Hostname: page-component-586b7cd67f-rdxmf Total loading time: 0 Render date: 2024-11-25T04:27:24.587Z Has data issue: false hasContentIssue false
  • English
  • Français

Opening Hours

Published online by Cambridge University Press:  13 January 2015

Inés Moreno
Get access Rights & Permissions [Opens in a new window]

Abstract

Once performance has a place in museums as a mode of exhibition, it problematizes its relationship to the event, and shifts its reception thresholds and expectations. This article offers an analysis of a number of durational exhibition formats based on the experience of temporality they offer, so as to examine how a system of temporal regimes comes into play. These projects have a duration that is dictated by the opening hours of the museum. The focus will be on the implications of this openness for the production of other modalities of spectatorship, and on the reconfiguration of institutional praxis.

Keywords

Durationexhibition formatsinstitutional practicesperformancespectatorshiptemporality regimes.
Type
Articles
Information
Dance Research Journal , Volume 46 , Issue 3: Dance in the Museum , December 2014 , pp. 77 - 88
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

Biet, Christian, and Triau, Christophe. 2006. Qu'est-ce que le théâtre. [What Is Theater?]. Paris: Gallimard.Google Scholar
Bishop, Claire. 2012. Artificial Hells. Participatory Art and the Politics of Spectatorship. London: Verso.Google Scholar
Bishop, Claire. 2014. “Je ne veux pas de rétrospective! Xavier Le Roy et l'exposition en tant que medium” [I don't want a retrospective ! Xavier Le Roy and the exhibition as medium]. In “Rétrospective” par Xavier le Roy, edited by Cvejić, Bojana, 99–109. Dijon: Les presses du réel.Google Scholar
Borja-Villel, Manuel. 2009. “Les musées interpellés” [The museum questioned]. Conference at the Centre Pompidou (Petite Salle), February 19.Google Scholar
Copeland, Mathieu, Ed. 2013. Choreographing Exhibitions. Dijon: Les presses du réel.Google Scholar
Cvejić, Bojana, Ed. 2014. “Offrir son temps sans le perdre. Entretien avec Xavier Le Roy” (Offering one’s time without losing it. Interview with Xavier Le Roy), in “Rétrospective” par Xavier le Roy, 19–31. Dijon: Les presses du réel.Google Scholar
David, Catherine. 2002. “Accompagner la discursivité de l'art experimental” [Going with the discursivity of experimental art]. In L'art contemporain et son exposition [Contemporary art and how it is exhibited] (1), edited by Perret, Catherine and Caillet, Elisabeth, 63–76. Paris: L'Harmattan.Google Scholar
Dorner, Alexander. 1958. The Way Beyond ‘Art.’ New York: New York University Press. Ekeberg, Jonas (Ed). 2003. New Institutionalism. Oslo, Norway: Office for Contemporary Art and Verksted.Google Scholar
Fried, Michael. 1980. Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Berkeley, CA: University of California Press.Google Scholar
Genette, Gérald. 1997 [1994]. The Work of Art: Immanence and Transcendence. Translated by Goshgarian, G. M.. Ithaca, NY: Cornell University Press.Google Scholar
Goumarre, Laurent. 2010. “La vacance du spectateur” [The absence of the spectator]. Artpress2: Performances Contemporaines 2(18): 62–71.Google Scholar
Holmes, Brian. 2006. “The artistic device or the articulation of collective speech.” Ephemera Journal 6(4): 146–66.Google Scholar
La Ferme du Buisson. 2008. Une Exposition Chorégraphiée: Une Proposition De Mathieu Copeland. http://www.lafermedubuisson.com/une-exposition-choregraphiee.html (accessed on October 31, 2014).Google Scholar
Lehmann, Hans Thies. 2006. Postdramatic Theater. Translated by Jürs Munby, Karen. New York: Routledge.CrossRefGoogle Scholar
Noisette, Philippe. 2011 “Danser sa vie au Centre Pompidou.” Danser Magazine 314: 38–43.Google Scholar
O'Doherty, Brian. 1999. Inside the White Cube (The Ideology of the Gallery Space). Berkeley, CA: University of California Press.Google Scholar
Ostende, Florence. 2010. “Le musée de la danse et ses fantasmes” [The dance museum and its ghosts]. Artpress2: Performances Contemporaines 2 7(18): 72–81.Google Scholar
Païni, Dominique. 2002. Le temps exposé, le cinéma de la salle au musée [Time on display, the cinema from theater to museum]. Paris: Cahiers du Cinéma.Google Scholar
Schneider, Rebecca. 2001. “Archives: Performance Remains.” Performance Research (6)2: 142.Google Scholar
Solomon, Noémie. 2010. “X. Le Roy and M. Spångberg, Production.” In Move, Choreographing You. Art and Dance since the 1960s, edited by Rosenthal, Stephanie, 122–23. London: Hayward Publishing.Google Scholar
Staniszewski, Mary Anne. 1998. The Power of Display. Cambridge, MA: MIT Press.Google Scholar
Von Hantelmann, Dorothea. 2010. How to Do Things with Art. Dijon: Les Press du Réel and RP/Ringier.Google Scholar