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Performativity in the Gallery

Staging Interactive Encounters

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Edited By Outi Remes, Laura MacCulloch and Marika Leino

This book coincides with an increase in the programming of live art elements in many galleries and museums. Traditional art history has, however, been wary of live art’s interdisciplinarity and its tendency to encourage increased formal and conceptual risk taking. Time-based performances have challenged the conventions of documentation and the viewer’s access to the art experience. This book questions the canon of art history by exploring participation, liveness, interactivity, digital and process-based performative practices and performance for the camera, as presented in gallery spaces.
The essays present both academic research as well as case studies of curatorial projects that have pushed the boundaries of the art historical practice. The authors come from a wide range of backgrounds, ranging from curators and art producers to academics and practising artists. They ask what it means to present, curate and create interdisciplinary performative work for gallery spaces and offer cutting-edge research that explores the intricate relationship between art history, live and performing arts, and museum and gallery space.
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4. Histories of Interaction and Participation: Critical Systems from New Media Art

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← 64 | 65 →BERYL GRAHAM

4Histories of Interaction and Participation: Critical Systems from New Media Art

Histories of interaction and participation

[…] it was not the institution of the Museum of Modern Art that was staging a dialogue with its viewers: that role was now commandeered by the artist.1

It is in the installation design of the first half of the twentieth century that the sources of such practices as viewer interactivity and site specificity, as well as multimedia, electronic and installation-based work, are to be found.2

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