El arte de performance a debate: originalidad, re-escenificación y los modelos alternativos de George Maciunas

  1. Iñaki Estella Noriega 1
  1. 1 Universidad Autónoma de Madrid
    info

    Universidad Autónoma de Madrid

    Madrid, España

    ROR https://ror.org/01cby8j38

Journal:
Ars longa: cuadernos de arte

ISSN: 1130-7099

Year of publication: 2015

Issue: 24

Pages: 223-239

Type: Article

DIALNET GOOGLE SCHOLAR lock_openRODERIC editor

More publications in: Ars longa: cuadernos de arte

Abstract

Performance art relevance in current art historical discourse has increased recently as this medium receives great support from museums worldwide in the form of exhibitions, panels and conferences. However, the museum attraction for this kind of art seems to be biased as it only pays attention to certain models of understanding it while, marginalizing others. Neither has the museum has not either paid attention to the fact that performance art history, even in its early stages, is heterogeneous and diverse. The debate on performance art, quite the contrary, is crossed by multiple interpretations that engender a debate, generally unacknowledged by the museum, in which even the specificities of the genre (originality and unreproducibility) are questioned. This essay explores how these debates were embodied in one of the most relevant examples, George Maciunas, the Fluxus empresario of the early 1960’s. Using the Maciunas’ way of understanding performance art this essay aims at unveiling the different forms of understanding performance art which has gone unperceived. In doing so it will exchange the assumed specific parameters of this medium (unrepeatable, and originality i.e.) to some unexpected others (such as repetition or spectacle).

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