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This dissertation concerns the problematic of preserving
performance art. The ephemeral nature of performance challenges the way
in which artworks are preserved and archived in the museum context.
Besides this ontological feature of performance art, a recent trend in
performance art has emerged which is capable of challenging the traditional
view on and practice of the archive.
In the center of my dissertation are two series of works by Tino
Sehgal and Hans Ulrich Obrist whose aesthetic strategies reveal
fundamentally different attitudes towards the preservation of performance.
Despite their differences however, they share an intense preoccupation with
questions of documentation and archiving of the art work.
I will show how these works deal with the (un)documentation of
their own work and, to a certain extent, how they self-archive themselves.
More specifically, I will show how they produce an object of performance
art capable of operating within the archive and thereby possibly challenging
and transforming it. In essence, this dissertation will address the way in
which recent performance contributes to the (re)definition of the object of
performance in particular and art in general and its possible modes of
existence in time and space beyond the classical understandings of both art
and its afterlife.
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Palavras-chave
preservation Preservação works of art Obras de arte Archives Arquivo Tino Sehgal Hans Ulrich Obrist