Salta al menu principale di navigazione Salta al contenuto principale Salta al piè di pagina del sito
header

Saggi per la call-sezione sottoposta a peer review

N. 4 (2022): Performing Arts Archives. Problematiche di analisi, trasposizione e catalogazione audiovisuale della memoria teatrale in video.

Immaginare il futuro di una complessa opera mixed-media: Il caso di The Floating Museum di Lynn Hershman Leeson

DOI
https://doi.org/10.54103/connessioni/19535
Inviata
December 31, 2022
Pubblicato
2022-12-31

Abstract

Recenti innovazioni riguardanti la documentazione della performance e i new media hanno rilevato l’importanza della documentazione del percorso di vita di questo tipo di opere. Per opera complesse come The Floating Museum di Lynn Hershman Leeson questo vuol dire considerare l’opera come un ibrido assemblaggio formato da documenti, record e documentazioni storiche e dalle loro rielaborazioni nel corso del tempo.

Traduzione italiana di Vincenzo Sansone. Articolo originale: Gabriella Giannachi, Imagining the Future of a Complex Mixed-media Work: The Case of Lynn Hershman Leeson’s The Floating Museum, in «Stedelijk Studies Journal», n. 10, 2020. DOI: 10.54533/StedStud.vol010.art06. This contribution is licensed under a CC BY 4.0 license.

Riferimenti bibliografici

  1. S. Briet, What is documentation?, trad. e curatela di R. E. Day e L. Martinet con H. G. B. An-ghelescu, Scarecrow Press, Lanham, MD, 2006 [1951].
  2. M. V. Ciasullo, O. Troisi, S. Cosimato, How Digital Platforms Can Trigger Cultural Value Co- Creation? – A Proposed Model, in «Journal of Service Science Management», vol 11, 2018.
  3. B. Clausen, After the Act: The (Re)Presentation of Performance Art (Coll. Theory Series 3), Museum Moderner Kunst Stiftung Ludwig, Vienna; Verlag für moderne Kunst, Nürnberg e Vienna, 2007.
  4. A. Dekker in J. Noordegraaf, C. G. Saba, B. Le Maître, V. Hediger (a cura di), Preserving and Exhibiting Media Art, Amsterdam University Press, Amsterdam 2014.
  5. M. DeLanda, Assemblage Theory, Edinburgh University Press, Edimburgo 2016.
  6. G. Deleuze, F. Guattari, A Thousand Plateaus, trad. B. Massumi, The Athlone Press, Londra 1988.
  7. S. Fowley, Space Time Sound Conceptual Art in the San Francisco Bay Area: the 1970s, Uni-versity of Washington Press, San Francisco Museum of Modern Art e Seattle 1981.
  8. G. Giannachi, Archive Everything: Mapping the Everyday, The MIT Press, Cambridge, MA 2016.
  9. G. Giannachi e J. Westerman (a cura di), Histories of Performance Documentation, Routledge, London e New York 2017.
  10. L. Hershman Leeson, The Floating Museum phase I and II, in «La Mamelle Magazine: Art Contemporary», vol. 2, n. 8, Primavera 1977.
  11. L. Hershman Leeson, “The Floating Museum”, Global Space Invasion phase II: Global Pass-port, 7 luglio–20 agosto, 1978, The Floating Museum, M1452, Box 26, Dept. of Special Collections, Stanford University Libraries, Stanford, CA.
  12. L. Hershman Leeson, The Floating Museum, 1978.
  13. K. R. Huffman, Art, TV, and the Long Beach Museum of Art: A Short History, in G. Phillips (a cura di), California Video: Artists and Histories, Getty Publications, Los Angeles 2008.
  14. R. Janz, “A project sponsored by The Floating Museum”, 1976, M1452, Box 26, Dept. of Spe-cial Collections, Stanford University Libraries, Stanford, CA.
  15. A. Jones, ‘Presence’ in Absentia: Experiencing Performance as Documentation, in «Art Jour-nal», vol. 56, n. 4, Inverno 1997.
  16. C. Jones, Surveying the state of the art (of documentation), 2008, in https://www.fondation-langlois.org/html/e/page.php?NumPage=2125 (ultimo accesso 27/01/2020); cfr. anche http://www.docam.ca/en.html (ultimo accesso 27/01/2020).
  17. R. Kamler, “An Environmental Installation for the Transformation of the Old Sutro Bath House Ruins”, 1978, The Floating Museum, M1452, Box 26, Dept. of Special Collections, Stanford University Libraries, Stanford, CA.
  18. B. Kellaway e D. Christopher (a cura di), Lifen, Hotwire Productions, San Francisco 2008, p. 35.
  19. P. Linhares, From the Lagoon Cycle; From the Meditations Newton Harrison/Helen Mayer Harrison, exh. cat., San Francisco Art Institute, San Francisco 1977.
  20. C. E. Loeffler, D. Tong (a cura di), Performance Anthology: Source Book for a Decade of Cali-fornia Performance Art, Contemporary Arts Press, San Francisco 1980.
  21. F. Martin, “Battery Ledyard” The Floating Museum, 1977, M1452, Box 29, Dep. Of Special Collections, Stanford University Libraries, Stanford, CA.
  22. H. Mayer Harrison e N. Harrison, The Floating Museum, 1977, M1452, Box 26, Dept. of Spe-cial Collections, Stanford University Libraries, Stanford, CA.
  23. T. Nail, What is an assemblage?, in «SubStance», vol. 46, n. 1, 2017.
  24. R. Sandell, Museums as Agents of Social Change, in «Museum Management and Curator-ship», vol. 17, n. 4, 1998.
  25. R. Schneider, Performance Remains, Routledge, Londra e New York 2001.
  26. N. Simon, The Participatory Museum, 2010, in http://www.participatorymuseum.org (ulti-mo accesso 05/03/2020).
  27. T. Slant (a cura di), Documenting Performance, Methuen, Londra 2017.
  28. R. van de Vall, H. Hölling, T. Scholte, S. Stigter, Reflections on a biographical approach to contemporary art conservation, 2011, in https://www.hannahoelling.com/wp-content/uploads/2016/09/Reflections_on_a_Biographical_Approach_t.pdf (ultimo ac-cesso 18/06/2020).
  29. Sitografia
  30. Accurator (2020), http://www.accurator.nl/#Intro (ultimo accesso 05/03/2020).
  31. Create (2020), https://www.create.humanities.uva.nl/results/smtp-stedelijk-museum-textmining-project (ultimo accesso 05/03/2020).
  32. Tate’s Archives and Access project, 2012–2017, https://www.tate.org.uk/about-us/projects/transforming-tate-britain-archives-access (ultimo accesso 02/03/2020).
  33. Time Machine (2020), https://www.timemachine.eu/about-us, (ultimo accesso 05/03/2020).