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Recordings of previous events are available via each event’s page.


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Artists engaged with performance discussed the afterlives and legacies of their work, even considering performance’s potential to serve as a form of conservation itself.

Artist and scholar Rosanna Raymond led a workshop exploring Pacific tattoo practices through writing, drawing, embodiment, and oral history.

Editors Hanna B. Hölling and authors of the new volume presented their contributions.

Dr. Anna Schäffler discussed her research on cooperative forms of preservation in connection with the work of German conceptual artist Anna Oppermann.

This colloquium collected a diverse range of perspectives on the conservation of performance from art history, performance studies, artistic practice, anthropology, and beyond.

All four team members presented at this conference, which took place within the frame of the exhibition “BANG BANG: translocal hi:stories of performance art” at the Museum Tinguely.

Brandie Macdonald, Senior Director of Decolonizing Initiatives at the Museum of Us, located on Kumeyaay Nation territory in San Diego, California, discussed the preservation and transmission of living heritage in the museum context.

Four talks at the CAA panel we chaired explored different approaches to the conservation of ephemeral art.

What does it mean to conserve performance art, to extend its lifespan into the future? Art historian and critic Claire Bishop discussed these and related questions with the PCMK team.

This conversation between artist and archivist Cori Olinghouse and art historian Megan Metcalf examined embodied conservation skills, which are essential for the preservation of performance and related mediums yet remain mostly invisible and under-theorized in visual art.

This online event was the first event in a series of annual colloquia on the topic of the conservability of performance art and performance-based works. Conservators, scholars, curators, and artists contest the common-sense understanding of performance as a non-conservable form and ask questions concerning how, and to what extent, performance art and performance-based works can be conserved.