Reperformance, Reenactment, Simulation

The conservation of performance art has become a pressing issue as museums increasingly commission, exhibit, and even collect works of performance art. While documentation might give us a schematic understanding of the original performance and its circumstances, and “reperformance” claims to reproduce the original live experience, neither of these can tell us what it was like to really be there, back then. Uniting curatorial and conservation methodologies, this paper proposes simulation as a tool for “mimetically documenting” the historical context and experience of performance works. Focusing on works by Marina Abramović and their representations in popular media, this article assesses historical reenactment, film and television, and ultimately video games as forms of simulation, arguing that these effectively transmit aspects of performance works that are otherwise difficult or impossible to conserve.