September 12-14, 2017
Graham Foundation, Chicago
Tarek Atoui The Reverse Sessions, Kurimanzutto, Mexico City, 2014
Considerations for Performance Presentation in Contemporary art:
Remarks made at Graham Foundation
September 14, 2017
There are so many different distinctions, genealogies, histories in cross-presenting performance genres. e.g. musical composition vs. sound art vs. new music. Dance vs. choreography vs. performance art that readily become compromised when presented in typical museum exhibition formats. What therefore are the responsibilities of contemporary art museums to define those genres within contemporary visual art exhibitions?
How do contemporary art museum conventions like archival listening rooms and slide shows of art historical performance documentation avoid ghettoizing the history of performance and performing arts practitioners from late modernism (late 1960s to early 1970s).
What does the example of a contemporary artist like sculptor/composer tand his "Reverse Sessions/ The Reverse Collection" (2014-2016) (work that begins with collaborative research leading to performative collaboration and then a final museum presentation) teach us about the challenges of solo artistic practice as it is presented in contemporary art museums?
Does performance become atomized in major museum survey contexts when compared with kunsthalle or smaller non-profit presenting organizations and festival formats? What are the repercussions of framing such projects as live exhibitions that expect audiences to attend a series of programs or subscribe to a series of public programs.?
Do major museum's expectations of large attendance records for exhibitions inherently compromise performance presentations within gallery formats?