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Re-Cyclings: Shifting Time, Changing Genre in the Moving Museum

Published online by Cambridge University Press:  13 January 2015

Susanne Foellmer
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Abstract

This essay examines changes in apparatuses of visual and performing arts, taking as an example a museum presentation of Trisha Brown's project Floor of the Forest. The ontology of both the work of art and the dance exhibited in the museum, where presence and absence interact, is explored against criteria of temporality and theatricality. The position of the recipient is a focus of particular attention, undergoing transformations between the status of visitor (beholder) and audience (spectator) and as such actively involved in bringing forth art as such. Furthermore it is proposed, in particular in this example, that the interrelationships between recipients and actors or art objects can generate haunting choreographies which emphasize the indeterminate nature and progressive disintegration of artistic genres and attempt to intertwine divergent modes of presence in visual and performing arts.

Keywords

Beholder/spectatorontology of dancepresencetemporalitytheatricalityvisual arts
Type
Articles
Information
Dance Research Journal , Volume 46 , Issue 3: Dance in the Museum , December 2014 , pp. 101 - 117
Copyright
Copyright © Congress on Research in Dance 2014 

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