Just-in-Time: Performance and the Aesthetics of Precarity

2012 ◽  
Vol 56 (4) ◽  
pp. 10-31 ◽  
Author(s):  
Shannon Jackson
Keyword(s):  
Contemporary Art ◽  
Social Theory ◽  
Performance Studies ◽  
Just In Time ◽  
Affective Labor ◽  
Time Performance ◽  
History And Theory

Integrating post-Operaismo social theory with recent turns in performance studies shows how such theory complicates and is complicated by cross-arts questions around virtuosity and affective labor. Such complications emerge, not only in the contemporary art sphere, but also in the history and theory developed by performance studies as a discipline.

scholarly journals Acciones precarias: Condiciones de trabajo del arte contemporáneo a través de la performance

2018 ◽  
Vol 19 ◽  
pp. 131-148
Author(s):  
Nerea Ayerbe Elola ◽  
Beatriz Cavia Pardo
Keyword(s):  
Contemporary Art ◽  
Social Theory ◽  
Working Conditions ◽  
Performance Art ◽  
Performance Studies ◽  
Job Insecurity ◽  
Judith Butler ◽  
Victor Turner ◽  
The Relationship ◽  
Arte Contemporáneo

Este texto se centra en la relación entre la performance, la performatividad y la precariedad en el arte contemporáneo, a través del análisis de algunas piezas de artista como las realizadas por Mierle Laderman Ukeles (Denver, Colorado, 1939), Andrea Fraser (Billings, Montana, 1965) y Santiago Sierra (Madrid, 1966). Para ello se consideran las aportaciones teóricas realizadas desde los estudios de la performance y desde la teoría social, en concreto las aportaciones de Victor Turner, Judith Butler e Isabell Lorey. Los objetivos que se persiguen son dos: la primera, establecer la conexión entre las nociones de precariedad y performatividad y, la segunda, aplicar un análisis a las performances seleccionadas. La hipótesis del texto parte de entender que desde el análisis de estas piezas pueden extrapolarse algunas conclusiones generales sobre la precariedad a las condiciones de trabajo del arte contemporáneo. This text focuses on the relationship between performance art, performativity and job insecurity in contemporary art, through the analysis of works of some artist that are considered to be relevant: Mierle Laderman Ukeles (Denver, Colorado, 1939), Andrea Fraser (Billings, Montana, 1965) and Santiago Sierra (Madrid, 1966). To this aim, contributions around these concepts from performance studies and social theory are considered, specifically the writings of Victor Turner, Judith Butler and Isabell Lorey. The objectives are two: the first, to establish the connection between the notions of precariousness and performativity and, the second, to apply an analysis to the selected works.We have started from the hypothesis that the analysis of theseperformances, can be used to extrapolated some general conclusions about the precariousness to working conditions ofcontemporary art.

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

Sound Art Situations

2017 ◽  
Vol 22 (1) ◽  
pp. 101-111 ◽  
Author(s):  
Sanne Krogh Groth ◽  
Kristine Samson
Keyword(s):  
Contemporary Art ◽  
Performance Studies ◽  
Social Housing ◽  
Public Spaces ◽  
Sound Art ◽  
Complex Situation ◽  
Housing Area ◽  
The Social

This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combine theories from several fields. Aspects of sound art studies, performance studies and contemporary art studies are presented in order to theoretically explore the very diverse dimensions of the two sound art pieces. Visual, auditory, performative, social, spatial and durational dimensions become integrated within the analysis in our pursuit of the most comprehensive interpretation of the pieces possible.

scholarly journals Priming by Timing: Arabidopsis thaliana Adjusts Its Priming Response to Lepidoptera Eggs to the Time of Larval Hatching

2020 ◽  
Vol 11 ◽  
Author(s):  
Georgios Valsamakis ◽  
Norbert Bittner ◽  
Nina E. Fatouros ◽  
Reinhard Kunze ◽  
Monika Hilker ◽  
...  
Keyword(s):  
Arabidopsis Thaliana ◽  
Performance Studies ◽  
Pieris Brassicae ◽  
Just In Time ◽  
Larval Performance ◽  
Larval Feeding ◽  
Larval Hatching ◽  
Mediated Priming ◽  
Kinetics Of ◽  
Time Point

Plants can respond to eggs laid by herbivorous insects on their leaves by preparing (priming) their defense against the hatching larvae. Egg-mediated priming of defense is known for several plant species, including Brassicaceae. However, it is unknown yet for how long the eggs need to remain on a plant until a primed defense state is reached, which is ecologically manifested by reduced performance of the hatching larvae. To address this question, we used Arabidopsis thaliana, which carried eggs of the butterfly Pieris brassicae for 1–6 days prior to exposure to larval feeding. Our results show that larvae gained less biomass the longer the eggs had previously been on the plant. The strongest priming effect was obtained when eggs had been on the plant for 5 or 6 days, i.e., for (almost) the entire development time of the Pieris embryo inside the egg until larval hatching. Transcript levels of priming-responsive genes, levels of jasmonic acid-isoleucine (JA-Ile), and of the egg-inducible phytoalexin camalexin increased with the egg exposure time. Larval performance studies on mutant plants revealed that camalexin is dispensable for anti-herbivore defense against P. brassicae larvae, whereas JA-Ile – in concert with egg-induced salicylic acid (SA) – seems to be important for signaling egg-mediated primed defense. Thus, A. thaliana adjusts the kinetics of its egg-primed response to the time point of larval hatching. Hence, the plant is optimally prepared just in time prior to larval hatching.

scholarly journals Poéticas e Políticas da Relação: Apontamentos a partir da ação de Ailton Krenak na Assembléia Constituinte e seu deslocamento para espaços de arte contemporânea

ILUMINURAS ◽  
2017 ◽  
Vol 18 (43) ◽  
Author(s):  
Damiana Bregalda Jaenisch
Keyword(s):  
Contemporary Art ◽  
Performance Studies ◽  
Art Exhibitions ◽  
Indigenous Art ◽  
Art Performance ◽  
And Performance ◽  
Made In

O artigo propõe tecer reflexões sobre o deslocamento e circulação de imagens da ação-fala de Ailton Krenak realizada na Assembléia Constituinte de 1987 para exposições de arte contemporânea realizadas em 2015 e 2016. Em diálogo com referenciais do campo da antropologia e da arte entorno dos rituais e estudos da performance, tomo como horizonte o imbricamento entre dramas estéticos e sociais,  poética e política, para pensar estes deslocamentos e as tramas de relações, concepções de arte, artista e os modos/mundos de existência que estão em jogo.Palavras-chave: Deslocamentos. Artes indígenas. Arte contemporânea. Performance. Política.Poetics and Politics of Relation: Notes from Ailton Krenak action in the Assembléia Consitutinte and its displacement to contemporary art spacesAbstractThe purpose of this article is to make some reflections about the displacement and the circulation of images of Ailton Krenak action-speech made in the 1987 Assembléia Constituinte to contemporary art exhibitions realized in 2015 and 2016. In dialogue with references from the anthropology and art field about ritual and performance studies, I take as horizon the imbrications between aesthetics and social dramas,  poetics and politics, to think about these dislocations and the webs of relations, conceptions of art, artists and the ways/worlds of existence that are bring into play.Key words: Displacement. Indigenous art. Contemporary art. Performance. Politics.   

scholarly journals Contemporary Art and Event-Based Social Theory

2021 ◽  
pp. 026327642110420
Author(s):  
Cornelia Bohn
Keyword(s):  
Empirical Evidence ◽  
Contemporary Art ◽  
Social Theory ◽  
Operative Time ◽  
Referential Process ◽  
The Gaze ◽  
Works Of Art ◽  
Social Theories ◽  
New Form ◽  
Event Based

In light of the sociological insight that it is left to the art system what counts as art, new artistic forms inevitably alter the prevailing concept of art. The article examines how artistic morphogenesis occurs in a twofold manner in the case of contemporary art: as self-referential process through new form combinatorics or asynchronous artistic operations whose artworks elude the gaze, and as other-referential relation. One of the main features of contemporary art lies in its strong reference to the present, based on a conception of operative time. Time is not understood as a sequence of past, present, future, but rather as the linking of respective presences. Contemporary art shares this understanding of time with event-based social theories. This is analysed as other-referential act of synchronization within the art system with its societal environment. Empirical evidence is provided by select works of art and by self-descriptions of the art system.

Researching children’s play and contemporary art

2017 ◽  
Author(s):  
Megan Dickerson
Keyword(s):  
Contemporary Art ◽  
Performance Studies ◽  
Art Museum ◽  
Research Methodologies ◽  
Children's Museum ◽  
Alternative Research ◽  
And Performance ◽  
Contemporary Artist ◽  
Learning Through Play ◽  
Conceptual Work

The New Children’s Museum is a museum in which each ‘exhibit’ is a conceptual work of art by a contemporary artist, commissioned by the museum as a springboard for playful experiences. Neither a children’s museum, where the focus is on learning through play, nor a standard contemporary art museum, The New Children’s Museum is a hybrid space that calls for new ways of doing research, requiring tools that can go beyond positivist and ethnographic approaches. This review assembles examples of alternative research methodologies, drawn from diverse practices such as performance studies and performance art, that may contribute to mapping the complexities presented by a children’s museum that also actively engages in the production of contemporary art. It includes some experiments with a/r/tography, and in conclusion offers a method assemblage that might be termed ‘ludo-artographic’.

scholarly journals PERFORMANCE AND TEXT (BASED UPON THE MATERIALS FROM ONLINE ARCHIVE ‘ODESSA ART IN 1980-S’)

2020 ◽  
Vol 12 (1) ◽  
pp. 29-41
Author(s):  
Daryna Gladun
Keyword(s):  
Contemporary Art ◽  
Performance Art ◽  
Performance Studies ◽  
Online Archive

The article studies the role of the text in performances conducted during 1980s in Odessa by the participants of so-called ‘Odessa school’ Serhiy Anufriyev, Leonid Voytsekhov, Yuriy Leyderman, Svitlana Martynchyk, Volodymyr Naumets, Alexander Petrelli, Oleh Petrenko, Liydmyla Skrypkina, Ihor Styopin, Ihor Tshatskin (solo or as participants of art groups ‘IU’, ‘Martynchyky’, ‘Pertsi’. Following research discovers, systematizes, and analyzes materials of online archive ‘Odessa Art of 1980s’ created in 2000 by Odessa Centre of Contemporary Art in collaboration with Institute of Contemporary Art. The article, therefore, overviews over twenty individual and collective pieces of Performance Art, in particular: ‘Cross-Zero’ (1982), ‘Russian Idyll ’ (1982), ‘Pacifist Demonstration’ (1983), ‘Leaning Against Pillar’ (1983), «[Among Other Things]» (1983), ‘I Admire Friends’ (1983), ‘David’s Shield’ (1983), «Basin» (dedicated to ‘Muhomory’) (1984), ‘This Secret Word’ (1984), ‘Flag Killing Methods’ (1985), ‘There I Were a Man’ (1985), ‘To Hit a Wall and a Black Wife’ (1987), ‘Like a Shot’ (1987), ‘The Most Precious’ (1987), ‘Exploration of Art Deposits’ (1987), ‘Vasia Was Here’ (1987) etc. as well as performance-exhibition ‘Relatives’ (1983). The attribution and description of all studied pieces of Performance Art is based exclusively on the data gained from the online archive (even though some of the data are controversial). The performances mentioned in the archive are catalogized. The main challenges of the archive-based research in performance studies are underlined.

scholarly journals Defining Contemporaneity: Imagining Planetarity

2016 ◽  
Vol 24 (49-50) ◽  
Author(s):  
Terry Smith
Keyword(s):  
New York ◽  
Contemporary Art ◽  
New York Times ◽  
Conceptual Structure ◽  
The New York Times ◽  
Contemporary Life ◽  
Specific Goal ◽  
Art And Architecture ◽  
History And Theory

 If the contemporaneity of difference seems the most striking characteristic of contemporary life today, its conceptual structure continues to elude definition. The same lack of clarity attends a frequently evoked parameter for the most desired resolution of such volatile differences: a cohesive, consensual world picturing, sometimes named “planetarity.” My overall project is a close examination of these two concepts, aimed at finding productive connections between them. Previous attempts to think them, from the confessions of St Augustine to the New York Times columns of Thomas Friedman, reveal a plethora of illuminating insights, but the overall record reveals that both concepts remain inadequately imagined for current circumstances. Temporality and world-being seems to constellate around these concepts: contemporaneity, history, decoloniality, connectivity, artworlds, and planetarity. How might the contemporaneity of difference and the embattled yet emergent planetary commons be imagined in terms appropriate to present need – that is, as contemporaneous, differential and convergent? While this question is obviously of the broadest relevance, my specific goal within the history and theory of art and architecture is to articulate the conceptual structure underlying my recent accounts of the relationships between contemporary art and architecture and contemporary life.

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