퍼포먼스와 기록물, 그리고 리퍼포먼스 - 마리나 아브라모비치의 <세븐 이지 피시스> 중 <액션 팬츠: 제니탈 패닉>을 중심으로 -

서지정보

· 발행기관 : 미술사문화비평학회
· 수록지 정보 : 미술사문화비평 / 2권
· 저자명 : 김윤경

목차

1. 머리말
2. Seven Easy Pieces 에 나타난 퍼포먼스와 기록물의 관계
3. 기록물에 근거한 리퍼포먼스
(1) 기록물에 조율된 미술가의 아이디어
(2) 퍼포먼스와 리퍼포먼스의 경계의 해체
4. 맺음말

영어초록

Seven Easy Pieces, the performances that Marina Abramović had shown at Guggenheim Museum in November, 2005 gathered attentions for she represented the performances that had been in 1960s and 70s by the artists herself and her colleagues on those term. The complex meaning of the title, Seven Easy Pieces was enough to make an issue. It contained the meaning of the musical concept and the slogan of the designer Donna Karen simultaneously and showed the performances of 1960's and 70's every night during a week. This show included and presented as follows, Bruce Nauman's Body Pressure(1974), Vito Acconci's Seedbed(1972), VALIE EXPORT's Action Pants: Genital Panic(1968), Gina Pane's The Conditioning(1973), Joseph Beuys' How to explain pictures to a Dead Hare?(1965), her own performance Lips of Thomas(1975) and Entering the Other Side(2005) at the last night.This show was progressing with the performance biennale 'Performa05', at the same time but was not a part of it. However, there is the major significance that Guggenheim made agreement with Abramović to make the performance art meaningful. Also it looked like going together with the meaning of 'Performa05' that Abramović chose the performances during 1960s and 70s when the performance arts have animated. Though, we should consider that the purpose of Seven Easy Pieces was really in remembering the early performances just like she had chosen. Because It had too many interesting points.First, Abramović asked to the major artists in 1960 and 70 the permissions to re-perform their works or paid for copyrights to progress her show. In this pregress, Chris Burden refused to let his work, Trans-Fixed(1974) perform again by Abramović, and Guggenheim denied to re-perform Abramović's Rhythm0(1974). This was the unheard-of thing in the re-performance some works. So, it could be understood as because the performance art was shown in 'the present', in 'the museum', consequently Abramović had to accept the conditions of 'time' and 'space'.Second, there were lots of differences between the original performances and Abramović's re-performances in Seven Easy Pieces. Actually it is not possible to revive the original works as those were, but Seven Easy Pieces is worthy of notice that Abramović adapted the original things. This can be explained by residing in that Abramović couldn't experience the real scene at that time and she planed this show only depending on the documents. And this point can occur the problems of the relationship between the original performance, the documents, and the re-performance based on the documents.Therefore this study set up the purpose to shape up Abramović's intention and the meaning of the re-performance with investigating the re-performed works in Seven Easy Pieces.

참고자료

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