Curating Performance on the Edge of the Art Museum

Sanne Krogh Groth, Judith Schwarzbart

Publikation: KonferencebidragKonferenceabstrakt til konferenceForskningpeer review

Resumé

Since the Intermedia and Fluxus movements a variety of timebased artforms have been contained within visual art contexts. The performative works draw often as much on the tradition of theatre, music, dance, and poetry reading as fine art. Although the institutional context plays a role in establishing the ‘rules of engagement’ these can also be challenged curatorially by the programming, choice of location(s), modes of communication, and a general orchestration in time and space.

The paper presents some curatorial thoughts when working with performative art within and on the edge of the visual art institution. Our research relates specifically to a festival for performative art, ACTS 2014, which we co-curate for the Museum of Contemporary Art in Roskilde. Having grown out of a Fluxus spirit, the museum is not foreign to time-based practices like many museums are. Nevertheless, the intensive two-day festival offers a format that vary considerable from the exhibition series the museum puts on most of the time. The performance program includes artists such as composers usually working with contemporary music, electronic music composers, as well as performance artists working from performance and conceptual art tradition.

The paper will focus on the main question:
How do we stage different viewing/listening situation for the audience?

Taking different locations, durations and status of time frame, types of audience-ship and modes of address into consideration, we will look at its variety and the question of artist-led vs curator-led presentation formats. We recognise that curating involves many dimension that go beyond the ‘putting-together’ (Bismarck, Schafaff & Weski) some of which we will address including questions of personal and communal experience and thinking. As many in recent years have pointed out (eg. Kate Fowle, Pirkko Husemann) reflexivity is at the centre of curation. This can on the one hand mean taking the time to describe, analyse, and discuss curatorial practices in an academic context, but it can also be a mode of curating in itself . One which try not to take existing practices and conventions for granted – a thinking through practice.
OriginalsprogEngelsk
Publikationsdato2014
Antal sider1
StatusUdgivet - 2014
BegivenhedEnvisioning the Practice: Montréal International Symposium on Performing Arts Curation - Université de Montreal, Montreal, Canada
Varighed: 10 apr. 201413 apr. 2014
http://www.acaq.ca/

Symposium

SymposiumEnvisioning the Practice
LokationUniversité de Montreal
LandCanada
ByMontreal
Periode10/04/201413/04/2014
Internetadresse

Citer dette

Groth, S. K., & Schwarzbart, J. (2014). Curating Performance on the Edge of the Art Museum. Abstract fra Envisioning the Practice, Montreal, Canada.
Groth, Sanne Krogh ; Schwarzbart, Judith. / Curating Performance on the Edge of the Art Museum. Abstract fra Envisioning the Practice, Montreal, Canada.1 s.
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title = "Curating Performance on the Edge of the Art Museum",
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Groth, SK & Schwarzbart, J 2014, 'Curating Performance on the Edge of the Art Museum' Envisioning the Practice, Montreal, Canada, 10/04/2014 - 13/04/2014, .

Curating Performance on the Edge of the Art Museum. / Groth, Sanne Krogh; Schwarzbart, Judith.

2014. Abstract fra Envisioning the Practice, Montreal, Canada.

Publikation: KonferencebidragKonferenceabstrakt til konferenceForskningpeer review

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T1 - Curating Performance on the Edge of the Art Museum

AU - Groth, Sanne Krogh

AU - Schwarzbart, Judith

PY - 2014

Y1 - 2014

N2 - Since the Intermedia and Fluxus movements a variety of timebased artforms have been contained within visual art contexts. The performative works draw often as much on the tradition of theatre, music, dance, and poetry reading as fine art. Although the institutional context plays a role in establishing the ‘rules of engagement’ these can also be challenged curatorially by the programming, choice of location(s), modes of communication, and a general orchestration in time and space. The paper presents some curatorial thoughts when working with performative art within and on the edge of the visual art institution. Our research relates specifically to a festival for performative art, ACTS 2014, which we co-curate for the Museum of Contemporary Art in Roskilde. Having grown out of a Fluxus spirit, the museum is not foreign to time-based practices like many museums are. Nevertheless, the intensive two-day festival offers a format that vary considerable from the exhibition series the museum puts on most of the time. The performance program includes artists such as composers usually working with contemporary music, electronic music composers, as well as performance artists working from performance and conceptual art tradition. The paper will focus on the main question: How do we stage different viewing/listening situation for the audience? Taking different locations, durations and status of time frame, types of audience-ship and modes of address into consideration, we will look at its variety and the question of artist-led vs curator-led presentation formats. We recognise that curating involves many dimension that go beyond the ‘putting-together’ (Bismarck, Schafaff & Weski) some of which we will address including questions of personal and communal experience and thinking. As many in recent years have pointed out (eg. Kate Fowle, Pirkko Husemann) reflexivity is at the centre of curation. This can on the one hand mean taking the time to describe, analyse, and discuss curatorial practices in an academic context, but it can also be a mode of curating in itself . One which try not to take existing practices and conventions for granted – a thinking through practice.

AB - Since the Intermedia and Fluxus movements a variety of timebased artforms have been contained within visual art contexts. The performative works draw often as much on the tradition of theatre, music, dance, and poetry reading as fine art. Although the institutional context plays a role in establishing the ‘rules of engagement’ these can also be challenged curatorially by the programming, choice of location(s), modes of communication, and a general orchestration in time and space. The paper presents some curatorial thoughts when working with performative art within and on the edge of the visual art institution. Our research relates specifically to a festival for performative art, ACTS 2014, which we co-curate for the Museum of Contemporary Art in Roskilde. Having grown out of a Fluxus spirit, the museum is not foreign to time-based practices like many museums are. Nevertheless, the intensive two-day festival offers a format that vary considerable from the exhibition series the museum puts on most of the time. The performance program includes artists such as composers usually working with contemporary music, electronic music composers, as well as performance artists working from performance and conceptual art tradition. The paper will focus on the main question: How do we stage different viewing/listening situation for the audience? Taking different locations, durations and status of time frame, types of audience-ship and modes of address into consideration, we will look at its variety and the question of artist-led vs curator-led presentation formats. We recognise that curating involves many dimension that go beyond the ‘putting-together’ (Bismarck, Schafaff & Weski) some of which we will address including questions of personal and communal experience and thinking. As many in recent years have pointed out (eg. Kate Fowle, Pirkko Husemann) reflexivity is at the centre of curation. This can on the one hand mean taking the time to describe, analyse, and discuss curatorial practices in an academic context, but it can also be a mode of curating in itself . One which try not to take existing practices and conventions for granted – a thinking through practice.

M3 - Conference abstract for conference

ER -

Groth SK, Schwarzbart J. Curating Performance on the Edge of the Art Museum. 2014. Abstract fra Envisioning the Practice, Montreal, Canada.