Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-11-27T20:51:44.643Z Has data issue: false hasContentIssue false

Re-Cyclings: Shifting Time, Changing Genre in the Moving Museum

Published online by Cambridge University Press:  13 January 2015

Abstract

This essay examines changes in apparatuses of visual and performing arts, taking as an example a museum presentation of Trisha Brown's project Floor of the Forest. The ontology of both the work of art and the dance exhibited in the museum, where presence and absence interact, is explored against criteria of temporality and theatricality. The position of the recipient is a focus of particular attention, undergoing transformations between the status of visitor (beholder) and audience (spectator) and as such actively involved in bringing forth art as such. Furthermore it is proposed, in particular in this example, that the interrelationships between recipients and actors or art objects can generate haunting choreographies which emphasize the indeterminate nature and progressive disintegration of artistic genres and attempt to intertwine divergent modes of presence in visual and performing arts.

Type
Articles
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

Banes, Sally. 1987. Terpsichore in Sneakers: Post-Modern Dance. Middletown, CT: Wesleyan University Press.Google Scholar
Barthes, Roland. 1982. Camera Lucida: Reflections on Photography. New York: Hill & Wang.Google Scholar
Boehm, Gottfried. 1994. “Die Wiederkehr der Bilder.” In Was ist ein Bild?, edited by Boehm, Gottfried, 1138. Munich: Fink.Google Scholar
Bourriaud, Nicolas. 2002. Relational Aesthetics. Dijon, France: Les presses du réel.Google Scholar
Brandstetter, Gabriele. 2000. “Introduction.” In ReMembering the Body: Körper-Bilder in Bewegung, edited by Brandstetter, Gabriele and Völckers, Hortensia, 1442. Ostfildern-Ruit, Germany: Hatje Cantz.Google Scholar
Charmatz, Boris. N.d. Manifesto for a National Choreographic Centre. http://www.museedeladanse.org/lemusee/manifeste (accessed August 24, 2014).Google Scholar
Derrida, Jacques. 1981. “Semiology and Grammatology: Interview with Julia Kristeva.” In Positions, translated by Bass, Alan, 1536. London: The Athlone Press.Google Scholar
Derrida, Jacques. 1982. “Différance.” In Margins of Philosophy, translated, with additional notes, by Bass, Alan, 127. Chicago: The University of Chicago Press.Google Scholar
Derrida, Jacques. 1994. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Translated by Kamuf, Peggy. New York and Oxon: Routledge.Google Scholar
Derrida, Jacques. 1997. Of Grammatology. Translated by Spivak, Gayatri ChakravortyBaltimore, MD: The Johns Hopkins University Press.Google Scholar
Fischer-Lichte, Erika. 2008. The Transformative Power of Performance: A New Aesthetics. London: Routledge.Google Scholar
Forsythe, William. 2008. “Choreographic Objects.” In William Forsythe. Suspense, edited by Blickle, Ursula and Weisbeck, Markus, 57. Zürich: JRP Ringier Kunstverlag.Google Scholar
Fried, Michael. 1995 [1967]. “Art and Objecthood.” In Minimal Art. A Critical Anthology, edited by Battock, Gregory, 116–47. Berkeley, CA: University of California Press.Google Scholar
Lessing, Gotthold Ephraim. 1984 [1766]. Laocoon: An Essay on the Limits of Painting and Poetry. Translated by McCormick, Edward AllenBaltimore, MD: The Johns Hopkins University Press.Google Scholar
Hargreaves, Martin. 2010. “Trisha Brown. ‘The Stream’ (1970); ‘Floor of the Forest’ (1970); ‘Drift’ (1974).” In Move: Choreographing You: Art and Dance Since the 1960s, edited by Rosenthal, Stephanie, 65–7. Cologne: Walther König.Google Scholar
Jeschke, Claudia. 2003. “Inszenierung und Verschriftung. Zu Aspekten der Choreographie und der Choreo-Graphie im 19. Jahrhundert.” In Theater ohne Grenzen: Festschrift für Hans-Peter Bayerdörfer zum 65: Geburtstag, edited by Keim, Katharina, Boenisch, Peter M., and Braunmüller, Robert, 256265. Munich: Utz.Google Scholar
Maar, Kirsten. 2014. “Geschichte(n) (er)finden: Aneignungen und referenzielle Verfahren im Tanz.” In Zitieren, Appropriieren, Sampeln: Referenzielle Verfahren in den Gegenwartskünsten, edited by Döhl, Frédéric and Wöhrer, Renate, 137–59. Bielefeld: transcript.CrossRefGoogle Scholar
Mangolte, Babette. N.d. About Roof Piece: A dance by Trisha Brown and a photograph by Babette Mangolte. http://www.babettemangolte.com/maps.html (accessed August 24, 2014).Google Scholar
Mittmansgruber, Markus. 2012. Das ‘Gespenst’ und seine Apokalypse: Von Jacques Derridas Körper. Wien: Passagen.Google Scholar
Rebentisch, Juliane. 2012. Aesthetics of Installation Art. Berlin: Sternberg Press.Google Scholar
Rosenberg, Susan. 2012. “Trisha Brown: Choreography as Visual Art.October 140 (Spring): 1844.Google Scholar
Siegmund, Gerald. 2006. Abwesenheit: Eine performative Ästhetik des Tanzes: William Forsythe, Jérôme Bel, Xavier Le Roy, Meg Stuart. Bielefeld: transcript.Google Scholar
Siegmund, Gerald. 2010. “Affekt, Technik, Diskurs: Aktiv passiv sein im Angesicht der Geschichte.” In Original und Revival: Geschichts-Schreibung im Tanz, edited by Thurner, Christina and Wehren, Julia, 1526. Zürich: Chronos.Google Scholar
Siegmund, Gerald. 2013. “Zeugen: Vom Zeigen des Nicht-zeigen-Könnens.” (“Witnesses: On Showing the State of Not-Being-Able-to-Show.”) In Moments: Eine Geschichte der Performance in 10 Akten, edited by Gareis, Sigrid, Schöllhammer, Georg and Weibel, Peter, 4152 (372–9). Cologne: Walther König.Google Scholar
Umathum, Sandra. 2011. Kunst als Aufführungserfahrung: Zum Diskurs intersubjektiver Situationen in der zeitgenössischen Ausstellungskunst: Felix Gonzales-Torres, Erwin Wurm und Tino Sehgal. Bielefeld: transcript.Google Scholar
von Hantelmann, Dorothea. 2007. How to Do Things with Art: Zur Bedeutsamkeit der Performativität von Kunst. Zürich: Diaphanes.Google Scholar
Weibel, Peter. 2002. “Erwin Wurm. Handlungsformen der Skulptur.” In Erwin Wurm, edited by Weibel, Peter, 310. Ostfildern Ruit: Hatje Cantz.Google Scholar