This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it.

Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art.

This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.

chapter |18 pages


On the Present of Past Performance: Investigating the Practices of Reconstructing and Representing Performance Art
ByTancredi Gusman

part I|64 pages

Reframing the Past

chapter 2|16 pages

The 1968 Aesthetic and Political Radicalization in the Argentinian Avant-Garde

ByAna Longoni, Mariano Mestman

chapter 3|17 pages

Collective Memory and Live Art

The Methodology of Performance Chronicle Basel
BySabine Gebhardt Fink

chapter 4|11 pages

The Historical Roots of “Performative Theater”

The Italian Post-Avant-Garde
ByLorenzo Mango

part II|70 pages

Unfolding the Action

chapter 5|15 pages

How Records and Documents Become Art

The Role of Documentation in the Preservation, Exhibition and Experience of Performance Art
ByGabriella Giannachi

chapter 6|13 pages

Performance Documentation

Ephemerality, Temporality, Authenticity
ByPhilip Auslander

chapter 7|21 pages

Book as Archive of Performance Art and Source Material of Its History

ByBarbara Büscher

chapter 8|19 pages

Listening to the Histories of Performance Art

ByHeike Roms

part III|76 pages

Representing Performance

chapter 9|18 pages

Capturing Narrative and Data in Performance Art

The Joan Jonas Knowledge Base
ByBarbara Clausen, Deena Engel, Glenn Wharton

chapter 10|16 pages

On the Long Road to Becoming a Matter of Course

Collecting Live Performances in Museums and Other Art Collections
ByWolfgang Brückle, Rachel Mader

chapter 11|20 pages

Making Movement Memorable

Tino Sehgal and Boris Charmatz at Tate
BySusanne Franco

chapter 12|20 pages

Retrospective Remarks on Rose English, Mona Hatoum and Ana Mendieta

Where Is Performance?
ByGeorgina Guy, Johanna Linsley