How to preserve complex digital artworks for the future? And what parallels can we draw between media art and performance art? Our recent conversation with Sabine Himmelsbach, director of the Haus der elektronischen Künste Basel (HeK), has led us to explore the institutional afterlives of performative artworks in a broader sense.
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?
We anticipated a scintillating and productive discussion with anthropologist and filmmaker Michaela Schäuble when we met with her in April. That assumption proved entirely correct – but other assumptions we held about the contemporary practice of anthropology, and Schäuble’s own approach to documentation, were turned inside-out. (Photograph by Anja Dreschke.)
Proof of the vitality and the growing interest for the performative arts in Switzerland, there are currently not one but two exciting SNSF research projects that are engaging with performance art from the perspective of its institutionalization.
As an art historian, I am used to thinking of memory as something that must be captured in another medium – text, video, etc. – in order to be preserved. But perhaps memory itself can be a form of preservation.
For Florian Feigl, performance is about practice, continuity, and processes—things that lead to one another, things we do. Known for 300 (2009 – ongoing), a series of performances built upon everyday activities that take place within a prescribed time interval of circa 5 minutes or 300 seconds, the series exemplifies the concept of continuity in his work. Born in the moment of crisis while feeling overwhelmed by domestic obligations, his concept for this series followed a necessity to allocate slots of time to work. One can always find five minutes for doing something.
Folklorists view all forms of creative expression as performative, as modes of communication that must be interpreted in context. Can their methods towards understanding and documenting intangible things inspire us in our approach to performance conservation?
What is performance conservation? Time-based media conservator and now art historian Emilie Magnin is thinking about the interlacing of performance, documentation and conservation from a conservator’s perspective.
Submit a paper for presentation at our colloquium in May, "Performance: The Ethics and the Politics of Care – #1. Mapping the Field."
