Delfina Foundation

TALK: APPROPRIATING THE MOMENT: COLLECTING THE PERFORMANCE

21/05/16

Date: Saturday 21 May
Time: 17:30-19:00
Venue: Delfina Foundation
FREE

FULLY BOOKED to add your name to the waiting list email: guestlist@delfinafoundation.com

Performance art has entered into a new relationship with the art collection. Performance pieces are being collected, handled and appropriated by individuals and institutions. What are the conditions and implications of this new relationship with the live?

UK Associate curator Teresa Calonje will moderate a talk between collectors Marc and Josée Gensollen and theorist Adrian Heathfield.

In her book Live Forever: Collecting Live Art (Koenig Books, 2014), Calonje brought together key voices in the debate about collecting performance art. Far from clearly defined, the practice of collecting ephemeral work is a subtle, complex and often a problematic process. Offering an intimate and direct dialogue between collectors and theorist, the discussion will consider the possibilities and impossibilities of apprehending, translating and using the ephemeral work of art, questioning the why and how we should care for works live in the uncertainty of the event. How can live art even rest in a collection? What does it mean to possess or own a moment of art?

Performance art has entered into a new relationship with the art collection. Performance pieces are being collected, handled and appropriated by individuals and institutions. What are the conditions and implications of this new relationship with the live? 
This talk, moderated by UK Associate curator Teresa Calonje, includes contributions form theorist Adrian Heathfield, Director of Frieze Matthew Slotover, and xxxxx.
In her book Live Forever: Collecting Live Art, Calonje brought together key voices in the debate about collecting performance art. Far from clearly defined, the practice of collecting ephemeral work is a subtle, complex and often idiosyncratic process. Offering an intimate and direct dialogue between collectors and theorists, this event considers the forms of translations that must take place for an ephemeral work of art to be exchanged. 
For example, could ideas of use rather than ownership be a template with which to shift the perception of collecting the live? What do we understand by the notion of the role of collector and curatorial care in relation to ephemeral works of art