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‘NOTES on a return’ to a not-Forgotten: Durations of the missed and the previously unvisited

机译:“返回时的提示” –未被遗忘的时间:错过的时间和以前未访问的时间

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Employing a concern about the temporality of eventhood as impetus to academic engagement, this article addresses an anxiety familiar to all performance goers, practitioners and scholars, that of ‘missing’ work. Acknowledging the status usually afforded to those ‘present’ at an event, experiencing this through a primary durational aesthetic, this paper focuses instead on a specific non-attendance.To miss implies the existence of a particular temporal duration in which a performative event subsists and through which this is communicated. Beginning with an experience of ‘not-forgetting’ (Badiou), and thinking performance both in terms of duration and objecthood, this paper offers a close reading of a missed encounter with a series of gallery-based events which I did not visit.Operating across multiple spatio-temporal distances, ‘NOTES on a return’ (Laing Art Gallery, Newcastle Upon Tyne, UK, 2009) persistently invites and initiates returns from those who missed or were missed, resituating archival documents, audio recollections and newly commissioned works within the same spaces where previous performances and installations had taken place.Constructed as a series of events, it is likely that many visitors ‘missed’ parts of ‘NOTES on a return’ or engaged with hindsight via attention to other resources. Attending retrospectively to this programme, this article constructs an experience though memorial, material and digital documents, drawing, amongst other objects, on a ‘live’ presentation by curator Sophia Yadong Hao (ICA London).Testing the ways in which displacements of time and context inflect, enable or limit our perceptions of art events, this article liberates notions of encounter from the limitations both of transient performance and the object thought as static remnant through attention to the ‘missed’, exploring the possibility of returning to and making a memory of something previously unvisited.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/13528165.2012.728455
机译:考虑到偶然性的短暂性是推动学术参与的动力,本文解决了所有表演者,从业者和学者都熟悉的焦虑,即“缺失”的工作。承认事件中通常赋予那些“出席者”的状态,并通过一种主要的持续性审美来体验这种状态,本文重点关注的是特定的非出席性。事件继续存在并通过它进行传达。从对“永生难忘”(Badiou)的体验开始,并从持续时间和客观性两个方面思考表现,本文仔细阅读了一系列与画廊有关的事件,我没有在多个时空距离上操作,“返回时要注意”(Laing Art Gallery,英国泰恩河畔纽卡斯尔,2009年)不断邀请并发起那些错过或错过的人的归还,并提供档案文件,音频在以前的演出和装置曾发生过的同一空间内进行回忆和新委托的作品。作为一系列活动构成的,很可能有许多游客“返乡”时错过了“ NOTES”部分,或者订婚了。通过关注其他资源进行事后观察。回顾性地参加该计划,本文通过纪念馆,材料和数字文件,以及策展人Sophia Yadong Hao(ICA London)的“现场”演讲,汲取了很多经验,从而构建了一种体验。时间和语境会改变,启用或限制我们对艺术事件的认识,本文通过关注“遗漏”,从短暂的表演和被认为是静态残余的物体的局限中解放了遭遇的观念,探索了返回全文,并记下以前未曾访问过的内容。 google,more“,发布号:” ra-4dff56cd6bb1830b“};添加到候选列表链接永久链接http://dx.doi.org/10.1080/13528165.2012.728455

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