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Saturday March 16 | Session 10:30 - 12:15 (20 min) De Brakke Grond | Grote Zaal
Linus Gratte: Born in Stockholm, Sweden lives and work in Paris, France I was trained in the humanities, art history and curatorial practices in Panthéon-Sorbonne Paris 1 and Ecole du Louvre. In 2012-2013, I was a curatorial assistant for the exhibition Carambolages at Grand Palais, and then producing the inaugural exhibitions at MuCEM of Marseille. Since 2013, I work at the Centre Pompidou where I have been doing research, coordinating and production in several capacities. Currently at the Perfoming Arts department at the Centre Pompidou, since 2014, my specialty lies within the fertile ground common to the performative and visual arts and particularly how they can spring to life and intermingle in the exhibition space. I have furthermore contributed to exhibition catalogues, academic and given lectures university students in topics ranging from Swedish modern art and museology to the curation of performative arts in the museum environment.
How does the benjaminian aura of the art work pertain to and live up to the presence of the human body?  How are these two entities mediated institutionally, in the process where the art museum lends particular status and significance (ontological, legal, financial) to the art work?

If the performatively activated art object has a long history, the second half of 20th century has seen the advent so called experiential turn, as discussed by Dorothea von Hantelmann, following exhibition practices that emphasize “a lived bodily experience”, in the words of Rosalind Krauss. In recent years, this process is furthermore being accentuated in modern art museums where the presence of live art (dance, theatre, performance and music) is rapidly becoming an international standard.

When encouraged by the institutions, will the performative intervention question the status of the work of art and its commodification, or do they rather reinstate and polarize the distinctive economies of the body and the art work? Conversely, how does the intensified “realness”, as expressed through the ontological singularity of the art work setting it apart from other objects, lend itself to the interrogation so central to the performative practices of the 20th and 21st century that do away with representation and illustration. How does the confrontation of different levels of authenticity play out in the context of the so called “experience economy” that the contemporary art museum is facing?
This conference paper discusses these issues from a historical viewpoint, taking into consideration current institutional practices with several case studies from recent years.
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