Bringing together contributors from dance, theatre, visual studies and art history, Perform, Repeat, Record addresses the conundrum of how live art is positioned within history. Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media and text. These multiple occurrences and iterations offer new critical possibilities for thinking and writing the histories of performance. Among the artists, theorists and historians who contributed to this volume are Marina Abramovic, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton and Jean-Luc Nancy.
Зміст
INTRODUCTIONS
The Now and the Has Been: Paradoxes of Live Art in History – Amelia Jones
Then Again – Adrian Heathfield
THEORIES AND HISTORIES
Introduction
Amelia Jones
Chapter 1: The Performativity of Performance Documentation – Philip Auslander
Chapter 2: Dead Mannequin Walking: Fluxus and the Politics of Reception – Hannah B Higgins
Chapter 3: The Viral Ontology of Performance – Christopher Bedford
Chapter 4: Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT’s Genital Panic Since 1969 – Mechtild Widrich
Chapter 5: Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation – Mónica Mayer
Chapter 6: History and Precariousness: In Search of a Performative
Historiography – Eleonora Fabião
Chapter 7: Performance Remains – Rebecca Schneider
Chapter 8: Not as Before, but Simply: Again – André Lepecki
Chapter 9: The Prosthetic Present Tense: Documenting Chinese Time-based Art – Meiling Cheng
Chapter 10: Progressive Striptease – Sven Lutticken
Chapter 11: Repetition: A Skin which Unravels – Jane Blocker
Chapter 12: Art in the Age of Biopolitics: From Artwork to Art Documentation 209 – Boris Groys
Chapter 13: The Interstices of History – Angela Harutyunyan et al.
An Unofficial Timeline of Socialist and Post-Socialist Performance – Angela Harutyunyan et al.
DOCUMENTS
Introduction
Adrian Heathfield
Chapter 14: A Text on 20 years with 66 footnotes – Tim Etchells
Chapter 15: Faith Wilding, Waiting and Wait-With
Chapter 16: Lynn Hershman and/as Roberta Breitmore
Chapter 17: We Are Formatted Memories – Orlan
Chapter 18: Franko B and Kamal Ackarie, Don’t Leave Me This Way
Chapter 19: Make Me Stop Smoking – Rabih Mroué
Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers) – Nao Bustamante
Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers) – Nao Bustamante
Chapter 21: Cai Yuan and J.J. Xi, Mad For Real
Chapter 22: Hayley Newman, Mini Flux
Chapter 23: Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant
Chapter 24: Multiple Journeys: A Performance Chronology – Guillermo Gómez-Peña
Chapter 25: Attending to Anthony Mc Call’s Long Film For Ambient Light – Lucas Ihlein
Chapter 26: Re Cut Project – Ming-Yuen S. Ma
Chapter 27: Assuming a Migrant Woman’s Identity – Tanja Ostojic
Chapter 28: Barbara Smith, Intimations of Immortality
Chapter 29: Santiago Sierra and the “Contexts” of History
Chapter 30: Reconstruction2 – Janez Janša
Chapter 31: Documents of Chinese Time-based Art: Three Impressions from Three Fragments – Meiling Cheng
Chapter 32: Both Sitting Duet and Cheap Lecture – Jonathan Burrows and Matteo Fargion
Chapter 33: Aftermath: The Performance / Installation Nexus – Blair French
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 – Amelia Jones
DIALOGUES
Introduction
Adrian Heathfield
Chapter 34: Interior Squirrel and the Vicissitudes of History – Carolee Schneemann and Amelia Jones
Chapter 35: I Just Go in Life – Tehching Hsieh and Adrian Heathfield
Chapter 36: The Maybe: Modes of Performance and the “Live” – Tilda Swinton and Joanna Scanlan
Chapter 37: Photography as a Performative Act – Shezad Dawood and Amelia Jones
Chapter 38: Do it Again, Do it Again (Turn Around, Go Back) – Iain Forsyth and Jane Pollard, with Andrew Renton
Chapter 39: Touching Remains – Janine Antoni and Adrian Heathfield
Chapter 40: Perverse Martyrologies – Ron Athey and Dominic Johnson
Chapter 41: The Live Artist as Archaeologist – Marina Abramovic and Amelia Jones
Chapter 42: Every House Has a Door – Lin Hixson and Matthew Goulish
Chapter 43: Alliterations – Mathilde Monnier and Jean-Luc Nancy
Introduction and Translation: Noémie Solomon
Chapter 44: Intangibles – Hugo Glendinning, Adrian Heathfield, and Tim Etchells
Про автора
Amelia Jones is the Robert A. Day Professor at the Roski School of Art and Design at the University of Southern California. A curator and a theorist and historian of art and performance, her recent publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), Perform Repeat Record: Live Art in History (2012, co-edited with Adrian Heathfield), the anthology Sexuality (2014), and Otherwise: Imagining Queer Feminist Art Histories (2016, co-edited with Erin Silver). Her exhibition, Material Traces: Time and the Gesture in Contemporary Art, took place in 2013 in Montreal. She edited ‘On Trans/Performance’, a special issue of Performance Research (2016).
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