Book Section
Pierre Saurisse
Performance Art in the 1990s and the Generation Gap
In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
| Title |
Performance Art in the 1990s and the Generation Gap
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| Author(s) |
Pierre Saurisse
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| Identifier | |
| DOI Target | |
| HTML Page | |
| Description |
In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
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| Is Part Of | |
| Place |
Berlin
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| Publisher |
ICI Berlin Press
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| Date |
January 4, 2022
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| Subject |
Performance
Reenactment
Generation
1990s
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| Rights |
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
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| Harvested |
yes
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| Language |
en-GB
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| short title |
Performance Art in the 1990s
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| page start |
161
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| page end |
169
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| Source |
Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 161–69
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