Collecting, Archiving and Sharing Performance and the Performative

“收集、存档和分享表演与表演”旨在通过研究收集、展示、记录、发布和分享表演信息的实践，研究、记录和传播泰特从20世纪60年代至今的表演。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来研究观众的参与，并将这些反应嵌入泰特的展览中。它是由埃克塞特大学英语系的媒体中心和泰特美术馆的两个部门——泰特研究和泰特在线——共同合作，与泰特美术馆的数字学习部门和版权部门协商，并与泰特美术馆的策展人合作。这个项目非常及时，因为泰特正在开放坦克，这是“世界上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）。产出包括一个创新的在线档案、一本编辑过的书、一个项目文件博客、一个讲习班、一次会议和两篇文章。泰特的表演起源于20世纪60年代，当时泰特收藏了一些表演作品，一些早期的表演作品和讲座由教育部门主持。在其间的几十年里，更多的表演作品被收购，并举办了一些展览和活动。2003年之后，随着泰特现场和坦克的引入，泰特的表演节目变得更加系统化，越来越多的文件，包括电影，照片，节目文本，艺术家声明和信件，被收集了200多场艺术家的表演，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，仅举几例。部分作品包括现场表演；另一些作品则是数字化的，但仍然具有表演性，比如阿根廷出生的艺术家巴勃罗·布朗斯坦（Pablo Bronstein）的《君士坦丁堡万花筒》（Constantinople Kaleidoscope, 2012），这是一件专门为表演室制作的全新作品，其中包括一群舞者站在错视画舞台布景上，夸大了房间的视角。有些是有观众的，有些是互动的，以用户为导向的，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，要求世界上某个特定地区的著名演员（在英国是Jude Law）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（Martin Creed）的装置作品，50名参与者在泰特美术馆（Tate Britain）里奔跑，雨果·格兰丁尼（Hugo Glendinning）于2008年拍摄了这幅作品。还有一些作品，比如蒂诺·塞格尔的《这是宣传》（2002年，2005年被泰特美术馆收购）则没有“传统”的记录，因为艺术家表示，这件作品是在美术馆收购时教给两名负责纪念它的工作人员的。其结果是一个无与伦比的性能材料的集合尚未被充分利用。预计坦克将引起更大的公众对表演的兴趣和兴趣，并越来越多地吸引观众（“参与的欲望令人难以置信”，克里斯·德康，泰特现代美术馆馆长，BBC， 2012年4月23日）。泰特对表演项目的更新和增加的承诺，包括生产出生的数字“现场”作品，要求泰特现在回顾它多年来在策展方面所建立的东西，同时也期待着为表演制定新的策展策略，包括多种，跨学科和参与式的绩效文件方法，以确保坦克和泰特其他地方的新委员会能够有效地在泰特产生未来的遗产，并通过生成最佳实践框架，超越。

'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.