The question of conservation is challenging the field of performance art, but at the same time it is also eruptive, creative and evocative. On February 10, 2021 we spoke with Florian Reichert, head of the Department of Theatre at Bern University of the Arts, about the influence conservation has on performance art and theatre, the differences and similarities between theatre and performance and theatrical performance and the kind of performances that are based on the visual art.
In the conversation with performance artist Marilyn Arsem, our research group Performance: Conservation, Materiality, Knowledge focused on her artistic work, the difficulties posed by the attempts to conserve performance art and the complications in preserving a performance before it happened.
In a metaphorical sense, performance art might even take place in that blurred margin that the spotlight outlines on a black stage floor: a fraying, shimmering boundary, oscillating between the black box of the theater and the white cube of gallery and museum spaces. How might this liminal entity be conserved?
Performance Art spielt sich vielleicht im metaphorischen Sinne an jenem unscharfen Rand ab, den der Kegelscheinwerfer auf dem schwarzen Bühnenboden zeichnet: Ein ausfransender, schillernder Rand – im metaphorischen Sinne zwischen der «Black Box» des Theaters und dem «White Cube» der Galerie- und Museumsräume oszillierend. Wie lässt das sich konservieren?