search the archive
search the archive
Curating Performance: Re/activation Strategies
full name / name of organization:
Lucian Gomoll / Museum and Curatorial Studies, UC Santa Cruz
A panel/workgroup/exhibition for the Hemispheric Institute’s upcoming Encuentro (conference) in Mexico City, March 17-25 2012
For more details and to apply online, visit: http://hemi.nyu.edu/hemi/en/mexico-overview/enc-2012-workgroups/949-cura...
5 curators/scholars and 5 artists will be selected for participation.
Today, and regardless of artist intentions, the remains or “leftovers” of performance art have come to be incorporated into museums and galleries (as well as classrooms) as surrogates for an event, mnemonic aids, performative fragments, or art objects in their own right. What’s more, in recent years, performance artists and process-based works have been increasingly featured in mainstream exhibitions. Markers of this paradigm shift include the “laboratory” galleries of the Palais de Tokyo, Marina Abramović’s popular and controversial retrospective The Artist is Present (2010), Museo del Barrio’s Arte No es Vida survey exhibition of Latin American performance art (2008), the ongoing Performa Biennale, along with numerous Hemispheric initiatives that include the next Encuentro in Mexico. All of the above have led to a variety of results, mutually transforming the identity of performance art and its space of exhibition – and calling into question the roles of the artist, the curator, and the audience. What limitations do institutional spaces (such as the museum) pose for performance artists and curators of performance? What is the role of the curator in exhibiting new performances and/or reactivating those that have already taken place? What is the significance of performance in the history of exhibition, and what new display methods can it enable? How does the recent museological shift towards interactivity relate to performance and archival practices more generally?
We seek workgroup participants who are interested in developing a collaborative, transdisciplinary, and historically informed approach to curating performance. Activists, practitioners, scholars, amateurs and seasoned professionals from multiple disciplinary formations are welcome to apply. We will accept 300-350 word abstracts for conference papers, manifestos, multimedia presentations, performances, and other experimental formats that explicitly address curatorial concerns.
Possible Topics Include