Trashing Performance Talks. Under- and Overwhelmed: Emotion and Performance (Part 1)- the second year of Performance Matters – 25-29th October 2011.
Audio CD of Symposium and performances for Performing Idea.Track List:
Performance Matters: Performing Idea – Performative Writing 8th October 3.00-7.30pm (not 7th as stated on disk) Toynbee Studios.
Performance Matters: Performing Idea – Performative Writing8th October 3.00-7.30pm (not 7th as stated on disk))Toynbee StudiosWith: Hélène Cixous (on video), Matthew Goulish, Adrian Heathfield and Peggy PhelanNew forms of writing on and around contemporary art and performance have emerged in recent years, alongside the emergence of the artist as cultural critic and curator. These forms of writing often problematize the notion of critical distance, deploying creative, dialogic and autobiographical strategies to engage with the multiple affects of the artwork. To what extent may critical thinking and writing be an art form? Speakers will examine the histories, limits and possibilities of the forms of ‘performative writing’, the dynamics of the performing idea.This session on Performative Writing will also comprise a preview of Trashing Performance, the second themed year of Performance Matters, with contributions from Oreet Ashery, Mel Brimfield, Gavin Butt, Dominic Johnson and Bird La Bird.
Performance Matters: Performing Idea – Performative Writing
8th October 3.00-7.30pm
Articles by: Patricia Benecke, Tim Etchells, Matthew Goulish, Adrian Heathfield, Judith Helmer, Hans-Thies Lehmann, Florian Malzacher, Annemarie Matzke, Andrew Quick, Anke Schleper, Gerald Siegmund, Astrid Sommer. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Performance Matters, Performing Idea – Reciprocal Aesthetics7th October3:00-7:30pmToynbee StudiosWith: Ron Athey, Wafaa Bilal, Maaike Bleeker, Shannon Jackson and Julie Tolentino The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.’ Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared?
Essays and creative texts accompany the photographic and textual documentation.
This item is part of the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433), the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529) and the Study Room Guide in Search of a Documentology by Marco Pustianaz (P1115)
Promo of the programme of Live Art performances. 3:26 mins. 27 March 2003.