Reconstructing performance art : practices of historicisation, documentation and representation /: practices of historicisation, documentation and representation. (2023)

• Record Type: Book
• Further Information: Note: Edited by Tancredi Gusman.
• Editors: Gusman, Tancredi
• Contents: Acknowledgments Contributor Bios Disclaimer Introduction : On the Present of Past Performance: Investigating the Practices of Reconstructing and Representing Performance Art Tancredi Gusman PART I: Reframing the Past: Histories and Historiographies of Performance Art 1. Mapping the Emerging Historiographies of Performance Art in East-Central Europe Amy Bryzgel 2. The ’68 Aesthetic and Political Radicalization in the Argentinian Avant-Garde Ana Longoni and Mariano Mestman 3. Collective Memory and Live Art : The Methodology of Performance Chronicle Basel Sabine Gebhardt Fink 4. The Historical Roots of "Performative Theater": The Italian Post-Avant-Garde Lorenzo Mango PART II: Unfolding the Action: Media and Documents of Performance Art 5. How Records and Documents Become Art: The Role of Documentation in the Preservation, Exhibition and Experience of Performance Art Gabriella Giannachi 6. Performance Documentation: Ephemerality, Temporality, Authenticity Philip Auslander 7. Book as Archive of Performance Art and Source Material of Its History Barbara Büscher 8. Listening to the Histories of Performance Art Heike Roms PART III: Representing Performance: Information, Collection, Reactivation 9 . Capturing Narrative and Data in Performance Art: The Joan Jonas Knowledge Base Barbara Clausen, Deena Engel and Glenn Wharton 10. On the Long Road to Becoming a Matter of Course : Collecting Live Performances in Museums and Other Art Collections Wolfgang Brückle and Rachel Mader 11. Making Movement Memorable: Tino Sehgal and Boris Charmatz at Tate Modern Susanne Franco 12. Retrospective Remarks on Rose English, Mona Hatoum and Ana Mendieta : Where Is Performance? Georgina Guy and Johanna Linsley Index Contributors Philip Auslander, Georgia Institute of Technology, Atlanta, US. Philip Auslander is Professor of Performance Studies and Popular Musicology in the School of Literature, Media and Communication of the Georgia Institute of Technology, Atlanta, US. His most recent books are In Concert: Performing Musical Persona (2021) and the third edition of Liveness: Performance in a Mediatized Culture (2023). Wolfgang Brückle, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland. Wolfgang Brückle is senior lecturer at the Lucerne University of Applied Sciences and Arts. His research focuses on late medieval art, art theory, museum history, contemporary art, and media history, with a special attention to photography-related topics. From 2018 to 2022, he led two SNSF-funded research projects on post-photography. Amy Bryzgel, Northeastern University, Boston, US. Professor Amy Bryzgel is a specialist in performance art from Eastern Europe. She has published three books on the topic, including Performance Art in Eastern Europe since 1960 (Manchester University Press, 2017). Barbara Büscher, Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy", Leipzig, Germany. Barbara Büscher has published essays on post-dramatic live art, performance theory and media art, performance/performing archives, performance art and architecture. Since 2017 she has been co-directing the research project "Architecture and Space for the Performing Arts" (funded by DFG). She is a co-publisher of the online journal MAP – media/archive/performance (www.perfomap.de). Barbara Clausen, Université du Québec à Montréal, Canada. Barbara Clausen is Associate Professor at the Art History Department at the University of Québec in Montréal, Canada. Her research, writing and curatorial projects are dedicated to the historiography and institutionalization of performance-based art practices and the discourses surrounding the politics of the body and the archive. Deena Engel, New York University, US. Deena Engel, Clinical Professor Emerita in the Department of Computer Science at the Courant Institute of Mathematical Sciences at New York University, focuses her research on contemporary art. She also collaborates with conservators at major museums on projects which address the challenges involved in the conservation of time-based media art. Susanne Franco, Ca’ Foscari University of Venice, Italy. Susanne Franco is an associate professor at Ca’ Foscari University of Venice, where she teaches dance and theatre studies. Her main interests are modern and contemporary dance and research methodology. She is the PI of the international research project "Memory in Motion: Re-Membering Dance History" (2019–2023) at Ca’ Foscari. Sabine Gebhardt Fink, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland. Sabine Gebhardt Fink is Professor of Contemporary Art at the Lucerne University of Applied Sciences and Arts, as well as a curator and author. She has co-founded the Performance Index Festival and the network Performance Chronicle Basel, and recently collaborated with the exhibition Bang Bang at the Museum Tinguely in Basel. Gabriella Giannachi, University of Exeter, UK. Gabriella Giannachi has published Virtual Theatres (2004); The Politics of New Media Theatre (2007); Performing Nature: Explorations in Ecology and the Arts, ed. with Nigel Stewart (2005); Archive Everything (2016 and, in Italian, 2021); Histories of Performance Documentation, co-edited with Jonah Westerman (2017); Documentation as Art, coedited with Annet Dekker (2022) and Technologies of the Self-Portrait (2022 and, in Italian, 2023). Tancredi Gusman, University of Rome Tor Vergata, Rome, Italy. Tancredi Gusman is Assistant Professor in Theatre and Performance Studies at the University of Rome Tor Vergata. He is currently Co-Convenor of the Historiography Working Group of the International Federation for Theatre Research. His publications focus on theater and performance histories, addressing performance and documentation, German theater and criticism, aesthetics and theatre theories. Georgina Guy, Royal Holloway, University of London, UK. Georgina Guy is Senior Lecturer in Theatre and Performance at Royal Holloway, University of London. Her book Theatre, Exhibition, and Curation: Displayed & Performed (2016) was shortlisted for the UK Theatre and Performance Research Association Early Career Research Prize and formed the basis for a research-led course at Tate Modern, London. Johanna Linsley, University of Dundee, UK. Johanna Linsley is an artist-researcher and Lecturer in Creative Practice at the University of Dundee. She leads with Rebecca Collins the project Stolen Voices; their album Stolen Voices 001 was shortlisted for a Scottish Award for New Music in 2021. She is one of the editors of Artists in the Archive (2018). Ana Longoni, CONICET/ Universidad de Buenos Aires, Argentina. Ana Longoni is a writer and researcher, specialized in the articulations between art and politics in Latin America since the 1960s. She has promoted the Southern Conceptualisms Network since its fou
• Edition: 1st
• Publisher Details: London : Routledge
• Publication Date: 2023
• Extent: 1 online resource (256 pages), illustrations (black and white)
• Subjects: 700.1; Performance art -- Philosophy; Performance art -- Methodology; Performance art -- History
• Languages: English
• ISBNs: 9781000879360; 9781000879322
• Related ISBNs: 9781032231341
• Notes: Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.