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Yann Marussich, gives us a new gaze of the body as politic performance for a projectual riconfiguration of our dreams, of our imaginary, of our behaviors and collective sensitivity.
In this paper I examine the transformation that the skin has undergone over the centuries. This change in conception in the skin whereby the skin is considered less a boundary space and more akin to a milieu, a meeting place for the other senses, allows me to posit the performative body as one engaged in a haptic condition, as a body in intimately lived-in spaces with tactile relations. A shift from the optical towards the haptic, in which the all- encompassing god-like view of traditional performance environments becomes replaced by a more haptic condition, as can be exemplified in performances in dispersed environments, posits the body skinned as a fragile body that wants to favour the incomplete and the fragmented. The body skinned is a body initiated by the observed and the perspectival, but it is nourished by means of the local and the embodied. It is a body that, like the skin, is more akin to a meeting place of, and for, the other senses, as well as for senses of the others. Most clearly, the body skinned brings to the fore a potential of being ‘connected a little less’. It is a body that embraces notions of the incomplete, of glances, and of fantasies, and in this light may be a body more ideally suited to environments that purposely displace performative action.
Constantly resisting time and space, performance is an art that historically spotlights the artist within a certain spatial and temporal frame (the here-and-now), in relation to an audience and a specific political, social and cultural context. By allowing the artist to be its first spectator and searching for a simultaneous exchange between performer and spectator, performance art proposes conditions of socialisation that challenge normative structures of power and spectatorship. Starting from an understanding of the artists as researchers working perceptually, reflexively and also qualitatively, this thesis explores the field of performance art and focuses on their relation to the artwork as intimate, subjective, and transformative. The core of my ethnographic fieldwork was developed between October and December 2014 within the frame of two international festivals based in Northern Italy (Turin and Venice) dedicated to the practice of performance art — torinoPERFORMANCEART and the Venice International Performance Art Week. A highly ethnographic, reflexive and subjective approach is combined with a diversified theoretical frame of reference. Phenomenology and embodiment as points of philosophical departure provide the necessary threshold to overcome the dualistic Cartesian subject widely questioned in performance art: a holistic approach to performance as a series of dialogical, relational, and transformative processes thus allows for deeper investigation on its practice and alternative understandings of its documentation. Contemporary art theories further expand the discussion of performance and tackle some of its critical points and enduring ambivalences. Intending to make a contribution to the already existing efforts of those anthropologists working at the crossroads between art and anthropology, as well as to welcome fruitful dialogues with the artists it engages, the attempt is to trespass fixed positions and binary pathways of thought by exploring the potentials of experience, its continuities and transformations that creatively involve and intersect ethnographies and artistic researches.
2018 •
Contributors: Horea Avram (Babeş-Bolyai University, Cluj-Napoca, Romania), Ulrike Gerhardt (Leuphana University Lüneburg, Germany), Sozita Goudouna (New York University, USA Robert Lawrence (University of South Florida, USA), Liviu Malița (Babeş-Bolyai University, Cluj-Napoca, Romania), Raluca Mocan (Université Paris-Est Créteil, France), Rodica Mocan and Ştefana Răcorean (Babeş-Bolyai University, Cluj-Napoca, Romania; Wheaton College, Illinois, USA), Georgina Ruff (University of Illinois at Chicago, USA), Miruna Runcan (Babeş-Bolyai University, Cluj-Napoca, Romania), Paul Sermon (University of Brighton, UK), Erandy Vergara (McGill University, Montreal, Canada). The book comprises a series of contributions by international scholars and practitioners of different backgrounds researching in the fields of contemporary visual culture and performance studies. This collection addresses the issue of corporeality as a discursive field (that asks for a “poetics”), and the possible ways in which technology affects and is affected by the body in the context of recent artistic and theoretical developments. The common denominator of the chapters in this volume is the focus on the relationship between body and image expressed as the connection between reality and fiction, presence and absence, private and public, physical and virtual. The essays cover a wide range of topics within a framework that integrates and emphasises recent artistic practices and current academic debates in the fields of performance studies, visual studies, new aesthetics, perception theories, phenomenology, and media theory. The book addresses these recent trends by articulating issues such as: the relationship between immediate experience and mediated image; performing the image; body as fictional territory; performative idioms and technological expression; corporeality, presence and memory; interactivity as a catalyst for multimediality and remediation; visuality, performativity and expanded spectatorship; the tensions between public space and intimacy in (social) media environments. The main strength of this volume is the fact that it provides the reader a fresh, insightful and transdiciplinary perspective on the body–image complex relationships, an issue widely debated today, especially in the context of global artistic and technological transformations.
2017 •
Theatre Research International
Refrains for Moving Bodies: Experience and Experiment in Affective Spaces. By Derek P. McCormack. Durham, NC: Duke University Press, 2014. Pp. 280 + 17 illus. £15.68/$23.95 Pb; £55.61/$84.95 Hb2016 •
2007 •
The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning in performance. Yet, it is that what fundamentally enables the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body.
European Network for Cinema and Media Studies (NECS) Conference 2021 - Transitions: Bodies and Moving Image
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2019 •
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