WORKING BY THE NUMBERS: PERFORMANCE ART SHORT ON TIME PROPOSES A MATERIALIST AESTHETICS OF PRODUCTION

The performance artists Florian Feigl and Fjóla Gautadóttir engage with production conditions of artistic work through their ways of managing time in performances. Informed by Marxist and feminist theories on affective and reproductive work, and with references to the history of performance art, I demonstrate how, contrary to myths of inspiration and virtuosity, production conditions co-create artistic authorship. Thereby, I reexamine what traditionally is termed as the aesthetics of production. An aesthetics of production is, I suggest, not about natural talent and originality of the soloist artist genius but is founded on the interdependency of life and work, and what enables the artist to do work. Feigl and Gautadóttir’s performances include what has been excluded as disturbances by idealist aesthetics of production: the sociality, temporality and economy of the artistic work. By proposing a feminist-materialist aesthetics of production, I claim that the artist’s work is not only working by the numbers of the present production conditions, but is also performing and intervening within the infrastructures of art

Guldslør. Performative strategier som kritik og affirmation i senkapitalismen

Is immersive performance art with its blurred identities, parallel worlds and transformational potential the perfect genre for hidden capitalist interests, bad working conditions and commercial branding? Following the motive of the veil, and the gesture of unveiling as form of critique, the article examines the relation between labour of performance art, commercial funding and subjectivation in late capitalism. Departing from the claim that the cultural worker – flexible, creative, innovative and self managing – is the role model of today’s neoliberal work ethos, the article analyses strategies of unveiling of the production conditions and work ethos of performance art today

Krigsdramaturgi: - forestillinger om krig på scenen

Med fokus på forestillingen "Hate Radio" af International Institute for Political Murder diskuterer forfatteren hvordan man kan iscenesætte krig i samtidsteatret i lyset af de seneste årtiers nye måder og midler for krigsførels

Forming a circle*: The practice of Forsøgsscenen (the Experimental Stage) in the self-organised political-artistic milieu of 1930s Denmark

Forsøgsscenen (The Experimental Stage, 1929-31) is examined as a historically early example of com­munity-organising artistic practice. By analysing Forsøgsscenen based on cultural objects such as their production of a little magazine, their distribution policy and their infrastructural performance, the scholarly inquiry is shifted from the reception of the artwork in theatre history, towards approaching a materialist understanding of Forsøgsscenen's production aesthetic contribution in avant-garde history. Historiographically, a comparativist perspective is employed, which finds kinship both between collective organisations in the 1930s and kinship with contemporary concepts of self-institutionalisation as counterculture: redistributive, political and institution-forming prac­tices that unfold as a response to the common art institutions in late capitalism

Dance, context, choreography: Danseuddannelse i Berlin

Essayet har til formål at relektere over et udvidet praksisbegreb inden for koreografi, der inkluderer teori – senere refereret til som praksisbaseret tænkning. Mit udgangspunkt for denne releksion er at præsentere den kun tre år gamle BA-uddannelse DANCE, CONTEXT, CHOREOGRAPHY på Hochschulübergreifendes Zentrum für Tanz in Berlin (HZT)