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Collecting, Archiving and Sharing Performance and the Performative

收集、存档和共享表演和表演性内容

基本信息

批准号：
AH/L003740/1
负责人：
Gabriella Giannachi
金额：
$ 35.97万
依托单位：
UNIVERSITY OF EXETER
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2014
资助国家：
英国
起止时间：
2014 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FL003740%2F1
关键词：
Collecting Archiving Sharing Performance Performative

项目摘要

'Collecting, Archiving and Sharing Performance and the Performative' aims to research, document and disseminate performance at Tate from the 1960s to today by studying practices of collecting, displaying, documenting, publishing and sharing information about performance. The project also aims to study audience engagement by exploring novel ways of recording and interpreting user responses to performance and embedding these in Tate's displays. It is a collaboration between the Centre for Intermedia at the Department of English at the University of Exeter and two departments at Tate - Tate Research and Tate Online - in consultation with Tate's Digital Learning Department and its Copyright Department and collaborating with Tate's curator for performance. The project is especially timely because of Tate's opening of the Tanks, the 'first spaces dedicated permanently to live art installation and performance in any museum building anywhere in the world' (Sir Nicholas Serota, BBC, 23/4/2012). The outputs include an innovative online archive, an edited book, a project documentation blog, a workshop, a conference and two articles.Performance at Tate originated in the 1960s when performative works were acquired by Tate and a number of early performance works and talks were hosted by the education department. In the intervening decades more performative works were acquired and a number of exhibitions and events staged. After 2003, and with the introduction of Tate Live and then the Tanks, Tate's programming of performance became more systematic, and an increasingly diverse range of documents, including films, photographs, texts from programmes, artist statements and correspondences were collected for over 200 performances of artists such as Merce Cunningham, Joan Jonas, Christian Marclay, Surasi Kusalwong, John Cage, Trisha Brown, Carlos Amorales, Cai Guo Qiang, the Guerrilla Girls, Sung Hwan Kimn and Suzanne Lacy, to name but a few. Some works included live performance; others were born digital, but still performative, like Argentinean born artist Pablo Bronstein's Constantinople Kaleidoscope (2012), an entirely new work made especially for the Performance Room, which involves a group of dancers on a trompe l'oeil stage set that exaggerates the perspective of the room. Some had audiences, others were interactive and user-led, like Pawel Althamer's Film 2000, a performance trailer for a film that is never made which requires actors famous in a given part of the world (in the UK Jude Law) to perform in a location related to the museum. Some were documented extensively, by well-known photographers, like Martin Creed's installation in which 50 participants run through Tate Britain, which was photographed by Hugo Glendinning in 2008. Others, like Tino Sehgal's This is Propaganda (2002, and acquired by Tate in 2005) have no 'conventional' documentation in that the artist suggests that the work is taught to two members of the museum staff on acquisition who are charged with its remembrance. The result is an unrivalled collection of performance materials yet to be fully exploited.It is expected that the Tanks will generate a greater public appetite for and interest in performance, and increasingly involve audiences ('There is an incredible appetite for participation', Chris Dercon, Tate Modern Director, BBC, 23/4/2012). Tate's renewed and increased commitment to a performance programme, including the production of born digital 'live' work, requires that Tate now looks back at what it has established curatorially throughout the years, whilst also looking forward at developing new curatorial strategies for performance, including the development of multiple, interdisciplinary and participatory methodologies for performance documentation to ensure that the new commissions in the Tanks and elsewhere at Tate can effectively generate future legacies at Tate and, through the generation of a best practice framework, beyond.

《收集、存档和分享表演和表演者》旨在通过研究收集、展示、记录、出版和分享关于表演的信息的做法，研究、记录和传播泰特从20世纪60年代到今天的表演。该项目还旨在通过探索记录和解释用户对表演的反应的新方法，并将这些嵌入到泰特的展示中，来研究观众参与度。这是埃克塞特大学英语系的中间媒体中心与泰特研究和泰特在线的两个部门合作的结果--与泰特的数字学习部门及其版权部协商，并与泰特的策展人合作进行表演。这个项目特别及时，因为泰特开放了水箱，这是“世界上任何地方的任何博物馆建筑中第一个永久致力于现场艺术装置和表演的空间”(尼古拉斯·塞罗塔爵士，BBC，2012年4月23日)。成果包括一个创新的在线档案，一本编辑的书籍，一个项目文档博客，一个研讨会，一个会议和两篇文章。泰特的表演始于20世纪60年代，当时泰特购买了表演作品，一些早期的表演作品和讲座由教育部门主办。在其间的几十年里，获得了更多的表演性作品，并举办了一些展览和活动。2003年后，随着Tate Live和TANKS的推出，泰特的表演规划变得更加系统化，越来越多样化的文件，包括电影、照片、节目文本、艺术家声明和信件，收集了200多位艺术家的表演，如Merce Cunningham，Joan Jonas，Christian Marclay，Surasi Kusalwong，John Cage，Trisha Brown，Carlos Amorales，蔡国强，游击队女孩，Sung Hwan Kimn和Suzanne Lacy等等。一些作品包括现场表演；另一些作品是天生的数字，但仍然是表演，如阿根廷出生的艺术家巴勃罗·布朗斯坦的君士坦丁堡万花筒(2012)，这是专门为表演室制作的全新作品，其中一群舞者在L的长号舞台布景上夸大了房间的视角。有些有观众，有些是互动的和用户主导的，比如Pawel Althamer的电影2000，这是一部从未制作过的电影的表演预告片，要求世界上某个地区(在英国的裘德·洛)的著名演员在与博物馆相关的地点表演。其中一些被知名摄影师广泛记录下来，比如马丁·克里德的装置作品，其中50名参与者穿过泰特英国，雨果·格伦丁于2008年拍摄了这幅作品。其他作品，如蒂诺·塞格尔的《这是宣传》(2002年，由泰特于2005年收购)没有传统的文件记录，因为艺术家建议购买时将作品教授给负责记忆它的两名博物馆工作人员。其结果是收集了无与伦比的尚未充分利用的表演材料。预计坦克将产生更大的公众胃口和对表演的兴趣，并越来越多地吸引观众(英国广播公司泰特现代总监克里斯·德肯，2012年4月23日)。泰特再次加大对表演方案的承诺，包括制作与生俱来的数字‘现场’作品，这要求泰特现在回顾它多年来策展建立的作品，同时也期待制定新的表演策展战略，包括开发多学科和参与性的表演记录方法，以确保坦克和泰特其他地方的新委员会能够有效地产生泰特未来的遗产，并通过生成最佳实践框架，超越。