Considérant les questions soulevées par la muséalisation de la performance, le Musée de la danse élaboré par Boris Charmatz au Centre chorégraphique national de Rennes constitue un cas de figure singulier, particulièrement intéressant à analyser dans la mesure où l’expérience ne consiste pas à ‘faire entrer’ des performances dans un musée, mais à transformer l’institution chorégraphique en projet muséal. De quelles manières le Musée de la danse prend-il vie? Selon quelles modalités gestes et mouvements trouvent-ils leur(s) place(s) dans l’espace d’exposition? Comment se tissent les relations entre les œuvres, et avec le public ? L’idée même de musée suppose un dispositif de monstration des œuvres qui se distingue, en bien des aspects, des conditions de représentation spectaculaire. Du théâtre au musée, de la boîte noire au white cube, du spectateur au visiteur, le changement de cadre affecte plusieurs paramètres. Cinq ans après la fermeture des portes du Musée de la danse, je souhaiterais montrer comment ce projet pionnier s’est sans cesse inventé et réinventé pendant ses dix années d’existence. Pour ce faire, je propose d’examiner les expériences qui y ont été menées – documentations performées, musées en mouvement, dancing museum, happening participatif, expositions vides, installations vivantes, corps-archive – par le prisme des enjeux de conservation, d’acquisition et d’exposition, réévalués ici, dans un lieu de création chorégraphique, au contact d’œuvres immatérielles. La possibilité de ‘rejouer’ la performance apparaît, dans l’écosystème du Musée de la danse, comme une réponse possible et particulièrement féconde au problème de la ‘survivance’ des performances. Il s’agira d’en apprécier le potentiel à travers la diversité des formes de reenactment inventées par le Musée de la danse, que ce soit dans le cadre des activités du centre chorégraphique à Rennes, ou au sein d’expositions, de collections, d’institutions muséales.

Considering the issues raised by the musealization of performance, the Dancing Museum elaborated by Boris Charmatz at the National Choreographic Center of Rennes constitutes a unique case, particularly interesting to analyze, insofar as the experience does not consist of bringing performances into a museum, but of transforming the choreographic institution into a museal project. In what ways does the Dancing Museum come to life? By what means do gestures and movements find their place(s) in the exhibition? How are the relationships between the works, and with the public, woven? The very idea of a museum implies an exhibition setup for works that differs, in many respects, from standard spectacular representation. From theater to museum, from the black box to the white cube, from spectator to visitor, the change of perspective affects several parameters. Five years after the Dancing Museum closed its doors, I would like to show how this pioneering project continually invented and reinvented itself during its ten years of existence. To do this, I propose to examine the experiments that were conducted there – performed documentations, museums in motion, dancing museum, participatory happenings, empty exhibitions, living installations, ‘the body as archive’ – through the prism of conservation, acquisition, and exhibition issues, in a place of choreographic creation, in contact with immaterial works. The possibility of redoing the performance appears, in this singular ecosystem of the Dancing Museum, as a possible and particularly fruitful response to the problem of the survival of performances. I will analize its potential through the diversity of reenactment forms invented by the Dancing Museum whether within the activities of the choreographic center in Rennes, or within exhibitions, collections, museum institutions.  

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Cet article traite des collections de performance en musées d’arts. Il soutient l’hypothèse d’une variabilité des performances muséalisées limitant leur découvrabilité dans le contexte normé d’institutions muséales spécialisées dans l’acquisition d’objets matériels stables et uniques. L’étude menée sur les collections du Centre Pompidou, du MoMA et du Musée des beaux-arts du Canada s’attache à la terminologie employée ainsi qu’à la place accordée aux œuvres emblématiques de la performance dans les bases de données en ligne. L’analyse des trois institutions révèle l’importance de considérer trois catégories d’objets catalogués (protocoles, dérivés, documents), deux périodes de collectionnement (avant ou après les années 2000) et deux grands types de collections (œuvres et documents) afin de fournir une représentation fidèle de la place de la performance dans les collections muséales. Le musée joue un rôle crucial dans la préservation de ces œuvres, car il est le seul type d’institution qui à la fois les acquiert et en possède la documentation. À l’heure où les artistes réévaluent le statut des documents de la performance, le musée découvre dans ses propres archives un nouveau potentiel de requalification des documents comme œuvres de performance.

This article looks at performance collections in art museums. It supports the hypothesis that the variability of musealized performances hinders their discoverability in the standardized context of museum institutions specialized in the acquisition of stable and unique material objects. The study carried out on the collections of the Centre Pompidou, MoMA and the National Gallery of Canada focuses on the terminology used and the place given to emblematic works of performance art in the databases accessible online. The analysis of the three institutions reveals the importance of considering three categories of catalogued objects (protocols, derivatives, documents), two collecting periods (before or after the 2000s) and two main types of collections (works and documents) in order to provide an accurate representation of the place of performance in museum collections. The museum plays a crucial role in the preservation of these works, as it is the only type of institution that both acquires and documents them. At a time when artists are reassessing the status of performance documents, the museum is discovering in its own archives a new potential for reclassifying documents as performance works.

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Dagli anni Settanta ai primi anni Duemila, la performance art è entrata nelle collezioni museali prevalentemente tramite altro da sé: fotografie, film, video, e resti di azione. Questi supplementi hanno fornito alla performance una permanenza e una materialità che sembravano mancarle, permettendo la sua commercializzazione, collezione ed esposizione. La centralità del documento per la trasmissione della performance art ha dato origine a un dibattito sulla legittimità di queste rappresentazioni e sulla loro capacità di fissare e tramandare in modo efficace una forma d’arte apparentemente legata a un’esperienza effimera e incorporata. Dall’inizio degli anni Duemila teoriche della performance come Rebecca Schneider e Diana Taylor hanno mostrato che la performance non ha bisogno di documenti per durare, ma può permanere nella sua propria “materia” attraverso una trasmissione corpo a corpo ed essere rimessa in scena. Contemporaneamente influenti musei internazionali hanno iniziato a collezionare performance live e a riflettere su modelli di conservazione dell’arte dal vivo. In questo saggio esamino una dialettica che si manifesta nella trasmissione della performance live. L’ipotesi è che non sia possibile separare nettamente tra performance e documento: la performance live può generare una dialettica tipica della documentazione e oscillare tra tensione all’autenticità, da una parte, e messa in presenza e trasformazione dell’opera, dall’altra.

From the 1970s to the early 2000s, performance art entered museum collections primarily through photographs, films, videos, and relics. These supplementary materials provided performance with a permanence and materiality it was perceived to lack, thus enabling its commodification, collection, and exhibition. The central role of documentation in the preservation of performance art sparked debate about the legitimacy of these representations and their ability to effectively record and convey an art form often understood as inherently ephemeral and embodied. Since the early 2000s, performance theorists such as Rebecca Schneider and Diana Taylor have argued that performance does not require documentation to endure. Instead, it can remain through body-to-body transmission and be reenacted. At the same time, leading international museums have begun collecting live performances and developing new models for preserving live art. This article explores a dialectic that shapes the transmission of live performance. The hypothesis is that a rigid separation between performance and documentation is neither tenable nor productive. Rather, live performance can mirror the dialectic of documentation, oscillating between the pursuit of authenticity and the ongoing transformation of the work. 

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Saggi In forma di

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Scarica 09 Busetta.pdf ➔

La fotografia familiare ha largo impiego all’interno dei testi autobiografici, assumendo di volta in volta significati specifici: spesso è la fotografia di infanzia a essere vettore di attivazione della memoria, in grado come è di sospendere il racconto e di sfaldare i limiti della rappresentazione. La foto di infanzia rimanda in modo diretto alla famiglia: essa è infatti in primo luogo una rappresentazione eterodiretta del soggetto che in essa si percepisce, sostanzialmente, come altro da sé. Non è un caso, forse, che nei first persondocumentary, la messa in discussione dell’universo familiare e del territorio dell’infanzia passi in primo luogo dalla negazione della sua rappresentazione, che si esprime nell’archivio privato e mettendo deliberatamente in discussione anche le figure genitoriali. La rilevanza centrale della famiglia è presente in numerosi lavori, come Daughter Rite (1980) di Michelle Citron, esperienze maggiormente sperimentali come Fatheraudition (2019) di Mike Hoolboom, infine testi più recenti che riflettono sull’autorappresentazione nei contesti digitali, come avviene in Be right Back (2013), episodio della serie televisiva Black Mirror, in cui la componente narrativo-autobiografica è esplorata in relazione ai fenomeni delle identità digitali e all’utilizzo dell’intelligenza artificiale. In ognuno di questi casi si mette in discussione la presunta veridicità dell’immagine fotografica, mentre si verifica una mancanza di corrispondenza fra esperienza soggettiva e materiali prodotti nel contesto intimo. Questi ultimi sono il risultato di una selezione della realtà familiare edi scelte che esulano dalla volontà del soggetto autobiografico e che, retrospettivamente, gli appaiono imposte.

Family photography is widely used within autobiographical texts, assuming specific meanings: it is especially childhood photography that acts as a vector for activating memory, as it is capable of suspending the story of the film and breaking down the limits of representation. Childhood images refer directly to the family: it is first of all a representation of the subject as view from the outside. It is perhaps no coincidence that in first person documentaries, the visitto the family universe and to the territory of childhood passes from the negation of the representation of childhood as it is preserved in the private archive. The central relevance of family and childhood is present in numerous works, such asDaughter Rite (1980) by Michelle Citron, or in more experimental films such as Father audition (2019) by Mike Hoolboom, and in recent texts that in various forms reflect on self-representation in digital contexts, as it happens in Be right Back (2013), episode of the Black Mirror television series, in which the narrative-autobiographical component is explored in relation to the phenomena of digital identities and the use of artificial intelligence. In each of these case studies, the presumed truthfulness of the photographic image is doubted, while there is a lack of correspondence between subjective experience and the materials produced in the intimate context. The latter are the result of a selection of the family reality and, in any case, a result of imposed choices that the autobiographical subject, retrospectively, seems to refuse.

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Saggi Zoom

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Pubblichiamo il primo di una serie di approfondimenti dedicati agli archivi e alle biblioteche d’autore, che raccolgono documenti eterogenei, appartenenti a codici e linguaggi differenti e chiamano in causa competenze multidisciplinari e conoscenze integrate.

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