Chapter 2: Dead Mannequin Walking: Fluxus and the Politics of Reception Hannah B Higgins, 59, 
Chapter 3: The Viral Ontology of Performance Christopher Bedford, 77, 
Chapter 4: Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT's Genital Panic Since 1969 Mechtild Widrich, 89, 
Chapter 5: Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation Mónica Mayer, 105, 
Chapter 6: History and Precariousness: In Search of a Performative Historiography Eleonora Fabião, 121, 
Chapter 7: Performance Remains Rebecca Schneider, 137, 
Chapter 8: Not as Before, but Simply: Again André Lepecki, 151, 
Chapter 9: The Prosthetic Present Tense: Documenting Chinese Time-based Art Meiling Cheng, 171, 
Chapter 10: Progressive Striptease Sven Lütticken, 187, 
Chapter 11: Repetition: A Skin which Unravels Jane Blocker, 199, 
Chapter 12: Art in the Age of Biopolitics: From Artwork to Art Documentation Boris Groys, 209, 
Chapter 13: The Interstices of History Angela Harutyunyan et al., 219, 
An Unofficial Timeline of Socialist and Post-Socialist Performance Angela Harutyunyan et al., 231, 
DOCUMENTS, 
Introduction Adrian Heathfield, 237, 
Chapter 14: A Text on 20 years with 66 footnotes Tim Etchells, 241, 
Chapter 15: Faith Wilding, Waiting and Wait-With, 253, 
Chapter 16: Lynn Hershman and/as Roberta Breitmore, 259, 
Chapter 17: We Are Formatted Memories Orlan, 269, 
Chapter 18: Franko B and Kamal Ackarie, Don't Leave Me This Way, 273, 
Chapter 19: Make Me Stop Smoking Rabih Mroué, 277, 
Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers) Nao Bustamante, 295, 
Chapter 21: Cai Yuan and J.J. Xi, Mad For Real, 301, 
Chapter 22: Hayley Newman, MiniFlux, 305, 
Chapter 23: Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant, 311, 
Chapter 24: Multiple Journeys: A Performance Chronology Guillermo Gómez-Peña, 315, 
Chapter 25: Attending to Anthony McCall's Long Film For Ambient Light Lucas Ihlein, 333, 
Chapter 26: ReCut Project Ming-Yuen S. Ma, 347, 
Chapter 27: Assuming a Migrant Woman's Identity Tanja Ostojic, 351, 
Chapter 28: Barbara Smith, Intimations of Immortality, 357, 
Chapter 29: Santiago Sierra and the "Contexts" of History, 363, 
Chapter 30: Reconstruction2 Janez Janša, 367, 
Chapter 31: Documents of Chinese Time-based Art: Three Impressions from Three Fragments Meiling Cheng, 385, 
Chapter 32: Both Sitting Duet and Cheap Lecture Jonathan Burrows and Matteo Fargion, 391, 
Chapter 33: Aftermath: The Performance / Installation Nexus Blair French, 413, 
Timeline of Ideas: Live Art in (Art) History, A Primarily European-US-based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments Amelia Jones, 425, 
DIALOGUES, 
Introduction Adrian Heathfield, 435, 
Chapter 34: Interior Squirrel and the Vicissitudes of History Carolee Schneemann and Amelia Jones, 441, 
Chapter 35: I Just Go in Life Tehching Hsieh and Adrian Heathfield, 457, 
Chapter 36: The Maybe: Modes of Performance and the "Live" Tilda Swinton and Joanna Scanlan, 469, 
Chapter 37: Photography as a Performative Act Shezad Dawood and Amelia Jones, 483, 
Chapter 38: Do it Again, Do it Again (Turn Around, Go Back) Iain Forsyth and Jane Pollard, with Andrew Renton, 493, 
Chapter 39: Touching Remains Janine Antoni and Adrian Heathfield, 511, 
Chapter 40: Perverse Martyrologies Ron Athey and Dominic Johnson, 529, 
Chapter 41: The Live Artist as Archaeologist Marina Abramovic and Amelia Jones, 543, 
Chapter 42: E very House Has a Door Lin Hixson and Matthew Goulish, 567, 
Chapter 43: Alliterations Mathilde Monnier and Jean-Luc Nancy Introduction and Translation: Noémie Solomon, 595, 
Chapter 44: Intangibles Hugo Glendinning, Adrian Heathfield, and Tim Etchells, 603, 
Acknowledgements, 617, 
Author Biographies, 619, 
Index, 631,


CHAPTER 1

The Performativity of Performance Documentation


Philip Auslander

Consider two familiar images from the history of performance and body art: the documentation of Chris Burden's Shoot (1971), the notorious piece for which the artist had a friend shoot him in a gallery, and Yves Klein's famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out of the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that "really" happened while the other does not? I shall return to this question below.

As a point of departure for my analysis here, I propose that performance documentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O'Dell points out, the reconstruction is bound to be fragmentary and incomplete) and evidence that it actually occurred. The connection between performance and document is thus thought to be ontological, with the event preceding and authorizing its documentation. Burden's performance documentation, as well most of the documentation of classic performance and body art from the 1960s and 1970s, belongs to this category.

Although it is generally taken for granted, the presumption of an ontological relationship between performance and document in this first model is ideological. The idea of the documentary photograph as a means of accessing the reality of the performance derives from the general ideology of photography, as described by Helen Gilbert, glossing Roland Barthes and Don Slater:

Through its trivial realism, photography creates the illusion of such exact correspondence between the signifier and the signified that it appears to be the perfect instance of Barthes' "message without a code" The "sense of the photograph as not only representationally accurate but ontologically connected to the real world allows it to be treated as a piece of the real world, then as a substitute for it"


(In relation to Slater's notion that the photograph ultimately substitutes for reality, it is worth considering whether performance recreations based on documentation actually recreate the underlying performances or perform the documentation. Poor...

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Verlag
Intellect Books
Erscheinungsdatum
2012
Sprache
Englisch
ISBN 10 
1841504890
ISBN 13 
9781841504896
Einband
Taschenbuch
Anzahl der Seiten
650
Herausgeber
Jones Amelia, Heathfield Adrian
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