{"id":2229,"date":"2022-09-19T19:30:00","date_gmt":"2022-09-19T17:30:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=2229"},"modified":"2026-04-05T13:04:27","modified_gmt":"2026-04-05T11:04:27","slug":"performing-collections","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2022\/09\/19\/performing-collections\/","title":{"rendered":"Performing Collections"},"content":{"rendered":"\n

Joanna Zielinska (ed.). 2022<\/h3>\n\n\n\n

L’Internationale.<\/p>\n\n\n\n

ISBN 978-91-527-1341-9<\/p>\n\n\n\n

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 \u2013 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. This publication gathers the results of the many years of research work of the collection curators and performance scholars associated with the museum confederation L\u2019Internationale aiming to address the following question: why museums should collect performance?<\/p>\n\n\n\n

The issue of how to collect performance is at the heart of this publication, organized in three parts: essays on the subject, case studies and a glossary.<\/p>\n\n\n\n

Contributors: Amira Akb\u0131y\u0131ko\u011flu, Persis Bekkering, Lotte Bode, Zofia Czartoryska, Cl\u00e9mentine Deliss, Lola Hinojosa, Chantal Kleinmeulman, Bojana Kunst, Myriam Rubio Jos\u00e9 A. S\u00e1nchez, Claudia Segura, Igor \u0160panjol, and Joanna Zieli\u0144ska.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Chapters<\/strong><\/p>\n\n\n\n

    \n
  1. Table of contents<\/li>\n\n\n\n
  2. \u00abPerforming Collections\u00bb by Joanna Zieli\u0144ska<\/li>\n\n\n\n
  3. \u00abWhat Does It Mean to Have Performance in the Collection?\u00bb by Joanna Zieli\u0144ska & Bojana Kunst<\/li>\n\n\n\n
  4. \u00abCollecting Dance\u00bb by Lola Hinojosa & La Ribot<\/li>\n\n\n\n
  5. \u00abEnigmatic Debris\u00bb by Cl\u00e9mentine Deliss<\/li>\n\n\n\n
  6. \u00abArchiving Live Performance Art: The Case of Otobong Nkanga\u00bb by Lotte Bode<\/li>\n\n\n\n
  7. \u201cSome Things Last a Long Time: The Case of the \u2018Greetings from Jerusalem Avenue\u2019 by Joanna Rajkowska from the Collection of the Museum of Modern Art in Warsaw\u201d by Zofia Czartoryska<\/li>\n\n\n\n
  8. \u00abTransfer of Responsibility and Knowledge\u00bb by Chantal Kleinmeulman<\/li>\n\n\n\n
  9. \u201cHow to Describe What a Mirror Looks Like? On Pacqu\u00e9e\u2019s \u2018Madame\u2019 and \u2018It\u2019\u201d by Persis Bekkering<\/li>\n\n\n\n
  10. \u00ab(Dis)Appearing Without a Trace: A Case Study of Mar\u00eda Teresa Hincapi\u00e9\u00bb by Claudia Segura<\/li>\n\n\n\n
  11. \u00abWhat a Museum Can (Not) Do: Performing Collective Methodologies with \u2018Circo Interior Bruto\u2019\u201d by Myriam Rubio<\/li>\n\n\n\n
  12. \u00abVariation on \u2018The Unaccounted: A Triptych\u2019 by Mapa Teatro\u00bb by Jos\u00e9 A. S\u00e1nchez<\/li>\n\n\n\n
  13. \u00abFragments of a Co-op Festival\u00bb by Amira Akb\u0131y\u0131ko\u011flu<\/li>\n\n\n\n
  14. \u00abOHO \u2013 Between the Magic of Digitisation and Financial Literacy\u00bb by Igor \u0160panjol<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Joanna Zielinska (ed.) 2022. The issue of how to collect performance is at the heart of this publication, organized in three parts: essays on the subject, case studies and a glossary.<\/p>\n","protected":false},"author":285,"featured_media":2231,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[168,534,537,536],"class_list":["post-2229","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-libro","tag-arte-de-accion","tag-artes-en-vivo-en-el-museo","tag-ephimeral","tag-living-arts-in-museums"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/2229","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/comments?post=2229"}],"version-history":[{"count":2,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/2229\/revisions"}],"predecessor-version":[{"id":2242,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/2229\/revisions\/2242"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/2231"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=2229"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=2229"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=2229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}