H2020Индивидуална стипендия2017–2019

HiPArtDoc · Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977

„Хоризонт 2020“ — Действия „Мария Склодовска-Кюри“

Период: 2017-05-29 → 2019-05-28
Финансиране от ЕС: 159 461 €
Участници: 1
Схема: MSCA-IF-EF-ST

Линиите свързват координатора с партньорите.

Накратко на български

Документацията на перформанс изкуството между 1970 и 1977 г. се анализира чрез снимки, видеозаписи и останали материали. Това помага на музеите и изследователите да разберат как се съхраняват, излагат и предават минали арт събития.

Този кратък обзор е генериран от изкуствен интелект

Кратко обяснение, генерирано от езиков модел по текста на CORDIS. Оригиналът е по-долу.

Резултати накратко

Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977

In recent years, interest in performance art has grown both in the contemporary art field and in academic research, and special attention has been devoted to the objects and images that mediate its history: photographs, videos, films, and material remains. The project “Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977” offers an innovative approach to the study of this history and its vehicles. Performance documentation is here conceived and employed as a tool with which to scrutinise the formation of paradigms for the exhibition, conservation, and collection of this art form within the visual arts. Hosted by the Institute of Theatre Studies and the International Research Center “Interweaving Performance Cultures” of Freie Universität Berlin, the project was conducted by Dr. Tancredi Gusman under the supervision of Professor Erika Fischer-Lichte, one of the world’s leading scholars and author of milestone publications in the field of performance and theatre studies. The Partner Organisation of the project was the Migros Museum of Contemporary Art in Zurich. The results of the project offer a contribution not only to academic enquiries but also to art professionals and institutions dealing with performance art and documentation. The knowledge produced may also be exploited in art educational programmes, encouraging reflections on the different ways of understanding, transmitting and representing past (art) events. Overall objectives of the training and research project were: • To enhance the recognised profile of the experienced researcher by expanding his expertise into new areas. To this end converged the acquisition of new theoretical and historiographical tools; scientific exchanges with international leading scholars holding a variety of perspectives on performance art history and documentation; as well as the acquisition of key competencies in designing and leading research projects and devising outreach activities concerning the communication of their findings. • To outline a novel and original contribution to the history of performance art and its documentation, introducing an unprecedented methodological approach capable of making visible the dynamics involved in the containment of performance within the traditional framework of visual arts.

Текст от CORDIS, на английски · Данни: CORDIS, © Европейски съюз

Цел на проекта

"Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977” introduces a new historiographical approach that accounts for the dynamic development of performance art and its theories through the history of performance documentation. Focussing on the role of performance documentation in the conservation and presentation of performance-based art from 1970 to 1977, “Between Evidence and Representation” will examine the different strategies undertaken to provide duration and mediated access to definitionally ephemeral and immaterial events. The project’s aim is to demonstrate that, simultaneous to the formation, circulation, and acknowledgment of the category of performance art in the early 1970s, performance documentation itself was aestheticised. The goal of the research is to show that both these changes are part of an historical process of containment of performance within the traditional framework of visual arts. Thereby, “Between Evidence and Representation” will show how this process actively shaped the history of performance art, filling a gap in the historiography of performance art and performance documentation. The research programme, which will end in the publication of a monograph, will be carried out in three phases. In the first phase, programmatic writings by artists and art movements will be used to map theories of performance from the 1950s to the 1970s. Referencing art journals, indexes, and exhibitions catalogues and documents, the second phase will examine the function assigned to performance documentation from 1970 to 1977, as well as its correlation to parallel developments in the critical discourse concerning the medium of “performance”. The last phase of the research, relying on archival sources, will provide a final corroboration to the research hypothesis through its application to four paradigmatic case studies.""

Оригинален текст от CORDIS (на английски).

Участници

FREIE UNIVERSITAET BERLIN · BerlinКоординаторГермания