Search

O presente trabalho se dedica a investigar a relação entre corpo, gênero, performance e cidade. A pesquisa tensiona categorias fundamentais da performance, como: espaço, tempo, ação, relação; com o intuito de propor uma reperformance/reenactment da obra/série Body Configurations (1972 – 1982) da artista/performer austríaca VALIE EXPORT. A experiência performativa solo de reperformance foi (re)feita com respaldo do Comitê de Ética da Universidade Federal de Goiás; e com ciência, autorização e aprovação da artista. Definiu-se como problema central da pesquisa: A corporalidade feminina na experiência da reperformance no espaço urbano pode operar em trans.formações e outras significações das CorPoéticas de gênero na/com/para/por meio da (a) cidade? Como principal objetivo, buscou-se a composição performática e o registro documental de uma criação CorPoética na cidade, a partir da reperformance/reenactment da performance Body Configurations de VALIE EXPORT, na cidade de Goiânia, no estado de Goiás, no Brasil, como prática performativa e artística para experimentação do corpo feminino em relação com a arquitetura da cidade, observando se tais experiências podem operar nas trans.formações do corpo feminino no/com/pelo espaço urbano. A análise conceitual e do corpo teórico da pesquisa foi realizada com base nas categorias primordiais e em operadores conceituais, identificados e elencados de acordo com autores que relacionam e tensionam o debate crítico acerca da cidade e do espaço urbano, do gênero, do corpo e da performatividade. Ademais, discutiu-se acerca do novo e controverso fenômeno da reperformance e o surgimento de práticas performativas incentivadas pelos registros de performances autorais ou autobiográficas de outros artistas, bem como a reflexão acerca dos conceitos característicos dessa linguagem performativa. Para desenvolver tal trajetória, foi realizado um estudo reflexivo sobre a performance Body Configurations e a sua documentação de registros, assim como levantamentos bibliográficos a fim de refletir sobre o conceito de autoria, repetição e autobiográfico. A investigação se debruça sobre a cartografia conceitual e o mapeamento teórico, bem como sobre as i.materialidades emergidas do desdobramento e da ação expandida da reperformance, que culminaram na produção de uma mostra híbrida exibida online por meio das redes sociais digitais. The present work is dedicated to investigating the relation between body, gender, performance, city. The research tensions fundamental categories of performance, such as: space, time, action, relation; with the aim of proposing a reperformance/reenactment of the work Body Configurations (1972 – 1982) by the Austrian artist/performer VALIE EXPORT. The solo performative reperformance experience was (re)done with the support of the Ethics Committee of the Universidade Federal de Goiás; and with the knowledge, authorization and approval of the artist. It was defined as the central problem of the research: Can the female corporeality in the experience of reenactment in the urban space operate in transformations and other meanings of the ‘BodyPoet(h)ics’ of gender in/with/for/through the city? As the main objective, the composition and registration of a possible ‘BodyPoet(h)ics’ in the city was thought, based on the reperformance/reenactment of the performance Body Configurations by VALIE EXPORT, in the city of Goiânia, in the state of Goiás, in Brazil, as a performative practice for experimentation of the female body in relation to the architecture of the city, observing whether such experiences can operate in the transformations of the female body in/with/through urban space. The conceptual analysis and the theoretical corpus of the research was carried out based on conceptual operators, these were established according to authors who relate and tension the critical debate about the city, gender, body and performativity. Furthermore, it was discussed about the new and controversial phenomenon of reperformance, and the emergence of performative practices encouraged by the documentation of authorial or autobiographical performances of other artists, as well as the reflection about the characteristic concepts of this performative language. To develop this trajectory, a reflective study was realized on the performance Body Configurations and its documentation and registers, as well as bibliographic surveys to reflect on the concept of authorship, repetition and autobiographical. The investigation focuses on conceptual cartography and theoretical mapping, as well as on the i.materialities that emerged from the repercussion and expanded action of the reperformance, which culminated in the production of a hybrid exhibition displayed online through digital social networks.

The aim of this paper was to propose a possible definition of reperformance, comparing it with the general problem of the relationship between presence and archive in the field of performance art. For this, the historical emergence of the reperformance in 2000s was considered through Marina Abramović’s exhibition Seven Easy Pieces, with emphasis on the analysis of the artwork entitled Seedbed, taking into account its similarities and differences with the “original” performance by Vito Acconci. As conclusion, the notion of “archival reduction” was proposed as a central category for the reperformance definition, considering its dialogical and transhistorical potentialities. El objetivo de esta investigación fue proponer una definición de reperformance, comparándola con el problema general de la relación entre presencia y archivo en el campo de las actividades performativas. Para ello, se consideró el surgimiento histórico de las reperformances, propio de la década del 2000, a partir de la exposición Seven Easy Pieces, de Marina Abramović, con énfasis en el análisis de la obra Seedbed, y en las posibles aproximaciones y diferencias que éste mantenía con la performance de “origen”, de Vito Acconci. Como resultado, se propuso la noción de “reducción de archivo” como categoría central para la definición de reperformance, considerando sus potencialidades dialógicas, de orden transhistórico. A proposta básica desta pesquisa foi esboçar uma definição possível de reperformance, cotejando-a com a problemática geral da relação entre presença e arquivo no campo das atividades performáticas. Para tanto, considerou-se a eclosão histórica das reperformances, típica dos anos 2000, a partir da exposição Seven Easy Pieces, de Marina Abramović, com ênfase na análise de um caso-exemplar – a obra Seedbed – e nas eventuais aproximações e diferenças que esta manteve com a performance de “origem”, de Vito Acconci. Como resultado, propôs-se a noção de “redução arquival” como uma categoria central para a definição de reperformance, considerando-se suas potencialidades dialógicas, de ordem trans-histórica.

Copyright law has always sought to maximize the quantity of valuable creative works available to society. While protecting the creative artists is essential, it is in some sense incidental; the reason to protect the artist is that them, there would be nothing to copy. As new digital technologies for transforming artistic works gain in capability, the ease of producing innovative and valuable works based on the reuse of prior work increases, meaning that society can now benefit from an increased supply of works based on the reuse of others. This suggests that restrictions on reuse that were considered optimal in the past should now be relaxed. We suggest changes to copyright law to achieve this new optimum. We suggest that artistic merit should once again be considered relevant to copyright law, in this case to determine when artistic works should be permitted to reuse works still subject to copyright protection. We retain the concept of originality in deciding when works based on reuse should themselves be granted copyright.

Neste texto procuramos refletir tentativamente e encetar um itinerário de definição conceitual de um neologismo Artivismo ainda de instável consensualidade seja no campo das ciências sociais, seja no campo das artes. Encetamos aqui uma busca de significados e de tensões que este termo tem provocado nos debates que articulam arte e política e que pensam como as performances políticas se revestem de dimensões estéticas e, paralelamente, como as práticas artísticas se posicionam politicamente. Os conceitos de arquivo e repertório (Diana Taylor, 2003), de re-performance (Diana Taylor 2016) e comportamento restaurado (Richard Schechner 1981) serão explorados à luz da noção hashtag político ou hashtag ativismo – propagação em cadeia de protestos/gestos político-estéticos fundados em princípios e regras da comunicação digital; um objeto cultural que perpetua a agenda política na esfera pública e faz a ponte entre as experiências pessoais e coletivas do ativismo. info:eu-repo/semantics/publishedVersion

La performance surge, como tal, en el entrecruzamiento de las décadas del 60 y 70 del siglo XX en el marco de un movimiento que buscaba romper y transgredir el sistema artístico mercantil vigente, proponiendo un arte efímero que no pudiera ser vendido. Aproximadamente 30 años después, la artista serbia Marina Abramović acuñó el término reperformance, práctica que consiste en una nueva presentación de aquel tipo de trabajo, sea por el propio autor de la obra o por otros artistas. Sin embargo, esta práctica viene acompañada de reglas y de un método, que deben ser observados y seguidos por los artistas interesados en "reperformar". En este artículo pretendo reflexionar sobre las relaciones que emergen entre las nociones de aura, elaborada por el filósofo alemán Walter Benjamin, y reperformance, esta última pensada paralelamente a un juego entre la presencia física y la ausencia del artista que creó la primera versión de la obra presentada. La noción benjaminiana de huella, que remite al ausente que se hace presente, será usada para fundamental la suposición de que Abramović transpuso el aura de sus obras para su nombre, para su firma.

Główną osią artykułu są trzy akcje performatywne polskiego współczesnego artysty, Przemka Branasa - "SS-PB-KJ" (2011), "Fontanna" (2014-2015) oraz "I Wanna Be Your Colonizer" (2019). Autor stara się prześledzić praktyki artystyczne wspomnianego twórcy w kontekście pracy z przeszłością i jej potencjalną sprawczością w teraźniejszości, używając do tego refleksji Diany Taylor, Rebekki Schneider oraz Aleidy Assmann. Głównym tematem pojawiającym się w pracy jest kwestia widzialności osób homoseksual­nych, a tym samym znalezienie sposobu opowiadania o ich doświadczeniu z perspektywy innej niż heteronormatywna. Zdefiniowane pola problemowe, takie jak sposób oddziaływania materialnych i niematerialnych pozostałości historii na współczesność, pamiętanie i zapominanie przeszłości czy sprawczość repeformowania dawnych gestów i praktyk, pozwalają autorowi dokonać namysłu nad nowymi możliwościami przepracowywania minionych zdarzeń. The basis of this article are three performative actions by Polish contemporary artist, Przemek Branas - "SS-PB-KJ" (2011), "Fountain" (2014–2015) and "I Wanna Be Your Colonizer" (2019). The author tries to trace the artistic practices of the mentioned artist in the context of working with the past and its potential agency in the present, using the reflections of researchers such as Diana Taylor, Rebecca Schneider and Aleida Assmann. The main topic of the work is the issue of the visibility of homosexual people, and thus finding a way to talk about their experience from a perspective other than heteronormative. Defined problem fields, such as the way material and immaterial remains of history influence the present day, remembering and forgetting the past or the agency of reperforming old gestures and practices, allow the author to reflect on new possibilities of working through past events.

Starting from the ontology of performance by Peggy Phelan, the article seeks to demonstrate the ontogenesis of performance, showing how performance has been manifested in various forms from its beginnings. Performance is analysed in the context of a new artistic practice in the 1960s and 1970s, where porous boundaries between artistic disciplines led to the fruitful permeation of performance, photography, video, film, and conceptual art. Special attention is paid to the medium specificity of performance as a nonmaterial art form and to its representation, documentation, archiving, and exhibition. The last section of the text is dedicated to reperformance as a recently emerged form of repetition and documentation and to the use of performance in light of the increased interest in preserving the live art of the past., Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 11 (2020): Yugoslav Performance Art: On the Deferred Production of Knowledge

This paper is a sprawling document covering practical issues about music notation with more theoretical implications of notation. A distinction between reperformance and preservation is elucidated, and a thought experiment of how to notate a time-based light sculpture (László Moholy-Nagy’s Light Prop for an Electric Stage) encourages readers to think about notation as removed from sonic content. It is vital for composers to create notation that goes beyond the notes, so that pieces involving media can be re-performed in addition to creating an informed archive of the initial state(s) of the work as mediated by the composer themselves., Musica/Tecnologia, XIII (2019)

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences. The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.

International audience; Although the central quality of Odysseus’ rooted bed is clear, much about its nature as an object is left obscure in the telling. This article analyses Odysseus’ account of the making of his bed (Odyssey, 23.183-204) as an example of a detailed narrative of making (ekphrasis tropou) rather than as a description of an object. It argues that the passage derives its meaning from its presentation as a first-person narration and from the actions related. For Penelope, the internal audience, the speech makes present the younger Odysseus, as the older Odysseus reperforms his creative gestures, while the vocabulary used allows the external audience to see in Odysseus’ account a summary of his marriage and adventures.; Si la qualité essentielle du lit enraciné d’Ulysse est clairement décrite dans le discours qu’il adresse à Pénélope (Odyssée, 23.183-204), bien d’autres caractéristiques de cet objet sont escamotées. Cet article propose une analyse de ce discours en tant que narration détaillée de la fabrication du lit (ekphrasis tropou) en se concentrant sur son caractère homodiégétique et sur les actions évoquées. Pour Pénélope, le discours rend présent le jeune Ulysse à travers la restitution de ses gestes productifs alors que, pour les lecteurs ou auditeurs, le vocabulaire employé permet de voir dans ce récit de fabrication un résumé du mariage et des aventures d’Ulysse.

Autoetnographic narrative of the process of reperformance of Les voy a contar mi vida, by the Spanish artist, settled in France, Esther Ferrer. The writing starts from the desire to bring the reader closer to the experience of meeting the artist and his work, through an incorporated knowledge that is given by the body in performance. Narrativa autoetnográfica do processo de reperformance de Les voy a contar mi vida, da artista espanhola Esther Ferrer, radicada da França. A escrita parte do desejo de aproximar o leitor da experiência de encontro com a artista e sua obra, através de um conhecimento incorporado, que se dá pelo corpo em performance

Este artigo apresenta, de forma modificada, o pré-projeto de pesquisa submetido para seleção de candidatos para o Doutorado Acadêmico em Arte na linha de pesquisaTeoria e História da Artedo Programa de Pós-Graduação em Arte do Departamento de Artes Visuais da Universidade de Brasília.O objeto de estudo aqui proposto é a compreensão da institucionalização, presença e ausência, de obrasdeperformance nos museus. Fundamentalmente, o interesse recai sobre a memória de obras adquiridas por instituições museológicas, o seu acontecimento e, possivelmente, a sua (re)constituição a partir dos vestígios concepcionais pela poética dos artistas e dos registros oriundos da produção documental das instituições: vestígios que declaram a duração no tempo-espaço e possibilidades comunicacionais pós-acontecimento.

Esta dissertação descreve o percurso de sete experimentos onde investiguei a possibilidade de criação através da reperformance. Para conseguir desenvolver esta prática investigo três obras de Pina Bausch, duas de Marina Abramovic e dois trabalhos autorais, a partir de laboratórios e investigações desenvolvidas no “Workshop de Estudos em Reperformance” para artistas e pesquisadores da região metropolitana do Natal, Rio Grande do Norte e em Bogotá, Colômbia. Para desenvolver tal trajetória, foi realizado um estudo reflexivo sobre a documentação de registros, que culminam nas impressões da visita à exposição de Marina Abramovic no Sesc Pompéia, assim como levantamentos bibliográficos a fim de refletir sobre o conceito de reperformance, e breve um mapeamento afetivo da história da performance em Natal no período de 2007 à 2016. This dissertation describes the trajectory of seven experiments based on studies in which I investigate the possibility of creation through reperformance. In order to develop my practice, I analyzed three works from Pina Bausch, two from Marina Abramovic, and two of my own works from laboratories and researches developed in "Workshop de Estudos em Reperformance" in which I teach artists and researchers in, both, the metropolitan region of Natal, Rio Grande do Norte, and Bogota, Colombia. To develop such a course, not only a reflective study on records documentation was held, culminating in the impressions of the visit of Marina Abramovic's exhibition at SESC Pompeia, but also literature surveys was made in order to reflect on the concept of reperformance, in which I identify the need to develop an affective mapping of the history of performance in Natal from 2007 to 2016.

De 14 de Março a 31 de Maio o Museu de Arte Moderna de Nova Iorque (MoMA) apresentou, pela primeira vez, uma exposição individual retrospectiva dedicada exclusivamente à arte da performance intitulada Marina Abramovic: The Artist is Present. A artista está presente, é também o título da obra criada especialmente para a exposição, que envolveu a presença permanente de Abramović no átrio do museu, sendo os visitantes “convidados a sentar-se em silêncio com a artista durante o tempo que entenderem”. Inédita na ambição de expor quase quarenta anos de performance da artista, a exposição utilizou estratégias expositivas menos convencionais que integraram a reperformancede cinco obras emblemáticas lado a lado com a documentação tradicionalmente utilizada: fotografias, vídeos, objectos. A nova performance, poderosa na sua extrema simplicidade, mereceu surpreendente adesão do público que acorreu a participar. O acontecimento despoletou imediatas críticas, comentários, testemunhos que circularam em sites institucionais, blogs pessoais e redes sociais, produzindo um cenário de recepção também ele inédito pela diversidade e quantidade de públicos envolvidos. As notas que se apresentam, produzidas em cima do acontecimento, tentam reflectir essas realidades enquadrando-as na reflexão e debate crítico em curso em torno das questões colocadas pela preservação, e reapresentação da arte da performance a que a exposição no MoMA veio dar nova dimensão e urgência. Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp, Ministério da Cultura, Instituto dos Museus e da Conservação

cote interne IRCAM: Bonardi08a; National audience; When moving from hardware device to computers on stage at the end of the 1970’s, artists did not realize they would sometimes be unable to reperform their works twenty years later. Many of them now use software modules that face important sustainability problems. In the framework of Caspar European project, the On Line Service Team at Ircam proposes a series of new tools to accompany the maintenance of software modules required by performers on stage.

This article is focused on the interplay of different forms of intangibility (living heritage and reenactment heritage) and the way technologically enabled practices might reshape the role and transformation of intangible cultural heritage (ICH) in museums. The article introduces three cultural heritage digitisation research projects and their associated museological interventions. The examples chosen for this chapter include the living heritage of South Chinese martial arts in Hong Kong, and the ritual reenactments arising from the canonical Confucian performance manual YiLi from the Book of Etiquette and Rites. Both projects are ongoing and were initiated in 2012. The third project is an interactive reperformance of the poetic oeuvre of Edwin Thumboo, Singapore's leading living poet, dating to 2013/2018 in two distinct environments/interfaces. Through use of multimodal encoding, algorithmic reenactment, recombinatory narrative and kinaesthetic digital interfaces, these three projects signal important new forms of museological experience arising from embodied cognition that have the potential to transmit ICH in museums.