Re-cyclings: Shifting time, changing genre in the moving museum

Research output: Contribution to journalArticle

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Abstract

This essay examines changes in apparatuses of visual and performing arts, taking as an example a museum presentation of Trisha Brown's project Floor of the Forest. The ontology of both the work of art and the dance exhibited in the museum, where presence and absence interact, is explored against criteria of temporality and theatricality. The position of the recipient is a focus of particular attention, undergoing transformations between the status of visitor (beholder) and audience (spectator) and as such actively involved in bringing forth art as such. Furthermore it is proposed, in particular in this example, that the interrelationships between recipients and actors or art objects can generate haunting choreographies which emphasize the indeterminate nature and progressive disintegration of artistic genres and attempt to intertwine divergent modes of presence in visual and performing arts.

Original languageEnglish
Pages (from-to)101-117
Number of pages17
JournalDance Research Journal
Volume46
Issue number3
DOIs
Publication statusPublished - 13 Jan 2015
Externally publishedYes

Fingerprint

Performing Arts
Recipient
Haunting
Works of Art
Disintegration
Art
Indeterminate
Spectator
Trisha Brown
Theatricality
Dance
Ontology
Nature
Interrelationship
Beholder
Art Objects
Temporality

Keywords

  • beholder/spectator
  • ontology of dance
  • presence
  • temporality
  • theatricality
  • visual arts

ASJC Scopus subject areas

  • Visual Arts and Performing Arts

Cite this

Re-cyclings : Shifting time, changing genre in the moving museum. / Foellmer, Susanne.

In: Dance Research Journal, Vol. 46, No. 3, 13.01.2015, p. 101-117.

Research output: Contribution to journalArticle

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