SYNCH 03: An Imaginary Audience
The archive presentation An Imaginary Audience. A brief history of performance art at the Staatliche Kunsthalle Baden-Baden, part of the exhibition series SYNCH, is based on a comprehensive research for investigating the exhibition history of Staatliche Kunsthalle Baden-Baden through performance art.
This endeavor focuses on performativity as an artistic tool and the transition of the audience from a receiver to a participant, performer, and user in the digital age. Observing the organization of everyday life in Baden-Baden, its maps of social relationships, rituals, and ceremonies, we are inspired to ask: in a distinctively 鈥榩erformative鈥� city such as Baden-Baden, how do a public institution and her publics remember performance art and performativity?
Specific artworks revisited from the Kunsthalle鈥檚 exhibition history, ask what stays with us after the physical bodies of the exhibitions are dismantled, how do they survive in our memories, in what forms and archives. After analyzing the exhibition history鈥檚 data from a gender sensitive perspective, as a critical attempt to rewrite a herstory of the institution, selected works from Tracey Emin, Rebecca Horn, and Eva Ko钮谩tkov谩 are revisited and positioned at the center of the presentation. With an interest in this intergenerational dialogue, Rebecca Horn鈥檚 90-minute color film La Ferdinanda 鈥� Sonate f眉r eine Medici-Villa (1981) reminds us of its contextual references that are still relevant today.
Emin鈥檚 video work entitled Sometimes the Dress is Worth More Money Than the Money (2000) with its strong potential of gaining a new meaning in the city of 鈥済ood-good life鈥�, has nevertheless never been shown before at the Kunsthalle, even though the artist exhibited here several times; also Ko钮谩tkov谩鈥檚 sculpture Ear No. 4 (2014) is evidence of the tradition of connecting the sense of sight with that of hearing. Both are accompanying Horn鈥檚 piece with a strong emphasis on female ontologies, and the transition of body related ideologies.
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The archive presentation An Imaginary Audience. A brief history of performance art at the Staatliche Kunsthalle Baden-Baden, part of the exhibition series SYNCH, is based on a comprehensive research for investigating the exhibition history of Staatliche Kunsthalle Baden-Baden through performance art.
This endeavor focuses on performativity as an artistic tool and the transition of the audience from a receiver to a participant, performer, and user in the digital age. Observing the organization of everyday life in Baden-Baden, its maps of social relationships, rituals, and ceremonies, we are inspired to ask: in a distinctively 鈥榩erformative鈥� city such as Baden-Baden, how do a public institution and her publics remember performance art and performativity?
Specific artworks revisited from the Kunsthalle鈥檚 exhibition history, ask what stays with us after the physical bodies of the exhibitions are dismantled, how do they survive in our memories, in what forms and archives. After analyzing the exhibition history鈥檚 data from a gender sensitive perspective, as a critical attempt to rewrite a herstory of the institution, selected works from Tracey Emin, Rebecca Horn, and Eva Ko钮谩tkov谩 are revisited and positioned at the center of the presentation. With an interest in this intergenerational dialogue, Rebecca Horn鈥檚 90-minute color film La Ferdinanda 鈥� Sonate f眉r eine Medici-Villa (1981) reminds us of its contextual references that are still relevant today.
Emin鈥檚 video work entitled Sometimes the Dress is Worth More Money Than the Money (2000) with its strong potential of gaining a new meaning in the city of 鈥済ood-good life鈥�, has nevertheless never been shown before at the Kunsthalle, even though the artist exhibited here several times; also Ko钮谩tkov谩鈥檚 sculpture Ear No. 4 (2014) is evidence of the tradition of connecting the sense of sight with that of hearing. Both are accompanying Horn鈥檚 piece with a strong emphasis on female ontologies, and the transition of body related ideologies.
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