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Perform, Repeat, Record
Live Art in History
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Price £50, $71.5
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ISBN 9781841504896
Paperback 650 pages
Published January 2012
Imprint: Intellect
Chapter Titles     |      Reviews     |      Comments

Bringing together contributors from dance, theatre, visual studies, and art history, Perform, Repeat, Record addresses the conundrum of how live art is positioned within history. Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media, and text, all of which offer new critical possibilities. Among the artists, theorists, and historians who contributed to this volume are Marina Abramović, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton, and Jean-Luc Nancy.

Read an excerpt from the chapter 'The Maybe: Modes of Performance and the “Live”' - Tilda Swinton and Amelia Jones in conversation

To read the rest of the review in New Theatre Quarterly click here to download a pdf of the review.

To read the rest of the review in The Drama Review click here to download a pdf of the review.

To read the rest of the review in A Journal of Performance and Art click here to download a pdf of the review.

To read the rest of the review in Drama and Performance Studies click here to download a pdf of the review.

To read the rest of the review in Limina click here to download a pdf of the review.

Chapter titles
The Now and the Has Been: Paradoxes of Live Art in History
Amelia Jones
Then Again
Adrian Heathfield
Amelia Jones
Chapter 1: The Performativity of Performance Documentation
Philip Auslander
Chapter 2: Dead Mannequin Walking: Fluxus and the Politics of Reception
Hannah B Higgins
Chapter 3: The Viral Ontology of Performance
Christopher Bedford
Chapter 4: Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT ’s Genital Panic Since 1969
Mechtild Widrich
Chapter 5: Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation
Mónica Mayer
Chapter 6: History and Precariousness: In Search of a Performative Historiography
Eleonora Fabião
Chapter 7: Performance Remains
Rebecca Schneider
Chapter 8: Not as Before, but Simply: Again
André Lepecki
Chapter 9: The Prosthetic Present Tense: Documenting Chinese Time-based Art
Meiling Cheng
Chapter 10: Progressive Striptease
Sven Lutticken
Chapter 11: Repetition: A Skin which Unravels
Jane Blocker
Chapter 12: Art in the Age of Biopolitics: From Artwork to Art Documentation 209
Boris Groys
Chapter 13: The Interstices of History
Angela Harutyunyan et al.
An Unofficial Timeline of Socialist and Post-Socialist Performance
Angela Harutyunyan et al.
Adrian Heathfield
Chapter 14: A Text on 20 years with 66 footnotes
Tim Etchells
Chapter 15: Faith Wilding, Waiting and Wait-With
Chapter 16: Lynn Hershman and/as Roberta Breitmore
Chapter 17: We Are Formatted Memories
Chapter 18: Franko B and Kamal Ackarie, Don’t Leave Me This Way
Chapter 19: Make Me Stop Smoking
Rabih Mroué
Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers)
Nao Bustamante
Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers)
Nao Bustamante
Chapter 21: Cai Yuan and J.J. Xi, Mad For Real
Chapter 22: Hayley Newman, MiniFlux
Chapter 23: Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant
Chapter 24: Multiple Journeys: A Performance Chronology
Guillermo Gómez-Peña
Chapter 25: Attending to Anthony McCall’s Long Film For Ambient Light
Lucas Ihlein
Chapter 26: ReCut Project
Ming-Yuen S. Ma
Chapter 27: Assuming a Migrant Woman’s Identity
Tanja Ostojic
Chapter 28: Barbara Smith, Intimations of Immortality
Chapter 29: Santiago Sierra and the “Contexts” of History
Chapter 30: Reconstruction2
Janez Janša
Chapter 31: Documents of Chinese Time-based Art: Three Impressions from Three Fragments
Meiling Cheng
Chapter 32: Both Sitting Duet and Cheap Lecture
Jonathan Burrows and Matteo Fargion
Chapter 33: Aftermath: The Performance / Installation Nexus
Blair French
Timeline of Ideas: Live Art in (Art) History, A Primarily European-US-based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments
Amelia Jones
Adrian Heathfield
Chapter 34: Interior Squirrel and the Vicissitudes of History
Carolee Schneemann and Amelia Jones
Chapter 35: I Just Go in Life
Tehching Hsieh and Adrian Heathfield
Chapter 36: The Maybe: Modes of Performance and the “Live”
Tilda Swinton and Joanna Scanlan
Chapter 37: Photography as a Performative Act
Shezad Dawood and Amelia Jones
Chapter 38: Do it Again, Do it Again (Turn Around, Go Back)
Iain Forsyth and Jane Pollard, with Andrew Renton
Chapter 39: Touching Remains
Janine Antoni and Adrian Heathfield
Chapter 40: Perverse Martyrologies
Ron Athey and Dominic Johnson
Chapter 41: The Live Artist as Archaeologist
Marina Abramovic and Amelia Jones
Chapter 42: E very House Has a Door
Lin Hixson and Matthew Goulish
Chapter 43: Alliterations
Mathilde Monnier and Jean-Luc Nancy, Introduction and Translation: Noémie Solomon
Chapter 44: Intangibles
Hugo Glendinning, Adrian Heathfield, and Tim Etchells
'A work of art can never be produced the same way twice. ... this concern ... continues to provoke a multitude of questions and opinions regarding how works should be documented and re-created. ... [Jones and Heathfield] address these concerns in relation to performance art, body art, and live art; simultaneously, they construct a history of these broad artistic fields.' – Caylin Smith, Moving Image Archive News

'The breadth and depth of Perform, Repeat, Record are astonishing and the range of artists, scholars and insights invigorating ... It leaves me overwhelmed.' – Caroline Wake, RealTime Arts

'An impressive collaboration between two of the field's most dedicated scholars.' – Lisa Newman, Artillery

'This is a weighty text in all senses of the term' – New Theatre Quarterly, Chris Gilligan

'In its exhaustive presentation of different types of performances, documentation, and critical approaches, it suggests a way of reading performance that is no longer beholden to modernist notions of transgression, transformation, and the avant-garde.' – A Journal of Performance and Art, Jennie Klein

'Perform, Repeat, Record collects a wealth of insights, artifacts, and exchanges germane to pressing issues at the nexus of performance and historiography. Scholars will find it essential to navigating emerging currents of thought at the dynamic intersection of visual arts and performance studies, and it will serve as a useful supplement for courses on performance art.' – The Drama Review, Pannill Camp

'The collection offers a wealth of research on previously little researched work.' – Drama and Performance Studies

'Taken as a whole, then, 'Perform, Repeat, Record' embraces the mammoth task of challenging how history making occurs within this field of contemporary art. Embracing a diverse and unconventional range of responses to the provocation ‘How does live art get remembered?’, it has implications for the broader field of historical discourse' – Limina, Janet Carter

'A valuable sourcebook and toolbox' – Theatre Journal, Marie Pecorari

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