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Dancing in the Museum

Dancing in the Museum ART & PERFORMANCE NOTES Noëmi Lakmaeir. March 2011. Photo: © Manuel Vason. Courtesy Live Art Development Agency. DANCING IN THE MUSEUM Johannes Birringer Move: Choreographing You, an exhibition at the Hayward Gallery, Southbank Centre, London, October 13, 2010–January 9, 2011; Dance with Camera, an exhibition at the Contemporary Arts Museum Houston, Texas, August 7–October 17, 2010. or the longest time, museums have found it unnecessary or inappropriate to curate performance as part of their exhibition programs. Thus the history of performance and its connection to the visual arts remained a lacuna in the Western fine arts archive. Video art and time-based media (often presented in installations if not in separate film/video programming) gradually changed the perception of what is collectible in the museum, and video installations have become a regular feature in exhibition contexts. But as we move into the second decade of the twentyfirst century, dance and live art seem to have arrived on the scene in full force. A range of shows testifies to this belated acknowledgement of the significance of performance for the discourse on art. MoMA offered its first retrospective of a performance artist last year (Marina Abramović, The Artist Is Present). The Guggenheim http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Dancing in the Museum

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Publisher
MIT Press
Copyright
© 2011 Johannes Birringer
Subject
Art & Performance Notes
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00054
Publisher site
See Article on Publisher Site

Abstract

ART & PERFORMANCE NOTES Noëmi Lakmaeir. March 2011. Photo: © Manuel Vason. Courtesy Live Art Development Agency. DANCING IN THE MUSEUM Johannes Birringer Move: Choreographing You, an exhibition at the Hayward Gallery, Southbank Centre, London, October 13, 2010–January 9, 2011; Dance with Camera, an exhibition at the Contemporary Arts Museum Houston, Texas, August 7–October 17, 2010. or the longest time, museums have found it unnecessary or inappropriate to curate performance as part of their exhibition programs. Thus the history of performance and its connection to the visual arts remained a lacuna in the Western fine arts archive. Video art and time-based media (often presented in installations if not in separate film/video programming) gradually changed the perception of what is collectible in the museum, and video installations have become a regular feature in exhibition contexts. But as we move into the second decade of the twentyfirst century, dance and live art seem to have arrived on the scene in full force. A range of shows testifies to this belated acknowledgement of the significance of performance for the discourse on art. MoMA offered its first retrospective of a performance artist last year (Marina Abramović, The Artist Is Present). The Guggenheim

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2011

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