Performance - Dokumente zwischen Aktion und Betrachtung

Konträr zu ihrer ursprünglich aktionistischen Natur ist die Performancekunst der 1960er und 1970er Jahre durch ihre Reproduktion, Archivierung und Historisierung in den letzten zwanzig Jahren zu einer klassischen, objekt- und bildhaften Kunstform geworden. Im Gegensatz zum ‚erlebten’ Blick sind die Spuren dieser Ereignisse immer Produkt eines bereits gefilterten visuellen Wechselspiels. Die Performancekunst ist im Spannungsfeld ihrer ursprünglichen Performativität und ihrer medialen Repräsentation verankert. Internationale FotografInnen der Performances während der 1960er und 1970er Jahre, wie Babette Mangolte und Peter Moore, oder in Wien, Ludwig Hoffenreich und Kurt Kren, entwickelten eine je eigene Bildsprache, in der sie ihr eigenes Verhältnis zur Performance darstellten. Anhand der kunsthistorischen und medientheoretischen Aufarbeitung des dokumentarischen und künstlerischen Werkes der französisch-amerikanischen Filmemacherin und Künstlerin Babette Mangolte, gilt es, die Semantik der Performancefotografie, -videos und -filme die sie über die New Yorker Performanceszene während der 1970er Jahre aufnahm, zu analysieren. Ziel ist, in Anbetracht Mangoltes Oeuvre und Werkentwicklung die Rezeptionsmechanismen, die der Historisierung der Performance und ihrer Einschreibung in den Kanon der jüngeren Kunstgeschichte zu Grunde liegen, zu erforschen. Als eine der PionierInnen der feministischen Filmbewegung, die vor allem durch ihre Kameraarbeit für die französische Filmemacherin Chantal Akerman bekannt wurde, versuchte Mangolte eine neue Bildsprache der Gesten des Alltages und des öffentlichen Raumes zu entwickeln, die den tradierten geschlechtsspezifischen Blickkonstruktionen im Kino und den Medien der 1970er Jahre entgegen trat. Dabei nimmt das von Mangolte reflektierte, aber auch mit konstruierte Bild der Performancekunst, in Relation zu ihrer künstlerischen Auseinandersetzung mit der Funktionsweise ihrer Rolle als Bildproduzentin, Chronistin und Akteurin im urbanen Raum, eine zentrale Rolle der Untersuchung ein. Das wachsende Interesse an Mangoltes Werk seit Anfang der 1990er Jahre ist für die Diskursivierung der Performancekunst und seinem Revival seit 2000, emblematisch. Die Performance, wie die nicht endende Welle an Reinszenierungen und Re-enactments historischer Performances, oder auch der Erfolg Mangoltes künstlerischer Installationen zum Ausdruck bringen, ist eine prozesshafte und rezeptionsabhängige Kunstform, deren Institutionalisierung und Historisierung, als hybrides und diskursives Medium, es neu zu definieren und zu analysieren gilt.Contrary to its original activist nature, performance art, has through its reproduction, archiving, and historization become a classic visual art form. The shift of this genre, from a live event to a cultural commodity is routed in the inherent tension between its original performative nature and medial representation. Set at the interface of opposition and cross manifestation, one must clearly see how the rising popularity and “re-discovery” of performance art is a continuous result of the never ceasing desire for a culture of spectacle and its economy of reproduction. International photographers of performance art from the 1960s and 1970s, such as Babette Mangolte and Peter Moore in New York, or Ludwig Hoffenreich and Kurt Kren in Vienna, developed an individual visual vocabulary, which reflected their specific relation to performance. For the exploration of this subject I will analyze the oeuvre of one of the main protagonists of the documentation of performance art throughout the 1970s New York Performance scene, the French American film maker Babette Mangolte. Mangolte’s films, cinematography, and performance photography from the Seventies are exemplary in their style and therefore particularly of interest for the analysis of the performance art. Her oeuvre and artistic development serve as the exemplary backdrop for the exploration of reception mechanisms, which have formed the base of the genre’s historization and popularity in recent art history. As one of the pioneers of the feminist film movement, which came into the public’s attention thanks to her camera work for French filmmaker Chantal Akerman, Mangolte developed a new visual vocabulary of everyday gestures and public space aimed at counteracting traditional visual regimes of gender in mainstream film and media in the 1970s. The image of performance art that Mangolte critically reflected, yet also helped construct, is a central point of focus in relation to her artistic investigation of her role as an image producer, chronicler and agent in urban space. Performance theory discursive engagement with questions of authenticity and mediation since the early 1990s and the genre’s subsequent revival since the new millennium calls for a re-definition of the medium. The recent boom of re-stagings and re-enactments of historical performances – as well as Mangolte’s success as an installation artist in her own right and the interest in her work from the 1970s – illustrate how performance is a processual art form dependent on its contingent reception

Une bibliographie commentée en temps réel : l'art de la performance au Québec et au Canada = An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada

An Annotated Bibliography in Real Time: Performance Art in Quebec and Canada offers a bibliographic survey of writings, publications and printed matter on Quebec and Canadian performance art from the early 20th century to today. This university based research project, not only gathers and annotates but also questions how categories can be cross-read, revisited, and thought of in new ways. A key objective of the bibliography is to enable its future users to consider the various roles and complex networks that continue to shape the medium and practice of performance. This publication is a continuously growing resource that presents both the work of the artists and the history of the works’ reception in the past as well as the present, investigating the correlative relationship between the performer, the spectator and their given time(s). An Annotated Bibliography in Real Time offers a hybrid and discursive perspective on the historization of performance art and sheds light on performance’s many circumstances and modes of production, experience, and reception over time. -- p.

Spontaneous ischaemic stroke lesions in a dog brain: neuropathological characterisation and comparison to human ischaemic stroke

Abstract Background Dogs develop spontaneous ischaemic stroke with a clinical picture closely resembling human ischaemic stroke patients. Animal stroke models have been developed, but it has proved difficult to translate results obtained from such models into successful therapeutic strategies in human stroke patients. In order to face this apparent translational gap within stroke research, dogs with ischaemic stroke constitute an opportunity to study the neuropathology of ischaemic stroke in an animal species. Case presentation A 7\ua0years and 8\ua0months old female neutered Rottweiler dog suffered a middle cerebral artery infarct and was euthanized 3\ua0days after onset of neurological signs. The brain was subjected to histopathology and immunohistochemistry. Neuropathological changes were characterised by a pan-necrotic infarct surrounded by peri-infarct injured neurons and reactive microglia/macrophages and astrocytes. Conclusions The neuropathological changes reported in the present study were similar to findings in human patients with ischaemic stroke. The dog with spontaneous ischaemic stroke is of interest as a complementary spontaneous animal model for further neuropathological studies

Cerebellar mutism syndrome in children with brain tumours of the posterior fossa

Background: Central nervous system tumours constitute 25% of all childhood cancers; more than half are located in the posterior fossa and surgery is usually part of therapy. One of the most disabling late effects of posterior fossa tumour surgery is the cerebellar mutism syndrome (CMS) which has been reported in up to 39% of the patients but the exact incidence is uncertain since milder cases may be unrecognized. Recovery is usually incomplete. Reported risk factors are tumour type, midline location and brainstem involvement, but the exact aetiology, surgical and other risk factors, the clinical course and strategies for prevention and treatment are yet to be determined. Methods: This observational, prospective, multicentre study will include 500 children with posterior fossa tumours. It opened late 2014 with participation from 20 Nordic and Baltic centres. From 2016, five British centres and four Dutch centres will join with a total annual accrual of 130 patients. Three other major European centres are invited to join from 2016/17. Follow-up will run for 12 months after inclusion of the last patient. All patients are treated according to local practice. Clinical data are collected through standardized online registration at pre-determined time points pre- and postoperatively. Neurological status and speech functions are examined pre- operatively and postoperatively at 1-4 weeks, 2 and 12 months. Pre- and postoperative speech samples are recorded and analysed. Imaging will be reviewed centrally. Pathology is classified according to the 2007 WHO system. Germline DNA will be collected from all patients for associations between CMS characteristics and host genome variants including pathway profiles. Discussion: Through prospective and detailed collection of information on 1) differences in incidence and clinical course of CMS for different patient and tumour characteristics, 2) standardized surgical data and their association with CMS, 3) diversities and results of other therapeutic interventions, and 4) the role of host genome variants, we aim to achieve a better understanding of risk factors for and the clinical course of CMS - with the ultimate goal of defining strategies for prevention and treatment of this severely disabling condition.Peer reviewe

Arthropod communities in fungal fruitbodies are weakly structured by climate and biogeography across European beech forests

Aim The tinder fungus Fomes fomentarius is a pivotal wood decomposer in European beech Fagus sylvatica forests. The fungus, however, has regionally declined due to centuries of logging. To unravel biogeographical drivers of arthropod communities associated with this fungus, we investigated how space, climate and habitat amount structure alpha and beta diversity of arthropod communities in fruitbodies of F. fomentarius. Location Temperate zone of Europe. Taxon Arthropods. Methods We reared arthropods from fruitbodies sampled from 61 sites throughout the range of European beech and identified 13 orders taxonomically or by metabarcoding. We estimated the total number of species occurring in fruitbodies of F. fomentarius in European beech forests using the Chao2 estimator and determined the relative importance of space, climate and habitat amount by hierarchical partitioning for alpha diversity and generalized dissimilarity models for beta diversity. A subset of fungi samples was sequenced for identification of the fungus’ genetic structure. Results The total number of arthropod species occurring in fruitbodies of F. fomentarius across European beech forests was estimated to be 600. Alpha diversity increased with increasing fruitbody biomass; it decreased with increasing longitude, temperature and latitude. Beta diversity was mainly composed by turnover. Patterns of beta diversity were only weakly linked to space and the overall explanatory power was low. We could distinguish two genotypes of F. fomentarius, which showed no spatial structuring. Main conclusion Fomes fomentarius hosts a large number of arthropods in European beech forests. The low biogeographical and climatic structure of the communities suggests that fruitbodies represent a habitat that offers similar conditions across large gradients of climate and space, but are characterized by high local variability in community composition and colonized by species with high dispersal ability. For European beech forests, retention of trees with F. fomentarius and promoting its recolonization where it had declined seems a promising conservation strategy