- archiv performativ: Ein Modellkonzept für die Dokumentation und Aktualisierung von Performancekunst. Zurich University of the Arts, Institute for Cultural Studies in the Arts, April 2010–May 2012. https://www.zhdk.ch/forschungsprojekt/archiv-performativ-426280
- Collecting the Ephemeral. Lucerne University of Applied Sciences and Arts, School of Art and Design. https://blog.hslu.ch/collecting-the-ephemeral/contact/
- Collecting the Performative. Tate, April 2012–January 2014, https://www.tate.org.uk/about-us/projects/collecting-performative
- Reshaping the Collectable: When Artworks Live in the Museum. Tate, January 2019-June 2021, https://www.tate.org.uk/about-us/projects/reshaping-the-collectible
- Die Schwarze Lade. Boris Nieslony, http://www.blackkit.org/?page_id=56
- Inside Movement Knowledge. Netherlands Media Art Institute, 2009-2010, http://www.nimk.nl/eng/inside-movement-knowledge
- Symposium Networking the Histories of Performance Art, Zürich Hochschule der Künste, 06.12.2018
- Sommer Academy 2017: Performance, Lies and Videotape, Zürich Hochschule der Künste, 20.07.2017
- Performing Documentation in the Conservation of Contemporary Art international conference Lisbon, June 2013
- Collecting and Conserving Performance Art, German Association of Conservators-Restorers in Wolfsburg, 9–11 June 2016
- Reconstructing Swiss Video Art 1970s–1980s
Terminology related to performance and conservation: https://www.tate.org.uk/about-us/projects/documentation-conservation-performance/strategy-and-glossary
Nelson, Robert S, and Shiff, Richard. Critical Terms for Art History. Second ed. Chicago: U of Chicago, 2003.
Conservation theory and history
Ashley-Smith, Jonathan. “The Ethics of Conservation.” Care of Collections, edited by Simon J. Knell, 11–20. London: Routledge, 2004.
Blake, Janet. Developing a New Standard-Setting Instrument for the Safeguarding of Intangible Cultural Heritage: Elements for Consideration. Paris: UNESCO, 2001.
Brandi, Cesare. Theorie der Restaurierung. Translated by Ursula Schädler-Saub and Dörthe Jakobs. ICOMOS Hefte des Deutschen Nationalkomitees XLI (2006).
Brandi, Cesare. Theory of Restoration. Translated by Cynthia Rockwell. Florence: Nardini Editore, 2005.
Castriota, Brian. “Authenticity, Identity, and Essentialism: Reframing Conservation Practice.” In What is the Essence of Conservation? Materials for a Discussion, edited by François Mairesse and Renata F. Peters, 39–48. Papers from the ICOM-CC and ICOFOM session at ICOM’s 25th General Conference held in Kyoto on 4 September 2019, Paris 2019.
Hermens, Erma, and Tina Fiske, eds. Art Conservation and Authenticities: Material, Concept, Context. London: Archetype Publications Ltd., 2009.
International Council of Museums Committee for Conservation ICOM-CC. “Terminology to characterise the Conservation of the Tangible Cultural Heritage.” ICOM-CC website.
Lowenthal, David. The Heritage Crusade and the Spoils of History. 2nd ed. Cambridge: Cambridge University Press, 1988.
Muñoz-Viñas, Salvador. Contemporary Theory of Conservation. Oxford: Elsevier, 2005.
van de Vall, Renee, Hanna Hölling, Tatja Scholte and Sanneke Stigter. “Reflections on a Biographical Approach to Contemporary Art Conservation.” ICOM-CC 16th Triennial Conference Preprints, Lisbon, 19–23 September 2011, edited by J. Bridgland. Paris: International Council of Museums, 2011.
van de Vall, Renée. “The Devil and the Details: The Ontology of Contemporary Art in Conservation Theory and Practice.” British Journal of Aesthetics, no.55, vol.3 (2015): 285–302.
Villers, Caroline. “Post minimal intervention,” The Conservator 28, no.1 (2004), 3-10.
UNESCO, Convention for the Safeguarding of Intangible Cultural Heritage (Paris, 17 October 2003).
Conservation of sound, moving image, and electronic media
Dekker, Annet. ‘Enjoying the Gap: Comparing Contemporary Documentation
Strategies,’ in Preserving and Exhibiting Media Art: Challenges and Perspectives, edited by J. Noordegraaf et al., pp. 149–69. Amsterdam: Amsterdam University Press. 2013.
Depocas, Alain, Jon Ippolito and Caitlin Jones, eds., Permanence through Change: The Variable Media Initiative, 2003.
Hölling, Hanna. Paik’s Virtual Archive: Time, Change and Materiality in Media Art. Oakland: University of California Press, 2017.
Hölling, Hanna. Revisions—Zen of Film. New York and Chicago: Bard Graduate Center, University of Chicago Press, 2015.
Laurenson, Pip. “Authenticity, Change and Loss in the Conservation of Time-Based Media Installations.” Tate Papers 6 (2006). http://www.tate.org.uk/download/file/fid/7401.
Richmond, Alison, and Alison Bracker, eds. Conservation: Principles, Dilemmas and Uncomfortable Truths. Oxford: Butterworth-Heinemann, 2009.
Rubio, Fernando Domínguez. “Preserving the Unpreservable: Docile and Unruly Objects at MoMA.” Theory and Society, vol.43, no.6, August 2014, https://www.researchgate.net/publication/265251678_Preserving_the_unpreservable_docile_and_unruly_objects_at_MoMA.
Schädler-Saub, Ursula, and Angela Weyer, eds. Theory and Practice in the Conservation of Contemporary Art: Reflections on the Roots and Perspectives. London: Archetype Publications, 2010.
Stanley Price, Nicolas, M. Kirby Talley Jr. and Alessandra Melucco Vaccaro, eds. Historical and Philosophical Issues in the Conservation of Cultural Heritage. Los Angeles: J. Paul Getty Trust, 1996.
van Saaze, Vivian. Installation Art and the Museum: Presentation and Conservation of Changing Artworks, Amsterdam: Amsterdam University Press, 2013.
Conservation of performance
Büscher, Barbara and Franz Anton Cramer. “Collecting as Artistic and Documentary Practice: Towards a Fluid Access to Artefacts of/in Performance.” Video recording of a lecture, Collecting and Conserving Performance Art. Website of the Verband Deutscher Restauratoren (VDR).
Casagrande, Bruna. “A Report from the Audience: The Multi-Perspective Witness Report as a Method of Documenting Performance Art.” VDR Beiträge 2 (2017): 95–99.
Casagrande, Bruna. “Bericht aus dem Publikum: Eine Untersuchung zur Dokumentation von Performancekunst mittels multiperspektivischem Zeugenbericht” (A Report from the Audience: The Multi-perspective Witness-report as Method of Documenting Performance Art). MA thesis, Bern University of the Arts, 2014.
Estermann, Beat and Christian Schneeberger. “Data Model for the Swiss Performing Arts Platform.” Online publication, draft version 0.51. Bern University of the Arts.
Giannachi, Gabriella and Jonah Westerman. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London and New York: Routledge, 2018.
Gusman, Tancredi. “Between Evidence and Representation: A New Methodological Approach to the History of Performance Art and Its Documentation.” Contemporary Theatre Review, 29:4 (2019): 439-461.
Laurenson, Pip. “Tino Sehgal: This is Propaganda, 2002.” In Inside Installations, edited by Tatja Scholte and Paulien ’t Hoen. Amsterdam: Foundation for the Conservation of Contemporary Art / Netherlands Institute for Cultural Heritage, 2007.
Laurenson, Pip, and Vivian van Saaze. “Collecting Performance-based Art: New Challenges and Shifting Perspectives.” In Performativity in the Gallery: Staging Interactive Encounters, edited by O. Remes et al., 27–41. Berlin: Peter Lang, 2014.
Lawson, Louise, Acatia Finbow and Hélia Marçal. “Developing a Strategy for the Conservation of Performance-Based Artworks at Tate.” Journal of the Institute of Conservation, 42:2 (2019): 114-134.
Rieß, Eva, Carolin Bohlmann and Ina Hausmann. “From Action to Object. On the Preservation of Performance-Based Installations by Joseph Beuys.” Journal of the Institute of Conservation, 42:2 (2019), 79-9.
Curation and Museology
Auslander, Philip. “The Performativity of Performance Documentation.” Performing Arts Journal 84 (2006).
Auslander, Philip. “Surrogate Performances: Performance Documentation and the New York Avant-garde, ca. 1964–74.” In On Performativity (2014), edited by Elizabeth Carpenter.
Bedford, Christopher. “The Viral Ontology of Performance.” In Perform, Repeat, Record: Live Art in History, edited by Jones, Amelia and Adrian Heathfield, 77–89. London: Routledge, 2012.
Berrebi, Sophie, and Hendrik Folkerts. “The Place of Performance.” Stedeljik Studies 3 (2015).
Blackstone, Robert. “Once More… with Feeling: Reenactment in Contemporary Art and Culture.” Art Journal 66, No. 1 (Spring 2007): 28–40.
Bodor, Judit. “The ‘Extended Life’ of Performance: Curating 1960s Multimedia Art in the Contemporary Museum.” In The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures, edited by Hanna Hölling, Francesca Bewer, and Katharina Ammann, 117–141. Leiden and Boston: Brill, 2019.
Büscher, Barbara and Franz Anton Cramer. “From Work to the Performance: Reflections on Performance Art in the Museums.” VDR Beiträge 2 (2017): 90–93.
Casey, Valerie. “Staging Meaning: Performance in the Modern Museum.” The Drama Review 49, No. 3 (Autumn 2005): 78–95.
Clausen, Barbara, ed. After the Act: The (Re)Presentation of Performance Art. Vienna: Museum Moderner Kunst Stiftung Ludwig, 2007.
Dietz, Steve. “Collecting New-Media Art: Just Like Anything Else, Only Different.” In Collecting the New: Museums and Contemporary Art, edited by Bruce Altshuler, 85–102. Princeton, New Jersey: Princeton University Press, 2005.
Giannachi, Gabriella. “Performance at Tate: The Scholarly and Museological Context.” Tate Papers 8 (2014). http://www.tate.org.uk/context-comment/ articles/performance-at-tate-scholarly-museological-context.
Guy, Georgina. Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, 2016.
Hölling, Hanna, Francesca Bewer, and Katharina Ammann. The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures. Leiden and Boston: Brill, 2019.
Kirshenblatt-Gimblett, Barbara. Destination Culture: Tourism, Museums, and Heritage. Berkeley: University of California Press, 1998.
Kosciejew, Marc. “Documentation and the Information of Art.” Tate Papers 29 (2018). https://www.tate.org.uk/research/publications/tate-papers/29/documentation-and-the-information-of-art.
Lemaître, Christophe, and Gregory Buchert. La Vie Et La Mort Des œuvres D’art = The Life and Death of Works of Art. Paris: Tombolo Presses, 2016.
Remes, Outi, Laura MacCulloch and Marika Leino, eds. Performativity in the Gallery Staging Interactive Encounters. Bern: Peter Lang, 2014.
Rugg, Judith, and Michèle Sedgwick, eds. Issues in Curating Contemporary Art and Performance. Bristol and Chicago: Intellect Books, 2007.
Yoshida, Kenji. “The Museum and the Intangible Cultural Heritage,” Museum International, 56 (2004), 108–12.
Performance art, history and theory
Auslander, Philip. Liveness: Performance in a Mediatized Culture. 2nd ed. London: Routledge, 2008.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso, 2012.
Buskirk, Martha, Amelia Jones, and Caroline A. Jones. “A Year in Re.” Art Forum (December 2013).
Canclini, Néstor García. Hybrid Cultures: Strategies for Entering and Leaving Modernity. Translated by Christopher L. Chiappari and Silvia L. López. Minneapolis: University of Minnesota Press, 1995.
Fusco, Coco, ed. Corpus Delecti: Performance Art of the Americas. London: Routledge, 2005.
Fusco, Coco. “The Other History of Intercultural Performance.” TDR/The Drama Review 38, no. 1 (1994): 143–67.
Gaskell, Ivan, and Salim Kemal, eds. Performance and Authenticity in the Arts. Cambridge: Cambridge University Press, 1999.
Jones, Amelia. “‘Presence’ in Absentia: Experiencing Performance as Documentation.” Art Journal 56, No. 4 (1997), 11–18.
Jones, Amelia, “Temporal Anxiety/‘Presence’ in Absentia: Experiencing Performance as Documentation.” In Archaeologies of Presence, edited by Gabriella Giannachi, Nick Kaye and Michael Shanks, 197–222 (London: Routledge, 2012).
Jones, Amelia. “Timeline of Ideas: Live Art in (Art) History; A Primarily European-US based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments.” In Jones and Heathfield 2012, 425–434.
Jones, Amelia and Adrian Heathfield, eds. Perform, Repeat, Record: Live Art in History. London: Routledge, 2012.
Joselit, David. “Marking, Scoring, Storing, and Speculating (On Time).” In: Painting Beyond Itself: The Medium in the Post-medium Condition, edited by Isabelle Graw, Ewa Lajer-Burcharth, 11–22. Berlin: Sternberg Press, 2016.
Kaprow, Allan. Essays on the Blurring of Art and Life. Edited by Jeff Kelley. Berkeley: University of California Press, 1993.
Kaye, Nick. Postmodernism and Performance. London: Macmillan, 1994.
Kotz, Liz. “Post-Cagean Aesthetics and the ‘Event’ Score,” October No. 95 (Winter 2001): 55–89.
Lambert-Beatty Carrie. “Documentary Dialectics: Performance Lost and Found.” Visual Resources, vol. 16, no. 3 (2000).
Lambert-Beatty Carrie. Being Watched: Yvonne Rainer and the 1960s. Cambridge: MIT Press, 2008
Lepecki, André. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42, No. 2 (2010): 28–48.
Lillemose, Jacob. “Conceptual Transformations of Art: From Dematerialisation of the Object to Immateriality in Networks.” In Curating Immateriality: The Work of a Curator in the Age of Network Systems, ed. Joasia Krysa, 117-139. Data Browser 03: Autonomedia, 2006.
Lichte, Erika. Ästhetik des Performativen. Frankfurt am Main: Surkamp, 2004.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972, Berkeley: University of California Press, 1973.
Lütticken, Sven, ed. Life, Once More: Forms of Re-Enactment in Contemporary Art. Rotterdam: Witte de With Center for Contemporary Art, 2005.
Lütticken, Seven. “An Arena in Which to Reenact.” In: Life, Once More: Forms of Re-enactment in Contemporary Art, edited by Sven Lütticken, 17–60. Rotterdam, Witte de With Center for Contemporary Art, 2005.
Mangion, Eric, and Marie de Bourgelles, eds. Not to Play with Dead Things. Zurich: JRP Ringier, 2009.
Jay Pather, Catherine Boulle, Katlego Disemelo, Gabrielle Goliath, Khwezi Gule, Andrew Hennlich, Mwenya B Kabwe, Massa Lemu, Nomusa Makhubu, and Bettina Malcomess. Acts of Transgression: Contemporary Live Art in South Africa. Johannesburg: Witwatersrand University, 2019.
Phelan, Peggy, Unmarked: The Politics of Performance. London: Routledge, 1993.
Phelan, Peggy and Marquard Smith. “Performance, Live Culture and Things of the Heart.” Journal of Visual Culture 2 (2003), No. 3, 291–302.
Pillow, Kirk. “Did Goodman’s Distinction Survive LeWitt?” Journal of Aesthetics and Art Criticism 61, No. 4 (2003): 365–80.
Rinehart, Richard, and Jon Ippolito, Re-Collection: Art, New Media, and Social Memory. Cambridge, MA: The MIT Press, 2014.
Robinson, Julia. “The Brechtian Event Score: A Structure in Fluxus.” Performance Research 7, No. 3 (2002): 110–123.
Sandahl, Carrie, and Philip Auslander, eds. Bodies in Commotion: Disability and Performance. Ann Arbor: University of Michigan, 2005.
Sanders, Jay, and J. Hoberman. Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan, 1970–1980. New York, Whitney Museum of American Art, 2013.
Schneider, Rebecca. “(Archives) Performance Remains.” Performance Research 6 (2001): 100–108.
Schneider, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment. London and New York: Routledge, 2011.
Schneider, Rebecca. The Explicit Body in Performance. London: Routledge, 2002.
von Hantelmann, Dorothea. “The Experiential Turn.” In On Performativity, edited by Elizabeth Carpenter, 2014. http://walkerart.org/collections/publications/performativity/experiential-turn.
Wang, Victor, ed. Performance Histories from East Asia, 1960s-1990s: An IAPA Reader. London: David Roberts Art Foundation, 2018.
Other relevant art history
Bishop, Claire. Installation Art: A Critical History. London: Tate Publishing, 2005.
Graw, Isabelle, and Ewa Lajer-Burcharth, eds. Painting Beyond Itself: The Medium in the Post-Medium Condition. Berlin: Sternberg Press, 2016.
Higgins, Dick. Modernism since Postmodernism: Essays on Intermedia. San Diego: San Diego State University, 1997.
Lee, Pamela M. Chronophobia: On Time in the Art of the 1960s. Cambridge: MIT Press, 2004.
Moten, Fred. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: University of Minnesota, 2003.
Osborne, Peter. The Postconceptual Condition. London and New York: Verso, 2018.
Stiles, Kristine, and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. 2nd ed. Berkeley: University of California Press, 2012.
Thompson, Nato, ed. Living as Form: Socially Engaged Art from 1991–2011. Cambridge: MIT Press, 2012.
Other fields of performance
Bernstein, Charles, ed. Close Listening: Poetry and the Performed Word. New York: Oxford University Press, 1998.
Burt, Ramsay. Judson Dance Theater: Performative Traces. London: Routledge, 2006.
Gartmann, Thomas, and Marc Kilchenmann, eds., Urs Peter Schneider: Konzeptuelle Musik; Eine kommentierte Anthologie. Bern: Aart Verlag 2016.
Lepecki, André. “Exhausting Dance: Performance and the Politics of Movement.” In Journal of Chemical Information and Modeling. New York: Routledge, 2006.
Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley and Los Angeles, California: University of California Press, 2010.
Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008.
Cull, Laura, and Alice Lagaay, eds. Encounters in Performance Philosophy. Houndmills: Palgrave MacMillan, 2014.
Davis, Tracy C., ed. The Cambridge Companion to Performance Studies. Cambridge: Cambridge University Press, 2008.
Ginters, Laura, and Gay McAuley, eds. Audiencing: The Work of the Spectator in Live Performance. Special issue of About Performance, no. 10. Department of Performance Studies, University of Sydney, 2010.
Grant, Stuart, Jodie McNeilly, and Maeva Veerapen, eds. Performance and Temporalisation: Time Happens. Houndmills: Palgrave MacMillan, 2015.
Kozel, Susan. Closer: Performance, Technologies, Phenomenology. Cambridge: MIT Press, 2007.
Reinelt, Janet G., and Joseph R. Roach, eds. Critical Theory and Performance. Ann Arbor: University of Michigan, 2007.
Searle, John R. Speech Acts: An Essay in the Philosophy of Language. Cambridge: Cambridge University Press, 1969.
Schechner, Richard. Performance Theory. London: Routledge, 2003.
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.
Will, Daddario, and Gritzner Karoline, eds. Adorno and Performance. Houndmills: Palgrave MacMillan, 2014.
Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Hackett Publishing Co, 1976.
Irvin, Sherri. “The Artist’s Sanction in Contemporary Art.” Journal of Aesthetics and Art Criticism 63, no. 4 (Autumn 2005): 315–26.