In Chapter 12 of our recently published volume, Karolina Wilczyńska explores Mierle Laderman Ukeles's Maintenance Art, contextualizing it within the notion of conservation.
Artist and archivist Cori Olinghouse and art historian Megan Metcalf employ four illustrative examples to explore how an embodied approach to archives and acquisitions transforms traditional conservation paradigms. They critically examine the evolving vocabulary for the continuation of performance over the long term.
Pelta Feldman explores a novel perspective on preserving performance art by employing simulation. The article investigates how simulation effectively captures the historical context and experience of Marina Abramović's works.
In conversation with Hanna Hölling, Emilie Magnin and Valerian Maly, Eléonore Hellio and Michel Ekeba of the collective Kongo Astronauts discuss the origins, ongoing evolution and potential futures of their multifaceted artistic practice.
Our team member, Jules Pelta Feldman, has just published an article titled “Conserving Performance, Performing Conservation: Kim Kardashian x Marilyn Monroe” in the Studies in Conservation journal.
In advance of our third annual colloquium, Performance Conservation: Artists Speak, we collected responses from artists engaged with performance about their own thoughts and feelings on conservation and performance’s afterlives.
In this guest post, Nicole Savoy, a master’s student at the Bern Academy of the Arts studying the conservation of modern materials and media, reports on our third annual colloquium.
The artists have spoken: during our May 16 colloquium, a variety of artists engaged with performance presented their work and ideas about the relationship between performance and conservation. Read on to learn more.
Curious about how performance and dance conservation is practiced in India and what can be learned from Indian dance research and dance as research, the team of Performance: Conservation, Materiality, Knowledge has recently met with Urmimala Sarkar Munsi, who is an expert in social anthropology, dance studies and choreography.
For seven days, the French artist Abraham Poincheval lived inside the enlarged reproduction of a medieval wooden sculpture. How does this durational and almost immobile performance relate to the different temporalities of the museum and the and the live body?
Performance: Conservation, Materiality, Knowledge 