Perform the remains to activate the gesture
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https://orcid.org/0009-0003-6486-9127
Abstract
This article begins by investigating the relationships between archive and performance, from the position of Jorge Blasco in the intriduction of Archivar (2017) and the essay «Performance remains» by Rebecca Schneider (2001), as they seek to approach the material forms in which artistic practice it is produced and functions as epistemology through its performativity. The research highlights the procedures that generates contemporary art archives as sociopolitical devices. If conservation currently uses audiovisual documentation for the preservation of performance art, we consider it necessary to re-study this procedure as a mediation between the artistic gesture and its social potential. Therefore, the essay examined the case of Hamaca, an experimental audiovisual platform. Especially the activations made to the audiovisual pieces housed in its archive and made in order to generate forms of common well-being through the intervention of groups and cultural mediation agents.
How to Cite
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ARCHIVE, PERFORMANCE, AUDIOVISUAL, SOCIAL, MEDIATION, HAMACA (AUDIOVISUAL PLATFORM)
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