1/13/2024 0 Comments Nlo 2014 videoHerausgegebenen vom Forschungsverbund Künstlerpublikationen) Ein Gespräch mit Andrej Monastyrskij,” in setup4 artist´s publications, No. Zu den Performances der Moskauer Gruppe Kollektive Aktionen. Sabine Hänsgen: “ Medien der Dokumentation. Sabine Hänsgen: “Video Poiesis,“ in: Georgij Kizeval’ter (Ed.): Perelomnye vos’midesjatye v neoficial’nom sovetskom iskusstve. Sharp, New Brunswick: Zimmerli Art Museum at Rutgers University 2016, S. The Visual Field of Moscow Conceptualism. Sabine Hänsgen: Conversations with Andrei Monastyrski: Questions about the History of Collective Actions, General Questions regarding the Aesthetic History of the Moscow Archive of New Art Circle (MANI). Edited by Urška Jurman, Christiane Erharter, Rawley Grau, Ljubljana / Berlin / Wien 2016, S. Three Performances from the Videotheque of the Collective Actions Group: Dedications to Inspection Medical Hermeneutics. Sabine Hänsgen: Polaroid – Link – Means for a Series. The contributions of this workshop will be published in ARTMargins Online. Zurich Cabaret Voltaire, 3-5 November 2016 In this research area a workshop with artists, curators and researchers took place: The artists in Eastern Europe thus ended up becoming their own archivists, critics, and historians. In this context, artists were compelled to assume all the functions that otherwise fall to contemporary art critics and the art market. Not only did it reflect, as in the case of Western performance art, the problematic nature of passing on traditions of actions, happenings, and performances self-documentation was moreover a strategic means of compensating for having been excluded from the general public within society. In Eastern Europe, however, the documentation of ephemeral events took on a very special meaning. In the Western world, performance art – which is determined by transience, uniqueness, and a shared presence with the audience – has also always faced the task of integrating its documentability into the artistic process. The formation of a self-reflexive apparatus played a decisive part in the development of Eastern European performance art.
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