Performance, Action, Event

表演、动作、事件

• 批准号: AH/I023627/1
• 负责人: Briony Fer
• 金额: $ 7.72万
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Training Grant
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI023627%2F1
• 关键词: Performance; Action; Event

This research project is designed to examine the role of performance, actions and events in the context of the contemporary art museum. The main aim of the project is to consider the art historical and curatorial issues arising at the interface between performance-based practices and the contemporary art institution, with a special emphasis on case studies drawn from the recent history of a leading institution in the field, Tate Modern, but also extending more widely to place these case studies within a larger historical and geographical context. Whilst there is much interesting research on performance, the perspective taken here would be to look at the significance of temporary, live events in the context of the function, mission and life of a contemporary institution of art. Whilst Tate Modern is not necessarily typical in its scale or approach, its practice - which is widely regarded as innovative and of international importance - will provide detailed case studies for the project, which will be combined with selected comparative examples drawn from a large global reach. There is a fairly long history of performance-based work, much of it well documented now in the history of modern art. This project would not be a survey but would look in particular at the history of such practices in relation to the museum of modern and contemporary art. Very schematically, from the 1960s, the sites and spaces of performativity were established as other than those of the museum, usually in an antagonistic relation to the institution. Now, on the other hand, commissioning programmes within art museums such as Tate Modern have brought radical performative practices back to the very heart of the institution, even so far as to be able to claim that they are now a vital part of the its life blood and survival. At the same time, the history of performances, actions and events has been revivified by art practice today (see, for example, the work of Tino Sehgal, Tania Brugera and Roman Ondak), and in consequence it has become urgent for both the academy and the museums of modern and contemporary art to look back and recalibrate the significance of historical precedents such as the work of Lygia Clark, Josef Beuys and Daniel Buren (to name a very few salient examples). From the point of view of contemporary practice, the project would in part provide an alternative narrative account of some of those historical shifts that have occurred. One question that might be addressed would be how to reconfigure and re-describe the nature of those relationships between art and curatorial practice now, in the light of recent commissions by large museums. If the narrative is not simply a reductive one of collision to collusion with a culture of spectacle, then how can those new relationships be thought? Equally urgent, then, as a consequence is the problem of how to mediate both past and present work of this type, and specifically how to re-present radical performance and live art of the past without losing some or all of its meaning. The project would necessarily look across disciplines, drawing on visual art, theatre and dance in particular. Given the nature of the work, it will be necessary to be able to develop a critical framework in which to discuss often hybrid art forms and to develop conceptual tools to examine new practices as well as the mediation of older practices within new contexts. The project would seek to analyse past art but also to envisage innovative new ways in which the institution might mediate such practices. Located between art historical and curatorial disciplines, the aim of the research is both to articulate a hitherto overlooked account of the relation of performative-based work to the museum and to develop fresh critical terms for thinking about this material.

这项研究项目旨在考察表演、行动和事件在当代美术馆中的作用。该项目的主要目的是考虑以表演为基础的做法和当代艺术机构之间的交界处出现的艺术史和策展问题，特别强调从该领域领先机构泰特现代美术馆的近代史中提取的案例研究，但也要更广泛地扩展，将这些案例研究置于更大的历史和地理背景中。虽然有很多关于表演的有趣研究，但这里采取的观点是在当代艺术机构的功能、使命和生活的背景下看待临时的、现场活动的重要性。虽然泰特现代美术馆在规模或方法上不一定是典型的，但它的做法--被广泛认为是创新的和具有国际重要性的--将为该项目提供详细的案例研究，并将与从全球范围内选取的比较实例相结合。以表演为基础的作品有相当长的历史，其中许多现在被很好地记录在现代艺术史上。这个项目将不是一个调查，但将特别研究与现代和当代艺术博物馆有关的这种做法的历史。非常简单，从20世纪60年代开始，表演性的场所和空间被确立为不同于博物馆的场所和空间，通常与机构处于对立关系。另一方面，现在，泰特现代美术馆等艺术馆的委托项目将激进的表演实践带回了该机构的核心，甚至到了能够声称它们现在是该机构生命血液和生存的重要组成部分的地步。同时，表演、动作和事件的历史已经被今天的艺术实践所复活(例如，参见蒂诺·塞格尔、塔尼亚·布鲁格拉和罗曼·翁达克的作品)，因此，对于学院和现当代艺术博物馆来说，回顾和重新校准历史先例的意义变得迫切，例如Lygia Clark、Josef Beuys和Daniel布伦的作品(仅举几个突出的例子)。从当代实践的角度来看，该项目将在一定程度上为一些已经发生的历史转变提供另一种叙述方式。一个可能会被解决的问题是，根据大型博物馆最近的委托，现在如何重新配置和重新描述艺术和策展实践之间的关系的性质。如果叙事不是简单地与一种奇观文化碰撞到共谋的还原叙事，那么如何思考这些新的关系？因此，同样紧迫的问题是如何协调过去和现在的这类作品，特别是如何在不失去部分或全部意义的情况下再现过去的激进表演和现场艺术。该项目必须跨越不同的学科，特别是利用视觉艺术、戏剧和舞蹈。鉴于这项工作的性质，将有必要制定一个批判性的框架，在其中讨论往往是混合的艺术形式，并开发概念工具来审查新的做法以及在新的背景下调解旧的做法。该项目将寻求分析过去的艺术，但也将设想该机构可能调解此类做法的创新新方式。这项研究介于艺术史和策展学科之间，其目的是阐明迄今被忽视的基于表演的作品与博物馆的关系，并为思考这种材料开发新的批评术语。