Hostname: page-component-586b7cd67f-l7hp2 Total loading time: 0 Render date: 2024-11-28T02:39:21.483Z Has data issue: false hasContentIssue false
  • English
  • Français

Experience as Artifact: Transformations of the Immaterial

Published online by Cambridge University Press:  13 January 2015

Franz Anton Cramer
Get access Rights & Permissions [Opens in a new window]

Abstract

The article analyzes an artistic project that is situated on the dividing line between the realm of performance and of exhibition. The Musée de la Danse in Rennes, France, contests the dichotomies of object and experience and introduces a notion of exhibition-as-performance. In so doing, the “Dancing Museum” suggests new perspectives on, and comprehensions of, the materiality involved in both museal and performance-based modes of presentation.

Type
Dialogues
Information
Dance Research Journal , Volume 46 , Issue 3: Dance in the Museum , December 2014 , pp. 24 - 31
Copyright
Copyright © Congress on Research in Dance 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Amalvi, Gilles. 2009. “Prefiguration. To Strangle Time.” http://www.museedeladanse.org/en/projets/back-prefiguration (accessed May 11, 2013).Google Scholar
Andus L'Hotellier, Sanja. 2012. Les Archives internationales de la Danse. Un projet inachevé 1931–1952. Coeuvres-et-Valsery, France: Ressouvenances.Google Scholar
Association Edna. 2006. “BOCAL—Nomadic School.” http://edna-edna.blogspot.de/2006/02/bocal-nomadic-school.html (accessed May 12, 2014).Google Scholar
Auclair, Mathias. 2008. “Chronik des Übergangs. Die Schenkung der Bestände der Archives Internationales de la Danse an die Bibliothèque nationale de France 1950 bis 1964.“ In Körperwissen als Kulturgeschichte. Die Archives internationales de la Danse (1931–1952), edited by Baxmann, Inge, 139–50. München, Germany: Kieser.Google Scholar
Baxmann, Inge. 2000. Mythos: Gemeinschaft. Körper- und Tanzkulturen in der Moderne. München, Germany: Fink.Google Scholar
Baxmann, Inge, (ed.). 2008. Körperwissen als Kulturgeschichte. Die Archives internationales de la Danse (1931–1952). München, Germany: Kieser.Google Scholar
Blume, Torsten, and Duhm, Burghard (eds.). 2008. Bauhaus. Bühne. Dessau / Szenenwechsel // Bauhaus. Theatre. Dessau. / Change of Scene. Berlin: Jovis.Google Scholar
Büscher, Barbara, Eitel, Verena, and von Pilgrim, Beatrix (eds.). 2013. Raumverschiebung: Black Box—White Cube. Hildesheim, Germany: Olms.Google Scholar
Büscher, Barbara. 2013. “Beweglicher Zugang, Bewegung als Zugang. Performance—Geschichte(n)—Ausstellen”. In Heterotopien. Perspektiven der intermedialen Ästhetik, edited by Elia-Bohrer, Nadja, Schellow, Constanze, Schimmel, Nina, and Wodianka, Bettina, 501–21. Bielefeld, Germany: Transcript.CrossRefGoogle Scholar
Chapuis, Yvane. 2002. “Le Quatuor Albrecht Knust.” Artpress 23: 16–23.Google Scholar
Charmatz, Boris. 2008. “Manifesto for a National Choreographic Center.” http://www.museedeladanse.org/system/article/attachments/documents/125/original_manifeste-musee-de-la-danse100401.pdf?1383647452 (accessed November 2014).Google Scholar
Charmatz, Boris. 2009. “Je suis une école”. Expérimentation, Art, Pédagogie. Paris: Les Prairies ordinaires.Google Scholar
Charmatz, Boris. 2001. “Horace Bénédict (17 observations d'artistes dans les alpages).” http://www.borischarmatz.org/voir/horace-benedict (accessed March 18, 2014).Google Scholar
Cramer, Franz Anton. 2008. In aller Freiheit. Tanzkultur in Frankreich zwischen 1930 und 1950. Berlin: Parodos.Google Scholar
Cramer, Franz Anton. 2013. “Le discontinu et l'appropriation: à propos d'une histoire performative de la Performance Art.” Ligeia XXVI, 121–124 (January–June): 103–9.Google Scholar
Dahms, Sibylle, and Schroedter, Stephanie (eds.). 1997. Der Tanz—ein Leben. In Memoriam Friderica Derra de Moroda, Festschrift. Salzburg, Austria: Selke.Google Scholar
Dankl, Kathrina, Mimica, Tena, Nieradzik, Lukasz, Schneider, Karin, and Timm, Elisabeth. 2013. “Fault Lines of Participation: An Ethnography Translated into an Exhibition on Family and Kinship.” Museum and Society 11(1): 82–99.Google Scholar
de Maré, Rolf. 1932. “Les Archives internationales de la danse / Fondées en souvenir des Ballets suédois et de leur chorégraphe Jean Borlin.” Les Archives internationales de la danse nr. 0: 3–4.Google Scholar
Derra de Moroda Dance Archives. N.d. http://ddmarchiv.org (accessed May 11, 2014).Google Scholar
Festival d'Avignon (ed.). 2011. Une école d'Art pour le Festival d'Avignon 2011. Avignon, France: P.O.L.Google Scholar
Foucault, Michel. 1994. The History of Sexuality. London: Penguin.Google Scholar
Gareis, Sigrid, Schöllhammer, Georg, and Weibel, Peter (eds.). 2013. Moments. Eine Geschichte der Performance Art in 10 Akten. Köln, Germany: Walther König.Google Scholar
Launay, Isabelle. 2012. “Citational Poetics in Dance: ... of a Faun (Fragments) by the Albrecht Knust Quartet, Before and After 2000.” Dance Research Journal 44(2): 49–69.Google Scholar
Manchev, Boyan. 2008. L'altération du monde. Pour une esthétique radicale. Paris: Lignes.Google Scholar
Manchev, Boyan. 2009. La Métamorphose et l'Instant—Désorganisation de la vie. Paris: La Phocide.Google Scholar
Mauss, Marcel. 1950. “Les Techniques du corps.” In Sociologie et anthropologie, précédé d'une introduction par Claude Lévi-Strauss, 365–386. Paris: Presses Universitaires de France.Google Scholar
Musée de la Danse. 2009a. “Happening*. Étrangler le temps.” Printed leaflet for the pre-opening of the Dancing Museum. Collection of the author.Google Scholar
Musée de la Danse. 2009b. “Re-butoh version 2009.” http://www.museedeladanse.org/projets/rebutoh/list (accessed May 12, 2014).Google Scholar
Musée de la Danse. 2010. brouillon. an exhibition musée de la danse. samedi 12 et dimanche 13 juin 2010. Printed flyer. Collection of the author.Google Scholar
Musée de la Danse. 2011. “Jérôme Bel en 3 sec, 30 sec, 3 min, 30 min, 3 h – une exposition Musée de la danse.” http://www.museedeladanse.org/projets/jerome-bel-en-3-sec-30-sec-3-min-30-min-3-h/list (accessed May 12, 2014).Google Scholar
Musée de la Danse. 2012. “Re-butoh version 2012.” http://www.museedeladanse.org/projets/rebutoh/list (accessed May 12, 2014).Google Scholar
Plessner, Helmuth. 1975. Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie. Berlin: de Gruyter.Google Scholar
Pouillaude, Frédéric. 2009. “Œuvre, expérience, pratique. Le chorégraphique à la limite.” La Part de l'Œil 24: 27–33.Google Scholar
Rousier, Claire, Baxmann, Inge, and Veroli, Patrizia (eds.). 2006. Les Archives Internationales de la Danse 1931 à 1952. Pantin, France: éditions du Centre national de la danse.Google Scholar
Scheper, Dirk. 1988. Oskar Schlemmer, das Triadische Ballett und die Bauhausbühne. Berlin: Akademie der Künste (Schriftenreihe der Akademie der Künste vol. 20).Google Scholar
Siegmund, Gerald. 2006. Abwesenheit. Eine performative Ästhetik des Tanzes. Bielefeld, Germany: Transcript.Google Scholar