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Saturday March 16 | Session 10:30 - 12:15 (20 min)
De Brakke Grond | Grote Zaal
Nowadays, performing arts are invading museum spaces.

From the MAXXI in Rome (Sasha Waltz, 2009) to the Louvre in Paris (Dancing Museum, 2017), to the Witte de With Art Center in Rotterdam (The Kunsthalle for Music, 2018) or the WIELS in Bruxelles (Anne Teresa de Keersmaeker 2015), the interaction between different art fields (dance, theater, music, etc.) gives rise to hybrid dynamics of permeabilization in which arts meet one another. Therefore, the concept of borderscapes emerges, understood as a space that is represented, perceived and lived in a: “fluid field of a multitude of political negotiations, claims, and counterclaims” (Rajaram & Warr, 2007), between different artistic languages which give rise to new heuristic forms of aesthetic proposals.

On the side of museum studies, this series of proposals could be considered as a marketing strategy to make room to the “spectacle”, viewed as an economical device for attracting more and more public. However, on the side of performance studies, this migration from the black box to the white cube could be understood as a real invasion. As a sort of intoxication, undergone by museums and visual art contexts, it recalls the desire of the avant-gardes of the first half of the 20th century, in particular, Futurism, to cross the borders, to invade new areas, and to experience new expressive possibilities.

Through the study of a contemporary case, Dancing Museum Project, the paper focuses on the re-enactment of this historical subversion attitude — this “continuous and liberated relationship of the most varied techniques and expressive forms in renewed and sacrilegious action”  —, in order to study contemporary performative ways of intervening in alternative institutions.

Pamela Bianchi is an art historian (Milan, 2011), and Doctor (Ph.D., 2015) in Aesthetic, Sciences and Technologies of Arts at the University of Paris 8. She is a researcher at the Lab. AI-AC, University of Paris 8, where, since 2013, she was a lecturer in History and Aesthetic of Contemporary Art. Her research interests include the history of the exhibition space, the history and theories of the exhibition, the museographic studies and new curatorial approaches. She is the author of the book: Espaces de l’œuvre, espaces de l’exposition. De nouvelles formes d’expérience dans l’art contemporain, Paris, Connaissances et Savoirs, 2016.

The destructive character knows only one watchword: make room. And only one activity: clearing away. […] The destructive character sees nothing permanent. But for this very reason, he sees ways everywhere. […] But because he sees a way everywhere, he must clear things from it everywhere. Not always by brute force; sometimes by the most refined. Because he sees ways everywhere, he always stands at a crossroads.” (Walter Benjamin)

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