Leia a Versao Traduzida pelo Google aqui: Performance Art pode ser colecionada ou reproduzida e ainda manter a sua mensagem original e efemeridade? via http://hyperallergic.com Can Performance Art be Collected or Reproduced and Still Maintain its Original Message and Ephemerality? by Jen Ortiz on June 28, 2012 2 Guerrilla Performance by Rob Andrews at English Kills "Maximum Perception: Contemporary Brooklyn Performance" on August 16, 2008 (via flickr.com/hragvartanian) By definition, performance art is transitory. It's sometimes spontaneous. It's often interactive. And it's always an experience. It isn't, however, a tangible object like, say, a painting, sculpture or even a string of musical chords on paper. And so, we're left with a perplexing question: can performance art ever be bought? In other words, is it possible for a piece to be "owned" by anyone other than the artist once the performance is over? For some, the answer might be obvious see: MoMA's acquisition of Tino Sehgal's "Kiss" (2003) for what was reputedly a five-figure sum. For others, it's a bit more complicated than just a yes or no. For some clarity, we turned to a group of performance artists, art festival and collective leaders, and curators to answer our question: Can performance art be collected or reproduced and still maintain its original message and ephemerality? * * * Sabine Breitwieser (via Artinfo)Sabine BreitwieserChief Curator, Department of Media and Performance Art, MoMA (New York, NY) Performance art takes on various formats after its first "live" formation and can be considered as hyper-media. Artists have spent a great deal of time and experience to think about how their artwork can be represented after it was performed. Props and other materials that were used in the staging of the work, photo and video documentation of the performance itself, texts and sketches created by the artists to underline the context of the work and the artistic intentions, but also original invitation cards, flyers, or even statements made by the audience watching or participating in the performance can become part of the work. How should we consider such a presentation of the "after-life" of a once original performance? How and to what extend can the once performative nature of a work benefit from its medial representation covering a multitude of aspects of the work, its context, the artistic concept, the making of and the reception of the work? Like plays in theater, works of performance art have always been and are staged several times. Recently the notion of "re-performance" got emphasized as a possibility to revitalize a historical work of performance art. It was especially the program of repertoire incorporated by the bourgeois theater to which performance art strongly objected to, aiming to deliver a specific and authentic experience beyond a practice of mimicry. Indeed, translocating certain works from its specific social and political context to today can be a challenge. Like the presentation of any complex and relational work, the presentation and mediation of performance art requires in depth research and a certain choreography to be discussed and developed. In fact the politics of representation of process and