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220 pages

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Performing Institutions: Contested Sites and Structures of Care builds upon scholarly work rooted in the social and cultural histories of education, self-organization, activist practices, performance, design, and artistic research, (at)tending to the ways that institutions are necessarily political and performed.

By evoking the idea of Performing Institutions, it foregrounds all kinds of ‘actors’ that engage with (re)imagining creative practices - social, artistic, and pedagogical - that critically interact with institutional frameworks and the broader local and global society of which these institutions are part.

With case studies and critical reflections from Denmark, Ireland, Finland, the UK, Canada, the USA, Chile, Asia and Australasia contributors show how they envision or pursue performing artistic, cultural, social and educational practices as caring engagements with contested sites, addressing the following questions. How do current institutions perform – academically, spatially, custodially and structurally? How might we stay engaged with the ways that institutions are inherently contested sites, and what role do care, and counter-hegemonic practices play in rearticulating other ways of performing institutions, and how they perform on us?

These are the questions central to this book as it stages a productive tension between two main themes: structures of care (instituting otherwise) and sites of contestations (desiring change).

Some of the texts in this collection stage a productive tension between ideas about caring contestations and contestation as a caring engagement in practice, with a view towards institutional transformation. Other contributors investigate the idea of caring contestations as a critical concept that draws attention to questions of power and to the exclusions produced and reproduced in and through specific institutional practices. As such, this collection of writing puts forward caring contestations as a critical mode for (re)enacting institutional engagements. This also brings forward questions of agency and how, for those of us who perform within institutional structures, we care to engage and/or contest those institutional engagements.

It is primarily aimed at scholars, educators, research-practitioners and postgraduate students in the fields of performance studies, theory, creation and design, those working at art institutions and art schools Also relevant to researchers working across various fields of organizational as well as educational approaches to performance culture.

List of Figures

Acknowledgements

Introduction: Contested Sites and Structures of Care – Shauna Janssen and Anja Mølle Lindelof

ACT ONE

1. Silver: Self/Site-Writing A Courthouse Drama – Jane Rendell

2. Act 01: Love. On Political Love vs. Institutional Loyalty – Sepideh Karami

3. The Thinkers: Thought–Action Figures #7 – Jon McKenzie and Aneta Stojnić

ACT TWO

4. Performing Indigenization: New Institutional Imperatives Post Truth and Reconciliation – Kathleen Irwin

5. Foolish White Men: Tree-Felling and Wrestling: Performing the Institution of the White Man from an Aotearoa Perspective – Mark Harvey

ACT THREE

6. Performing Aural and Temporal Architecture: Re-framing the University through The Verbatim Formula – Maggie Inchley, Paula Siqueira, Sadhvi Dar, Sylvan Baker and Mita Pujara

7. Performance Design as Education of Desire – Franziska Bork Petersen and Michael Haldrup

8. Mode D: Evental Forms of Exchange in Art Education – Glenn Loughran

9. Performative Urbanism: Mapping Embodied Vision – Christina Juhlin and Kristine Samson

10. Performance Design: Performative Gestures within Academic Institutions – Rodrigo Tisi

ACT FOUR

11. Caring Buildings – Liisa Ikonen

12. Alieni nati: Journey-Performance at S. Maria della Pietà Former Psychiatric Hospital in Rome – Fabrizio Crisafulli

ACT FIVE

13. From Garage to Campus: Exploring the Limits of the Museum in Contemporary Russia – Anton Belov and Katya Inozemtseva

14. Not Not Research – Henk Slager

15. LGB’s Manifest – LGB Society of Mind

ACT SIX

16. Dis-establishment – Sam Trubridge

17. Reclaiming Subjectivity through Urban Space Intervention: The People’s Architecture Helsinki – Maiju Loukola

18. Public-Making as a Strategy for Spatial Justice – Kenneth Bailey and Lori Lobenstine, Design Studio for Social Intervention

Notes on Contributors

Sujets

Performing Arts

EDUCATION

General officer

Art

General

Performance

Informations

Publié par	Intellect Books
Date de parution	06 décembre 2022
Nombre de lectures	0
EAN13	9781789386677
Langue	English

Informations légales : prix de location à la page 0,3398€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Performing Institutions

Contested Sites and Structures of Care
EDITED BY
Anja M lle Lindelof and Shauna Janssen
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced,stored in a retrieval system, or transmitted, in any form or byany means, electronic, mechanical, photocopying, recording, orotherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
Cover designer: Aleksandra Szumlas
Frontispiece image: Participants at DS4SI's in PUBLIC Festival, 2019.
Courtesy of Lori Lobenstine.
Production manager: Sophia Munyengeterwa
Typesetter: MPS Limited
Print (Hardback) ISBN 978-1-78938-665-3
ePDF ISBN 978-1-78938-666-0
ePUB ISBN 978-1-78938-667-7
Printed and bound by CMP
To find out about all our publications, please visit our website.
There you can subscribe to our e-newsletter, browse or download our current catalogue and buy any titles that are in print.
www.intellectbooks.com
This is a peer-reviewed publication.
Table of Contents
List of Figures
Acknowledgements
Introduction: Contested Sites and Structures of Care
Shauna Janssen and Anja M lle Lindelof
ACT ONE
1. Silver : Self/Site-Writing A Courthouse Drama
Jane Rendell
2. Act 01: Love. On Political Love vs. Institutional Loyalty
Sepideh Karami
3. The Thinkers: Thought-Action Figures #7
Jon McKenzie and Aneta Stojni
ACT TWO
4. Performing Indigenization: New Institutional Imperatives Post Truth and Reconciliation
Kathleen Irwin
5. Foolish White Men: Tree-Felling and Wrestling: Performing the Institution of the White Man from an Aotearoa Perspective
Mark Harvey
ACT THREE
6. Performing Aural and Temporal Architecture: Re-framing the University through the Verbatim Formula
Maggie Inchley, Paula Siqueira, Sadhvi Dar, Sylvan Baker and Mita Pujara
7. Performance Design as Education of Desire
Franziska Bork Petersen and Michael Haldrup
8. Mode D: Evental Forms of Exchange in Art Education
Glenn Loughran
9. Performative Urbanism: Mapping Embodied Vision
Christina Juhlin and Kristine Samson
10. Performance Design: Performative Gestures within Academic Institutions
Rodrigo Tisi
ACT FOUR
11. Caring Buildings
Liisa Ikonen
12. Alieni nati: Journey-Performance at S. Maria della Piet Former Psychiatric Hospital in Rome
Fabrizio Crisafulli
ACT FIVE
13. From Garage to Campus: Exploring the Limits of the Museum in Contemporary Russia
Anton Belov and Katya Inozemtseva
14. Not Not Research
Henk Slager
15. LGB's Manifest
LGB Society of Mind
ACT SIX
16. Dis-establishment
Sam Trubridge
17. Reclaiming Subjectivity through Urban Space Intervention:The People's Architecture Helsinki
Maiju Loukola
18. Public-Making as a Strategy for Spatial Justice
Kenneth Bailey and Lori Lobenstine, Design Studio for Social Intervention
Notes on Contributors
Figures Figure 3.1: TAF Comic, 2017. By Aneta Stojnić and Jon McKenzie. Figure 3.2: Still from performance TAF EPISODE 7: The Thinkers / Jon McKenzie and Aneta Stojnić, Spring Festival in Utrecht, 2018. Figure 3.3: Still from performance TAF EPISODE 7: The Thinkers / Jon McKenzie and Aneta Stojnić, Spring Festival in Utrecht, 2018. Figure 4.1: Grad Students at Grasslands National Park. Courtesy of Dianne Ouellette. Figure 4.2: Joely Bigeagle Kequahtooway tanning buffalo hide in art class. Courtesy of Jan Bell. Figure 4.3: Micheal Langen discussing a collaborative skateboard project he developed with artist Kent Monkman. Courtesy of Noel Wendt. Figure 4.4: Micheal Langen performs. Courtesy of Noel Wendt. Figure 5.1: Mark Harvey, 2016–17, Weed Wrestle . Video still by Daniel Strang. Courtesy of Harvey/Strang. Figure 5.2: Mark Harvey, 2016–17, Group Weed Wrestle . Video Still. Camera by Daniel Strang. Courtesy of Harvey/Strang. Figure 5.3: Mark Harvey, 2019, Climate Recycle Privilege . Video still by Daniel Strang. Courtesy of Harvey/Strang. Figure 5.4: Mark Harvey, 2013, Political Climate Wrestle . Photograph by Paolo Rosso. Courtesy of Harvey/Rosso. Figure 6.1: Shona and the painted white woman. Photograph by Paula Siqueira. Figure 6.2: Hannah rehearses. Photograph by Paula Siqueira. Figure 6.3: Julie and Matt. Photograph by Paula Siqueira. Figure 6.4: Anthony and the screen. Photograph by Paula Siqueira. Figure 8.1: Hedgeschoolproject 08: Literacy House, 2008. Image Credit: Glenn Loughran. Figure 8.2: How to teach what you don't know, 2008. Image Credit: Glenn Loughran. Figure 8.3: Hedgeschoolproject 08: Literacy house, 2008. Image Credit: Glenn Loughran. 2008. Figure 9.1: Peter Kirk, the director of the Theatre Island, introduces students to the space like they were old friends. Photo by Kristine Samson. Figure 9.2: Superkilen Park, the Red Square in Nørrebro. Visual design and urban furniture are collected from all over the world to illustrate the cultural diversity of the neighbourhood. Photo by Kristine Samson. Figure 9.3: The Emergence of a Collective Body . The performance was made by a group of students to map and explore the potentials for collective agency at Nørrebro train station. Photo by Kristine Samson. Figure 9.4: Mirror Walk was an exploratory walk in which students played with the participants gaze and conception of what is urban nature. Photo by Kristine Samson. Figure 9.5: Twin Harbours was a video installation on canvas mapping two harbour areas in Copenhagen Harbour, exploring differences and similarities – and possible futures. Photo by Kristine Samson. Figure 9.6: Video excerpt from the audiovisual mapping Barriers at Refshaleøen. Figure 10.1: Performance Design within academic institutions. This diagram depicts a possible situation of the field. Performance Design can be situated in educational models that are integrative and that promote interdisciplinary methodologies for creative work and research, from disciplines to transdisciplines. Figure 12.1: Marcello Sambati in Alieni nati. Courtesy of Stefania Macori. Figure 12.2: Naoya Takahara, Acchiappaspiriti (‘Gost catcher’), performing sculpture for Alieni Nati, 2018. Courtesy of Naoya Takahara. Figure 12.3: Simona Lisi in Alieni nati. Courtesy of Gatd. Figure 12.4: Federica Luzzi, costume for Simona Lisi in Alieni nati , 2018. Courtesy of Federica Luzzi. Figure 12.5: Alberto Paolini in Alieni nati . Courtesy of Federica Luzzi. Figure 12.6: Alessandra Cristiani in Alieni nati. Courtesy of Gatd. Figure 13.1: Garage Center for Contemporary Culture at the Bakhmetevsky Bus Garage, Moscow, 2008. Courtesy of Garage Museum of Contemporary Art. Figure 13.2: Vremena Goda Café in Gorky Park, Moscow, 1968. Courtesy of Igor Vinogradsky Archive, Moscow. Figures 13.3 and 13.4: Vremena Goda café ruins, facade and interior, 2011. Courtesy of Garage Museum of Contemporary Art. Figure 13.5: The Shigeru Ban pavilion in Gorky Park. Courtesy of Garage Museum of Contemporary Art. Figure 13.6: Garage Museum of Contemporary Art in Gorky Park. Courtesy of Garage Museum of Contemporary Art. Figure 13.7: Garage Screen summer cinema, designed by SYNDICATE (Moscow), 2019. Courtesy of Garage Museum of Contemporary Art. Figure 13.8: Garage Studios, VDNKh, Moscow, 2019. Courtesy of Garage Museum of Contemporary Art. Figure 13.9: Interior of Garage Studios, VDNKh, 2019. Courtesy of Garage Museum of Contemporary Art. Figure 14.1: Installation view Exhausted Academies: Fatigue Society , Byung-Chul Han, Seoul Media City, 2016. Courtesy of Seoul Museum of Art. Figure 14.2: Installation view To Seminar (Sarah Pierce, Falke Pisano, Tiong Ang), BAK Utrecht, 2017. Courtesy of BAK, basis voor actuele kunst, Utrecht. Figure 14.3: Installation view Aesthetic Jam: Zero Degree Situation (Kai Huang Chen, Lonnie van Brummelen and Siebren de Haan), Taipei Biennial 2014. Courtesy of Taipei Fine Arts Museum, Taipei. Figure 14.4: Installation view Research Ecologies (3rd Research Pavilion, Venice Biennale 2019). Courtesy of Research Pavilion Venice/Uniarts Helsinki. Figure 15.1: LGB's Manifest on screen. I am LGB , 2016. Photo credit: Kong Chong Yew. Figure 15.2: LGB's Manifest live broadcast, I am LGB , 2016. Photo credit: Wan Zhong Hao. Figures 15.3 and 15.4: Mapping the visual domain, I am LGB , 2016. Photo credit: Kong Chong Yew. Figure 15.5: Participant photos, I am LGB , 2016. Photo credit: Wan Zhong Hao. Figure 16.1: The Performance Archade 2017. Photo by Sam Trubridge. Figure 16.2: EurekaII , by Amy Miller and Daniel Cruden. Photo by Sam Trubridge. Figure 16.3: Cargo , by Kasia Pol and Mat Hunkin. Photo by Sam Trubridge. Figure 16.4: A Machine , by Meg Rollandi, Nick Zwart and Andrew Simpson. Photo by Sam Trubridge. Figure 16.5: Salt Walk , by Mick Douglas. Photo by Sam Trubridge. Figures 17.1 and 17.2: People's Architecture Helsinki in-process. Courtesy of People's Architecture HDW 2017 / Architecture for People. Figure 18.1: Participants at DS4SI's in PUBLIC Festival, 2019. Courtesy of Lori Lobenstine. Figure 18.2: Cape Verdean gypsy cab drivers playing ouril while awaiting customers. Courtesy of Max MacCarthy. Figure 18.3: (a) Participants deep in conversation at DS4SI's Street Lab: Upham's event. Courtesy of Rafael Feliciano-Cumbas. (b) Street Lab: Upham's knitter working on the knit handrailing. Courtesy of Rafael Feliciano-Cumbas. (c) Residents check out Street Lab: Upham's temporary art gallery. Courtesy of Rafael Feliciano-Cumbas. (d) Magnet boards helped community members imagine what they'd like to see in the alley. Courtesy of Lori Lobenstine.
Acknowledgements
A great many people and colleagues around the world have contributed to the idea of making this book, and, of course, to those who have contributed their ideas, stories and reflections