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Topic: Lecture Performance
Please EMail me what exactly you want to write about - thats up to you! The fundamental topic is like i sad lecture performance
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02/02/2013 at 15:39 GMT
Please donÂ´t forget to write me the topic you want to write about ..this should be helpful
mportant would be to give a definition...before you start with your topic it should be clear for everyone ..what is Performance Lecture (teaching as art)
Performances and lectures share certain traits. The performance lecture is "a live presentation imparted by an artist who takes advantage of his or her artistic license and of the conventions of academic pedagogy to create a work that straddles fiction and reality. Irony and sometimes satire are central to the event: those who attend a performance lecture generally expect an irreverent take on academicism." (Helguera)
"Lecture performance should not be about improving the performance of scientists as lecturers. Neither should it be about artists making scientific matters understandable and popular through lecture performances. It should be about the part presentation plays within knowledge production itself." (Peters)
The Lecture Performance explicitly thematizes the relationship between art and knowledge, respectively research, as well as art and its mediation. It operates as a space in potential, at which debates on the conception of the 'artwork' can circulate. Developed in the 1960s as a sub-genre of Performance art, the Lecture Performance has returned within the field of contemporary art during the last decade. In 1964, the American artist Robert Morris life-synchronized 21 minutes video documentation of a lecture by the famous art historian Erwin Panofsky in front of a New York audience (21.3). Morris used the purely reflexive format of the lecture, arguably for the first time as an artistic medium, to question the established conceptions of the artwork and of the mechanisms of the art context during his performance. Throughout the following decades, artists like Dan Graham (Performer/Audience/Mirror, 1975), Joseph Beuys (Jeder Mensch ein KÃ¼nstler - Auf dem Weg zur Freiheitsgestalt des sozialen Organismus/Each Person an Artist - on the Way to the Freedom Figure of the Social Organism, 1978) and Andrea Fraser (Museum Highlights, 1989) encouraged this development. While Morris thematized language/how to speak about art, Graham focused on the viewer, and Fraser reflected the institutional surrounding. With the new crop of Lecture Performance, the format has expanded to include a range of issues that fall outside the previous focus on the specificity/critique of art. The use of the format in contemporary art can be explored initially based on two aspects: the rising value of conversation as medium to produce knowledge within a hyper communicative world and the role of contemporary (theoretically leaning) artists within education.
The aim of this class is to discuss the relevance of the format, its specific characteristics, aesthetics and relevance today. Some possible texts to begin with: Monika Szewcyk, Art of conversation Part I, e-flux journal 02/2009 (http://www.e-flux.com/journal/view/37). Jan Verwoert, The Passion of Pedagogy, in: Louise DÃ¸ssing [et al.], Nicosia This Week, Rotterdam 2008. KÃ¶lnischer Kunstverein/Museum of Contemporary Art Belgrad (Ed.), Lecture Performance, Berlin 2009.