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Curating Live Arts : Global Perspectives on Theory and Practice.
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Otros Autores: | , , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York, NY :
Berghahn Books, Incorporated,
2018.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Intro; Curating Live Arts; Copyright Page; Contents; Illustrations; Prologue
- Bethinking One's Own Strengths: The Performative Potential of Curating; Acknowledgments; A Collective Introduction; A Note on Curatorial Statements
- A Third Space: Chasing the Intangible; Part I
- Historical Framings; Chapter 1
- From Content to Context: The Emergence of the Performance Curator; Practical Space
- Curiosity and Intuition; Chapter 2
- Exhibiting Performances: Process and Valorization in When Attitudes Become Forms-Bern 1969/Venice 2013.
- Chapter 3
- Can We Curate Dance without Making a Festival? On Dance Curatorship and Its Shifting BordersChapter 4
- Curating Performance from Africa on International Stages: Thoughts on Artistic Categories and Critical Discourse; Practical Space
- Untitled; Chapter 5
- The Curating Nation: Emergence of Performance Curation in Singapore and Its Impact on Cultural Politics; Chapter 6
- The Curatorial Chronotope; Practical Space
- Layers; Chapter 7
- More Weirdness, More Joy: Performance Curation and Pedagogy at Danspace Project and the Institute for Curatorial Practice in Performance.
- Part II
- Ethical ProposalsChapter 8
- Dancing the Museum; Chapter 9
- Curatorial Discourse and Equity: Tensions in Contemporary Dance Presenting in the United States; Practical Space
- Holy Motor-a Mechanical Metaphor Surrounding the Live Arts Curator; Chapter 10
- Noticing the Feedback: A Proposal to the Contemporary Dance Field, and/or This Revolution Will Be Crowdsourced; Chapter 11
- Email to a Curator: An Introduction to The Curators' Piece; Practical Space
- Curating Liveness; Chapter 12
- Curation as a Form of Artistic Practice: Context as a New Work through UK-based Forest Fringe.
- Part III
- The Artist-CuratorsChapter 13
- The Artist-Curator, or the Philosophy of "Do-It-Yourself"; Embodied Space
- "Soft-Curation," Pollination, and Rhizomes; Chapter 14
- Being in the Vanguard of Sensibility: Artists as Curators in Performing Arts-a Study of Collective Affect; Chapter 15
- Familias: Artist-Activist Curation in the South Bronx, New York; Chapter 16
- What We Talk About When We Talk About Curating the "Unexpected"; Embodied Space
- Greater Than; Chapter 17
- Because I Love Art, I Want Art to Be Different: The Project Perverse Curating and a Few Things I've Learned from It.
- Chapter 18
- Making Stage: Contemporary Dance and Performance Curation in the CaribbeanEmbodied Space
- As We; Chapter 19
- The Work of the Musician-Curator in Relation to the "Concert Scenario"; Chapter 20
- Pseudo-, Anti-, and Total Dance: A Self-Interview on Curation; Chapter 21
- Collective Creation and Improvised Curation: A Discussion with Body Slam; Part IV
- Exhibition as Events; Chapter 22
- A New Kind of Critical Elsewhere; Chapter 23
- Re-enact History? Peforming the Archive!
- Chapter 24
- Choreographing Archives, Curating Choreographers: Yvonne Rainer, Xavier Le Roy, and the Dance Retrospective.