Las materializaciones circulantes de la performance: Una tipología

Abstract

Performance art has been defined as an artistic action determined by its ephemeral condition. This has meant that the incorporation of performance into the institutional and commercial circuits of art has been mainly served by its materialization. Academic attention to this phenomenon has mainly focused on the category of documentation and has often done so with a historical vocation. This article, driven by a typological and non-diachronic interest, proposes a classification of the various ways of materializing performance that is not based on the type of support of its record (video, photography, etc.), but, more broadly, in the spatio-temporal relationship between performance and various materials. This classification is divided on the categories of object and document.