This work focuses on performance art networks. The foundation and development of these virulent, globally active structures was not conditional on the Internet. It is a field that, despite its international presence and continuity lasting more than 20 years, has been documented in relatively few research projects.
It will investigate three 'projects' that stand exemplarily for these networks within the scope of this work:
The Artists Village (TAV) in Singapore, PAErsche in Germany and Black Market International (BMI), which has no national localisation.
A major part of this work will deal with the actions of these three networks, of which TAV and BMI were founded back in the 1980ies, when the notion of networking had a very different linguistic connotation. However, the visions and ideas of networking were already inherent in TAV and BMI.
This work does not aim to carry out any basic research into the topic of networks, though it will investigate the factors that bring about and define the special performance art networks.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Network theories and definitions
- Georg Simmel
- Gilles Deleuze & Felix Guattari 'rhizome'
- Bruno Latour 'actor-network theory' (ANT)
- Own definition of the network theory on which this work is based
- Historical outline of artists' structures
- The first art groups and networks
- Other currents (approx. 1830-1945)
- The second big wave (after 1945)
- Gutai
- Fluxus
- Ultimate Akademie:
- Prerequisite for the emergence of performance art networks
- Social and political prerequisites
- Individual prerequisites
- Performance-Art networks
- The Artists Village (TAV)
- Black Market International (BMI)
- PAErsche Aktionslabor
- Collaborations and structures in performance art networks
- Historical development
- Contents and goals of performance art events
- Hosts and organisers
- Financing
- Venues
- Censorship, taboos, rules:
- Summary and prospects for performance art networks
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This work focuses on performance art networks and their foundation and development, which occurred before the advent of the internet. Despite their international presence and lasting continuity of over 20 years, these structures have been documented in relatively few research projects. The study investigates three exemplary networks: The Artists Village (TAV) in Singapore, PAErsche in Germany, and Black Market International (BMI), which has no national localization. The paper explores the actions of these three networks, their financing, communication with other networks, and the special quality of 'performance art networks'. It also analyzes the mental attitude artists need to bring to be anchored within such a network, while examining the relationship between the idea of a network and the laconic statement by Ben Vautier: 'Art is Ego'.
- The history and development of performance art networks.
- Network theories and their application to performance art.
- The social and political context of performance art networks.
- The role of individual artists and their mental attitude within performance art networks.
- The structure and functioning of performance art networks.
Zusammenfassung der Kapitel (Chapter Summaries)
Chapter 1 introduces the concept of networks and discusses its evolution, tracing its development from early cooperation structures to its modern-day usage, particularly within the context of the internet. This chapter presents three network theories that are relevant to performance art: Georg Simmel's theory of interaction, Gilles Deleuze and Félix Guattari's concept of 'rhizomes', and Bruno Latour's 'actor-network theory' (ANT).
Chapter 2 provides a historical overview of artists' structures, tracing the development of artists' groups and networks from the 19th century onward. It examines how these groups arose from a variety of motivations, including a reaction to industrialization, a search for alternative models, and a desire to express new ideas. The chapter highlights significant movements, such as the Nazarenes, the Düsseldorf school of painting, Impressionism, and the avant-garde movements of the 20th century.
Chapter 3 focuses on the prerequisites for the emergence of performance art networks, outlining the social, political, economic, and individual factors that contributed to their rise in the 1980s and 1990s. This chapter explores the specific conditions and challenges that each of the three main networks studied – TAV, BMI, and PAErsche – faced in their respective contexts. It also analyzes the individual prerequisites for participating in such networks, highlighting the importance of personal commitment and a rejection of hierarchies.
Chapter 4 examines three exemplary performance art networks: The Artists Village (TAV), Black Market International (BMI), and PAErsche Aktionslabor. It describes the history, structure, and core ideas of each network, emphasizing the distinct features and shared challenges that define their artistic actions.
Chapter 5 explores the collaborations and structures within performance art networks. It examines the historical development of events, such as festivals, symposia, and conferences, and analyzes their content, goals, and organizational structures. The chapter also investigates the role of hosts and organizers, the challenges of financing performance art events, the diverse venues used, and the complex issues surrounding censorship, taboos, and rules within these networks.
Chapter 6 summarizes the findings of the study and explores the prospects for performance art networks in a rapidly changing globalized world. It discusses the role of these networks in preserving artistic autonomy and challenging social norms, as well as the challenges they face in navigating the complexities of a increasingly commercialized art world.
Schlüsselwörter (Keywords)
The core focus of this work lies on performance art networks and their influence on the development of the performance art scene. The text examines the different ways in which these networks emerged and operate, highlighting their self-organization, collaborative structures, and global reach. Key themes include artistic freedom, collective action, the rejection of hierarchies, the role of individual artists, and the challenges of censorship and financial support in performance art.
- Citation du texte
- BA Liane Ditzer (Auteur), 2013, Networks in Performance Art. Network Theory Applied to Artists' Structures, Munich, GRIN Verlag, https://www.grin.com/document/314610
