Related Papers
Performativity in Contemporary Culture - Call for Papers
Kata Gyuris, Krisztina Kitti Tóth
This English-language conference brings together PhD students, scholars and researchers, all dedicated to the study of performativity and performance in various disciplines. We are looking for contributions that innovatively engage with issues of performativity, as well as the diverse functions and uses of performance in contemporary culture. The presentations will be organized into three thematic panels which tackle issues of performativity from different angles: 1. Performative Nostalgia in Literatures about Central Europe after Revolutions; 2. Performing Trauma through the Body in Contemporary Literature; 3.“Writing at the Threshold”: the Performativity of Storytelling in Liminal Situations Date of the conference: 24-25 May, 2019. Deadline for abstract submission: January 31, 2019. You can find more information on our website: https://narrativesofcultureandidentity.wordpress.com/conference-2019/
Slavia Meridionalis
Performativity – Politics – Community
2019 •
Ewa Wróblewska-Trochimiuk
Performativity – Politics – Community The paper is an introduction to 19th volume of “Slavia Meridionalis” which discusses the issue of performativity in the southern Slavic cultures. The author gives a review of the most important literature concerning the phenomenon of performativity and then presents the articles published in the journal. Performatywność – Polityka – Wspólnota Tekst jest wprowadzeniem do 19. numeru czasopisma „Slavii Meridionalis”, poświęconego zagadnieniu performatywności w kulturach południowej Słowiańszczyzny. Autorka daje przegląd najważniejszych prac poświęconych performatywności, a następnie omawia teksty zawarte w czasopiśmie.
Performativity and its Institutional Ethics
Keti Chukhrov
Performativity at present is understood as any kind of process, behavior or activism in the social space generally: as a result, what in the years of the performative turn was considered to be the breakthrough to emancipation, became commonplace. Present application of the word “performance” does not differentiate between methods and genres, randomly converging versatile performative and activist practices in contemporary culture, theatre, dance, art and social activism. Numerous representatives of the studies in anthropology or the newest tendencies in theatre insist on the unimportance of such differentiation, asserting there is no division between art performance, theatrical practices or social agencies. Contemporary art as the institute on its part does not tend to integrate these new performative practices, having its own lexicons of performativity. However, the situation has recently changed; the art performativity is rather importing the lexicons of performing arts than referring to the conceptual constraints of its performance heritage. The question to investigate then is what the social and institutional demands for such indistinction are and whether this indistinction lubricates, or on the contrary articulates the political horizons of contemporaneity.
International Performance Research Pedagogies
Liminal Performativity: Militant Research Between the University and Its Outside
2017 •
Iman Ganji
The reformists and activists in the contemporary university have long been talking about the transformations that have happened through the new economic order in this institution. Inspired often by Italian (post) autonomist thought, the focus has been on a transition that 'is fundamentally from the hegemony of material labour to that of immaterial labour' (Negri 2007, p. 62). Immaterial production is highly dependent on living beings and their affections. Indeed, 'the current passage in capitalist production is moving toward an "anthropogenetic model", a biopolitical turn of the economy ...[in which] the production of forms of life is becoming the basis of added value' (Hardt and Negri 2009, p. 132). The production of forms of life, on the other hand, shifts the focus from disciplining and hom*ogenizing the subjects and producing the objects to the creation of 'the world within which the object ...and the subject exist' (Lazzarato 2004, p. 188). Thus, 'performativity' as the basis of subjectification and the production of a form of life becomes centralized. Or rather, the most
Methis. Studia humaniora Estonica
How the Concept of Performativity Travels: between People and Media / Kuidas performatiivsuse mõiste rändab: inimeste ja meedia vahel
2021 •
Mieke Bal
Abstract: This article examines how the concepts of performance and performativity can neither be merged nor firmly distinguished. The author calls on her own practice as a video-maker and academic thinker, establishing a dialogue between the two activities. She borrows extensively from the work of a colleague, with examples from photography, considering collegiality also a form of performativity. The conceptualisation helps argue for a shift from activist to activating art. Resümee: Artikkel uurib, kuidas etenduse ja performatiivsuse mõisteid ei saa ühitada ega selgelt eristada. Autor tugineb oma kogemusele videorežissööri ja akadeemilise mõtlejana, luues dialoogi nende kahe tegevuse vahel. Kolleegi fotograafia-alastest töödest lähtudes arutleb ta kolleegiaalsuse kui performatiivsuse ühe vormi üle. See kontseptsioon viib tõdemuseni, et kunsti kui aktivismi juurest tuleks liikuda aktiveeriva kunsti juurde.
Advances in Social Sciences Research Journal
Performative spaces in the work of Ann Veronica Janssens and Rafael Lozano-Hemmer
Toni Simó Mulet
Gender Place and Culture
Dispossession: the performative in the political
2016 •
Leticia Sabsay
Anthem Press
Reclaiming Cultural Space: The Artist's Performativity versus the State's Expectations in Contemporary Iran
2013 •
Hamid Keshmirshekan
Eirini Avramopoulou
JOURNAL OF CULTURAL ECONOMY
Rethinking performativity: ethnographic conceptualism
2020 •
Nikolai Ssorin-Chaikov
Ethnographic conceptualism takes its cue from conceptual art and uses artistic interventions as an anthropological research tool. The term 'ethnographic conceptualism' was coined to sum up the method of the exhibition project Gifts to Soviet Leaders (Kremlin Museum, Moscow 2006) as simultaneously a reflection on the vast and complex economy of public gifts to heads of Soviet state, a distinctly post-Soviet political and cultural artefact, and as a tool for ethnography of post-socialism. This article explores ethnographic conceptualism's contribution to performativity theory. I look at how it makes visible the tension between what such projects perform and describe. In doing so, I use ethnographic conceptualism as a vantage point to revisit the foundational distinction of performativity theory between the constative and performative statements (Austin). Drawing in this artistic and research method, I redefine the performative, not as a domain or a type of utterance that is distinct from the constative, but as an act of drawing this distinction.
