Photography: The Lingua Franca of Performance Art?

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Photography: The Lingua Franca of Performance Art?

Popis výsledku v původním jazyce

How does emphasizing the concept of images as „migratory, journeying, wandering, and vagabond“ (Henning) reshape our understanding of photographs documenting performance art from the late 1970s—a period when photography served as a universal tool, a lingua franca, and a medium through which artists communicated their ideas? Furthermore, how does this perspective align with or challenge approaches that prioritize the materiality of photography?nBuilding on the premise that performance documentation is an integral part of performance art, this essay argues that focusing on the diverse material manifestations of such documentation enhances our understanding of the contextual factors that shaped cultural exchanges during the Iron Curtain era, as well as the reception of performance art. It specifically examines examples of performance art documentation produced in 1970s Czechoslovakia, which highlight these dynamics, where the document itself „constitutes the meaning“ (Rezek).nAlthough performance documentation was often created primarily to convey the represented ideas and events, I argue that analyzing the material characteristics of these documents and tracing their social trajectories provides a deeper understanding of the nature and distinctive operational modes of performance art. Additionally, it sheds light on the mechanisms of both East-West and East-East artistic transfers, revealing their intricate complexity.

Název v anglickém jazyce

Photography: The Lingua Franca of Performance Art?

Popis výsledku anglicky

How does emphasizing the concept of images as „migratory, journeying, wandering, and vagabond“ (Henning) reshape our understanding of photographs documenting performance art from the late 1970s—a period when photography served as a universal tool, a lingua franca, and a medium through which artists communicated their ideas? Furthermore, how does this perspective align with or challenge approaches that prioritize the materiality of photography?nBuilding on the premise that performance documentation is an integral part of performance art, this essay argues that focusing on the diverse material manifestations of such documentation enhances our understanding of the contextual factors that shaped cultural exchanges during the Iron Curtain era, as well as the reception of performance art. It specifically examines examples of performance art documentation produced in 1970s Czechoslovakia, which highlight these dynamics, where the document itself „constitutes the meaning“ (Rezek).nAlthough performance documentation was often created primarily to convey the represented ideas and events, I argue that analyzing the material characteristics of these documents and tracing their social trajectories provides a deeper understanding of the nature and distinctive operational modes of performance art. Additionally, it sheds light on the mechanisms of both East-West and East-East artistic transfers, revealing their intricate complexity.

Druh

A - Audiovizuální tvorba

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

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Název nakladatele resp. objednatele

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Identifikační číslo nosiče

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