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<div><i>Performing Collections</i><br>
</div>
<div>L'Internationale Online</div>
<div><br></div>
<div>A free copy of<i> Performing Collections</i> can be
downloaded:</div>
<div
>https://d2tv32fgpo1xal.cloudfront.net/files/performing_collections_e<span
></span>pub.pdf</div>
<div><br></div>
<div>In recent decades, the visual arts have witnessed an
unprecedented development of performative practices. This has brought
about both a heated academic and institutional debate about the notion
of performance and the phenomenon of performativity-in relation both
to ways of presenting performance in the exhibition space and to the
problem of creating museum collections made up of performance works.
The<i> Performing Collections</i> publication gathers the results of
the many years of research work of the collection curators and
performance scholars associated with the museum confederation. The
issue of how to collect performance is at the heart of this
publication. Another important question the authors of the study
address and aim to answer is why museums should collect
performance.<br>
</div>
<div>The traditional, static model of the Western museum reproduces
colonial strategies of isolating and preserving objects. Performances
are alive. They combine the local and the geographically distant. They
have intimacy and emotion, and are sensitive to temperature and time
ofday, but in a very different way to traditional art objects. How can
a museum go about collecting such sensitive, ephemeral works? Who will
be responsible for the hierarchy of such a living, time-changing
collection and how can it stand the test of time? A new type of
'breathing' institution needs to develop an entirely new methodology
based on the concept of embodied knowledge-involving an
understanding of the power of the performative work. It is imperative
to engage with places and people, caring practices and indigenous
knowledge based on oral transmissions. In this context, an educational
and mediating role is also essential, while maintaining the continuity
of research. The fluidity and evolution of the performative work must
be contrasted with the staid solemnity of the traditional collection.
The book<i> Performing Collections</i> not only provides guidance on
how to handle living works, it also hints at what form the art
institution should take in the future. The publication is
organized in three parts: introductory essays on the subject, case
studies and a glossary of terms.</div>
<div>Contributors: Amira Akbžyžkog˜lu, Persis Bekkering, Lotte
Bode, Zofia Czartoryska, Clémentine Deliss, Lola Hinojosa, Chantal
Kleinmeulman, Bojana Kunst, Myriam Rubio José A. Sánchez, Claudia
Segura, Igor ·panjol, and Joanna ZieliŸska.<br>
</div>
<div>Artists: The Circo Interior Bruto, Co-Op Festival, Mapa Teatro,
María Teresa Hincapié, Otobong Nkanga, OHO, Ria Pacquée, Joanna
Rajkowska, La Ribot, Franz Erhard Walther among others<br>
</div>
<div>Edited by Joanna Zielinska.<br>
</div>
<div>Graphic design: Fontarte / Artur Frankowski, Magdalena
Frankowska<br>
</div>
<div>Published by: <a
href=
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<div><br></div>
<div>L'Internationale Online is the platform for art and research of
a confederation of seven modern and contemporary art institutions:
MG+MSUM (Ljubljana, Slovenia); Museo Reina Sofía (Madrid, Spain);
MACBA, Museu d'Art Contemporani de Barcelona (Spain); Museum of
Contemporary Art Antwerp (M HKA, Antwerp, Belgium); Museum of Modern
Art in Warsaw (MSN, Warsaw, Poland); SALT (Istanbul and Ankara,
Turkey) and Van Abbemuseum (VAM, Eindhoven, the Netherlands).
L'Internationale is working together with complementary partners such
as HDK-Valand-Academy of Art and Design in Gothenburg, Sweden, and
the National College of Art and Design in Dublin (NCAD),
Ireland.</div>
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