The Time We Share (original) (raw)
Related papers
Curating Performance on the Edge of the Art Museum J Schwarzbart
Since the Intermedia and Fluxus movements a variety of timebased artforms have been contained within visual art contexts. The performative works draw often as much on the tradition of theatre, music, dance, and poetry reading as fine art. Although the institutional context plays a role in establishing the 'rules of engagement' these can also be challenged curatorially by the programming, choice of location(s), modes of communication, and a general orchestration in time and space.
In November 2011, the artistic research project 'The Monkey's World. Towards an archaeology of baroque culture' 1 reached its culmination in (Exhibiting) Baroque Bodies, a one-week festival at the Brussels-based interdisciplinary arts centre Beursschouwburg. The festival consisted of a theatre production by the Belgian company Abattoir Fermé and Pol Dehert, the exhibition 'Corpus Rochester' on contemporary baroque culture (featuring work by, among many other artists, Guillermo Canino etc.), a late-night programme of films and performances focusing on the idea of the political, the burlesque and the pornographic body, and a series of workshops through which film and theatre students were involved in the research questions of this project. 2 (Exhibiting) Baroque Bodies was more than just the presentation of the concrete results of an elaborate research project; it was also an attempt to find an adequate and challenging form to allow additional insight into the process that led to the result presented, an exposition (perhaps the German word Auseinandersetzung is a more apt term), that simultaneously exposed the complex dramaturgical and historical research and the actual artistic 'labour' or research. It aimed at the integration of research, presentation and pedagogy, the festival being a shared experience of co-creation, discussion and collaboration, a utopian moment during which the institutionally accepted differences between teachers, students, researchers and artists became of secondary importance. This mixture of presenting (exhibiting) and experiencing (living) research results formed the heart of our research exposition.
A visit to the our stage festival: Participation, inclusion and sharing at the Bürgerbühne Dresden
The Historical Review/La Revue Historique, 2020
In 2009 Staatsschauspiel Dresden, the state theatre of Saxony, became the first playhouse in Germany to include, in the company’s structure and repertoire, a Bürgerbühne, a stage dedicated to documentary and participatory theatre. Within ten years, Dresden’s prolific and acclaimed model of a citizens’ stage became a thriving and active example of inclusion and participation in theatre arts. In May 2019, Our Stage, the 4th European festival of, and on, citizens’ theatre was held in Dresden, offering a full week of performances, seminars, talks, workshops and discussions on various aspects of participatory theatre. The article offers a partial account of the festival and its performances in order to trace recent developments in applied, documentary and participatory theatre; it also tentatively attempts to address the notions of participation, inclusion and sharing in relation to contemporary Greek theatre and its performances.
8th Annual South-East European Doctoral Student Conference: Infusing Research and Knowledge in South-East Europe, STEERC 2013. 978-960-9416-06-1 (ISBN), 2013
According to the Wagnerian tradition, Gesamtkunstwerk refers to the creative fusion of multiple types of expertise from the worlds of art, theory, philosophy as well as technology. From Romanticism, to modern and postmodern times, this concept seems to occasionally reflect society’s goals and artistic aspirations; yet, in modern times it has frequently been associated with totalitarianism advancing ideals of national identity through total clarity of principle. In this historical retrospective, theatrical and performance space is a field where Gesamtkunstwerk has been distinctively as well as earnestly implemented. Today, this integration is further traced in the creator’s use of the computer as a meta-medium, synthesising all media within a single interface, sharing time and space with the performers’ physical presence. Is there an actual need for a unifying synthesis when postmodern beliefs propound differentiation and fragmentation, often reaching a design extravagance? Does artistic plethora provide enough space for various artistic minds to participate towards the common performance work? Does it make for an artistic democracy or does it shrink creation? By employing Gesamtkunstwerk as the main theoretical frame of this work and Constructivism as the key methodological paradigm, I will explore its contemporary expressions in the interplay between artistic practices for collaborative performance, as well as suggest that it informs current performance design in challenging ways. The expected contribution of this research is the emergence of some new ways of understanding the history and contemporary importance of Gesamtkunstwerk and how it affects a designer’s work among co-creators in the eventual making of the theatrical spatial experience.
Skenè, Vol. 10, No. 1. Memory and Performance. Classical Reception in Early Modern Festivals, 2024
This review focuses on #CoronaTheater, a thought-provoking collection of essays issued in 2022. These essays discuss the intersection of performing arts with the COVID-19 pandemic, examining the use of communication technologies to define a new kind of theatre, performer, and audiences. By reflecting on the immediate and long-term transformations of the theatre, as well as on the political and social developments during and after the pandemic, #CoronaTheater foregrounds at least three points of discussion: the impact of lockdown on the performing arts, providing a representative selection of firsthand accounts; the burning question of the post- pandemic future of theatre, attempting to understand how institutions might reinvent their spatial and dramaturgical practices in a virtual community-building; the reflection on questions of sustainability, social participation, and inclusion by exploiting digital theatre’s potential to reform the theatre as institution. Finally, yet importantly, the contributors of #CoronaTheater introduce a decidedly cultural viewpoint into a discussion that had so far been dominated primarily by medical, political, and epidemiological perspectives.
Converging perspectives : writings on performance art
2011
Helsinki. This third episode Converging Perspectives – Writings on Performance Art consists of essays, writings and reviews by MA students of Live Art and performance studies (2009-2011): Suvadeep Das, Christina Georgiou, Sari Kivinen, Katariina Mylläri, Ilka Theurich and Tuuli Tubin. The book includes texts on artistic research by doctoral students of performance art and theory Pilvi Porkola and Tero Nauha and an essay by a guest, Lisa Erdman. The anthology is compiled with an introduction by Professor Annette Arlander. Converging Perspectives
Staging Them: Entartete Kunst from Past to Present
Understanding and Addressing Monoculture, Valiz-M_HKA, 2020
The ‘Us versus Them’ dichotomy is fundamental to any propaganda to create a successful antagonism by identifying a people in relation to their shared threat. In the case of oppressive propaganda, such as that of the Nazi regime, the enemy figure is composed not of real existential threats, but of relatively easy to defeat minorities—a strategy that guarantees a quick ‘heroic’ success over, in this case, the Jewish people and other minorities, and in the case of many contemporary examples of resurgent authoritarianism and fascism, against Muslims and people of colour in general (often euphemistically referred to as ‘migrants’). The Entartete Kunst exhibition succeeds, by using the Us (racial purity) versus Them (degeneracy) dichotomy to do two things at the same time: it constructs a relatively easy to defeat enemy that is trumped up as a major existential threat, while articulating through this ‘negative social contract’ what defines a true people. In other words, not what we have in common is what defines us, but what we are threatened by—what ‘they’ are, ‘we’ are not.
The Challenges of the Ephemeral: Conserving Performance Art
It is clear that art institutions are constantly changing, and in the past few years quite radically. Museums are now becoming places of direct engagement with artworks and artists and not just for contemplation. Some institutions have shifted their frameworks to be able to accommodate video, large-scale installations, new media art and performance art. Early in the 20th century, artists started to get involved in performances to defy the object centred art of the time. Since then, performance art has been present in the art world as a valid medium of expression. However, many museums and galleries were overlooking the significance of this type of art mainly because of the difficulty of integrating it in the traditional museum structure. One of the issues of performance is the absence of a solid material/de-objectification and its transitory and ephemeral characteristics. Nevertheless, performance art is reaching a much more prominent position within the contemporary art museum in the last few years. Therefore, we must question what changes ought to be done to engage performance art within the foundations of the art museum. Being the art institution the ideal place to conserve, collect and present art, how can an ephemeral art form such as performance be conserved? This paper will be aiming at the performative arts field, more specifically to performance art, and will demonstrate the challenges that this brings to the art museum. Conservation and collection methods are the main focus, although other points will be referred.