PERFORMANCE: THE ETHICS AND THE POLITICS OF CARE
1. Mapping the Field
May 29–30, 2021
00:00:00 Introduction Day 1
00:25:09 Keynote Pip Laurenson
01:15:13 Erin Brannigan and Louise Lawson
01:44:14 Rachel Mader and Siri Peyer
02:18:52 Musical Break
03:06:59 Hélia Marçal
03:36:02 Farris Wahbeh
04:06:40 Lizzie Gorfaine, Ana Janevski, Martha Joseph, and Kate Lewis
04:36:34 Musical Break
04:49:53 Keynote Gabriella Giannachi
05:41:58 Conclusion Day 1
00:00:00 Introduction Day 2
00:03:03 Keynote Barbara Büscher
00:47:38 Sooyoung Leam
01:16:41 Karolina Wilczyńska
01:48:09 Performance Interlude: Gisela Hochuli, “In Strange Hands”
01:58:55 Musical Break
02:44:38 Iona Goldie-Scot
03:15:07 Brian Castriota and Claire Walsh
03:44:50 Ana Ribeiro and Louise Lawson
04:14:28 Musical Break
04:27:54 Keynote Rebecca Schneider
06:12:23 Performance Interlude: Frieder Butzmann & theallstarszoomensemble
06:28:10 Conclusion Day 2
This event aimed at advancing the knowledge on this topic within the discipline of conservation on the one hand, while, on the other, locating the discourse of conservation within a broader field of the humanities disciplines concerned with the theories and practices of performance— performance studies, anthropology, art history, curatorial studies, heritage studies and museology. We contested 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.
Keynote talks were presented by Rebecca Schneider (Brown University) , Pip Laurenson (Tate and Maastricht University), Gabriella Giannachi (University of Exeter), and Barbara Büscher (University of Music and Theatre Leipzig).
The colloquium featured two performance interludes by artists Frieder Butzmann and Gisela Hochuli.
This colloquium is a part of the ongoing research project Performance: Conservation, Materiality, Knowledge funded by the Swiss National Science Foundation at Bern University of the Arts. The project focuses on the questions of conservation of performance-based works, their temporal specifics, the involvement of the human and non-human body, the world of their extended trace history, memory, and archive. Explored are notions of care, the ideals of traditional conservation and their relations to tacit or explicit knowledge, skill and technique. Taking as a starting point the necessity for conservators to access and deepen this area of study, and unlike queries that situate these questions within other disciples, in this project, we approach performance as a necessarily conservable form.