Series and Relics: On the Presence of Remainders in Performance’s Museum

Susanne Foellmer

doi:10.1007/978-3-030-44085-5_9

Series and Relics: On the Presence of Remainders in Performance’s Museum

Susanne Foellmer

Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review

87 Downloads (Pure)

Abstract

Along with recently observed shifts in the performing arts towards re-enactment or creating remainders via exhibiting and documenting, one can assert a turn from performance art’s formerly appraised (critical) ephemeral presence to archiving and reproducing the (own) artistic work. The change of set-ups, for instance from stages or performance spaces to museums or galleries, often plays a crucial role in these processes of conversion. This chapter concentrates on what remains in what is allegedly transitory. Remnants, so the argument, appear in a double state: As traces of bygone performance events, and as procedures of repetition within the performance itself. The series MesuRage des institutions (1964-1983/2012) by French performance artist ORLAN serves as an example in this double sense. It indicates that questions of remaining were already relevant in the heyday of performance art as well as critically reflects upon the (im-)possibility of performance’s (re-)presentation when it is no longer available.

Original language	English
Title of host publication	Art and Dance in Dialogue
Subtitle of host publication	Body, Space, Object
Editors	Sarah Whatley, Imogen Racz, Katerina Paramana, Marie-Louise Crawley
Publisher	Palgrave Macmillan
Chapter	9
Pages	147-162
Number of pages	16
Edition	1
ISBN (Electronic)	978-3-030-44085-5
ISBN (Print)	978-3-030-44084-8, 978-3-030-44087-9
DOIs	https://doi.org/10.1007/978-3-030-44085-5_9
Publication status	Published - 8 Nov 2020

Bibliographical note

Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders.

Keywords

Aura
Documentation
ORLAN
Performance art in the museum
Performance artefacts
Performance remains
Relics
Seriality

ASJC Scopus subject areas

General Arts and Humanities

Access to Document

10.1007/978-3-030-44085-5_9

Post-PrintAccepted author manuscript, 698 KB

Cite this

@inbook{b47a73f730d6400e850e09f19f3b0ec5,

title = "Series and Relics: On the Presence of Remainders in Performance{\textquoteright}s Museum",

abstract = "Along with recently observed shifts in the performing arts towards re-enactment or creating remainders via exhibiting and documenting, one can assert a turn from performance art{\textquoteright}s formerly appraised (critical) ephemeral presence to archiving and reproducing the (own) artistic work. The change of set-ups, for instance from stages or performance spaces to museums or galleries, often plays a crucial role in these processes of conversion. This chapter concentrates on what remains in what is allegedly transitory. Remnants, so the argument, appear in a double state: As traces of bygone performance events, and as procedures of repetition within the performance itself. The series MesuRage des institutions (1964-1983/2012) by French performance artist ORLAN serves as an example in this double sense. It indicates that questions of remaining were already relevant in the heyday of performance art as well as critically reflects upon the (im-)possibility of performance{\textquoteright}s (re-)presentation when it is no longer available.",

keywords = "Aura, Documentation, ORLAN, Performance art in the museum, Performance artefacts, Performance remains, Relics, Seriality",

author = "Susanne Foellmer",

note = "Copyright {\textcopyright} and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. ",

year = "2020",

month = nov,

day = "8",

doi = "10.1007/978-3-030-44085-5_9",

language = "English",

isbn = "978-3-030-44084-8",

pages = "147--162",

editor = "Sarah Whatley and Imogen Racz and Katerina Paramana and Marie-Louise Crawley",

booktitle = "Art and Dance in Dialogue",

publisher = "Palgrave Macmillan",

address = "United Kingdom",

edition = "1",

}

TY - CHAP

T1 - Series and Relics

T2 - On the Presence of Remainders in Performance’s Museum

AU - Foellmer, Susanne

N1 - Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders.

PY - 2020/11/8

Y1 - 2020/11/8

N2 - Along with recently observed shifts in the performing arts towards re-enactment or creating remainders via exhibiting and documenting, one can assert a turn from performance art’s formerly appraised (critical) ephemeral presence to archiving and reproducing the (own) artistic work. The change of set-ups, for instance from stages or performance spaces to museums or galleries, often plays a crucial role in these processes of conversion. This chapter concentrates on what remains in what is allegedly transitory. Remnants, so the argument, appear in a double state: As traces of bygone performance events, and as procedures of repetition within the performance itself. The series MesuRage des institutions (1964-1983/2012) by French performance artist ORLAN serves as an example in this double sense. It indicates that questions of remaining were already relevant in the heyday of performance art as well as critically reflects upon the (im-)possibility of performance’s (re-)presentation when it is no longer available.

AB - Along with recently observed shifts in the performing arts towards re-enactment or creating remainders via exhibiting and documenting, one can assert a turn from performance art’s formerly appraised (critical) ephemeral presence to archiving and reproducing the (own) artistic work. The change of set-ups, for instance from stages or performance spaces to museums or galleries, often plays a crucial role in these processes of conversion. This chapter concentrates on what remains in what is allegedly transitory. Remnants, so the argument, appear in a double state: As traces of bygone performance events, and as procedures of repetition within the performance itself. The series MesuRage des institutions (1964-1983/2012) by French performance artist ORLAN serves as an example in this double sense. It indicates that questions of remaining were already relevant in the heyday of performance art as well as critically reflects upon the (im-)possibility of performance’s (re-)presentation when it is no longer available.

KW - Aura

KW - Documentation

KW - ORLAN

KW - Performance art in the museum

KW - Performance artefacts

KW - Performance remains

KW - Relics

KW - Seriality

UR - http://www.scopus.com/inward/record.url?scp=85149492456&partnerID=8YFLogxK

U2 - 10.1007/978-3-030-44085-5_9

DO - 10.1007/978-3-030-44085-5_9

M3 - Chapter

SN - 978-3-030-44084-8

SN - 978-3-030-44087-9

SP - 147

EP - 162

BT - Art and Dance in Dialogue

A2 - Whatley, Sarah

A2 - Racz, Imogen

A2 - Paramana, Katerina

A2 - Crawley, Marie-Louise

PB - Palgrave Macmillan

ER -

Series and Relics: On the Presence of Remainders in Performance’s Museum

Abstract

Bibliographical note

Keywords

ASJC Scopus subject areas

Access to Document

Other files and links

Fingerprint

Art and Dance in Dialogue: Body, Space, Object

Contextualizing the Developing Self in Helen Chadwick’s Ego Geometria Sum

Introduction

Susanne Foellmer

Cite this

Series and Relics: On the Presence of Remainders in Performance’s Museum

Abstract

Bibliographical note

Keywords

ASJC Scopus subject areas

Access to Document

Other files and links

Fingerprint

Research output

Art and Dance in Dialogue: Body, Space, Object

Contextualizing the Developing Self in Helen Chadwick’s Ego Geometria Sum

Introduction

Profiles

Susanne Foellmer

Cite this