Museums and Performance

This paper considers Joan Jonas’s translations of her works from performance to installation through a focus on one specific but crucial work: her 1976 performance, turned multi-channel video installation, Mirage. Throughout her career Jonas has worked  fluidly across media, cultivating transformations among motifs as they traverse two and three dimensions, still and moving images, and return in various works over time. As introduced within the context of Jonas’s 1994 retrospective at the Stedelijk Museum Amsterdam, installation forms a relatively new component in this matrix, but not a fundamentally different approach. This paper argues that to recognize that continuity is to appreciate Jonas’s performances and installations not as dichotomous but rather as integrated within a cohesive practice that encompasses her multifaceted artistic concerns. At the same time, to recognize the new emphasis that Jonas placed on installation at a crucial historical juncture in the 1990s suggests an interpretation of her practice as historiographical, the artist’s active shaping of her work’s legacy in the future. With close attention, Jonas’s actions demonstrate her conceptualization of her performances and their potential relationships to other art forms—information vital to broader histories of performance art and the integration of performance within museum collections.

The purpose of this research was to identify the factors upon which museum sustainability depends and the way in which this can be measured. Methodologically, we applied a qualitative research approach, using semi-structured interviews with experts from the Romanian museum sector, complemented by an in-depth study of the literature in this field. Results indicated that any objective measuring of sustainability must take into account the size of a museum's collections and its organizational structure. It was also found that museum type can affect sustainability via its competitive advantage. However, the sustainability of a museum is not strictly determined by these factors, but also by the management and marketing strategies applied. Based on analysis of literature-and respondent-based factors influencing sustainability, this article proposes a set of 33 indicators that can be used by museums to measure their sustainability, as well as a model that enables evaluation of the sustainability levels of various museums comparatively, regardless of their type, size or importance (e.g., national, regional and local). The results obtained are useful both from a theoretical point of view, given that there are few writings on this topic, and from a practical point of view, as they provide a basis for a clear, objective model of museum sustainability measurement.

KeyWords: Performance, Performing Arts, Musealization of Performing Arts, Public-Spectator, Public-Visitor, Performative Space, Exhibition Space.
This dissertation comes forward with the primary question "Can a museum also be considered a performative space?” to extend its analysis and reflection to various dimensions that focus on the study of performance in the museum sphere.
Thus, following its structure, this work begins by reflecting and questioning prevalent concepts of these subject areas: art, work of art and conceptual differences and options around the term 'performing arts'.
Hence, the focus of this reflection develops around the issues of memory and heritage produced by these artistic expressions and how they are, can and should be treated as museum collections, as opposed to the place and status of the public (whether as a spectator or as a visitor) as well as the space – of performance or exhibition - in its features and in moments of blending of its characteristics. All this reflection and analysis are followed by practical examples: artistic projects or exhibition proposals that challenged the norms and common practices.
As methodological practice, the work draws on bibliography which covers different fields of study: museology, art history, performative studies, architecture, sociology, among others.
Herewith, we do not intend to wear out this subject but, quite the opposite, to open a threshold for a new line of research which might bring the artistic and performative studies together with museology.

In a talk originally presented at the 2015 Munich conference for the “Show Me a World” project, scholar André Lepecki, drawing from postcolonial theory and critical black studies, puts forth a critique of the colonial tendencies within curatorial practice and the art system. Lepecki proposes decolonized curation as the imaginative affirmation of a wholly new collective sociability and finds a model for these relations in the notoriously “difficult to curate” art of Lygia Clark. As “wild things,” rather than objects of art, the works of Clark escape the colonized art system, offend curatorial reason, and question the assumed hierarchies of artists, objects, and subjects inherent within traditional curatorial practice.

An essay on Anne Imhof's 2019 work at Tate Modern, "Sex." It considers Imhof's use of architecture, objects, bodies, and, above all, the assembled audience's physical and digital movement as a choreography of technologies of subjectivity.
Available here as a pdf. Also at https://www.artforum.com/print/201906/jonah-westerman-on-anne-imhof-79914

UNESCO has defined world cultural heritage as either tangible or intangible cultural heritage. Saudi Vision 2030 strategies is the Culture of Community and Dynamic Supportive Environment, which supports the national identity, maintains the museums, and encourages tourism. This research aimed to assess museums' performance in four focus areas (sustainability, smart solutions, techno-cultural solutions, and health procedures) during the post-COVID-19 period in Riyadh city. The method consisted of a survey distributed during 04/2021 to stakeholders at the University in two sample case studies: Al Masmak Fort Museum and Riyadh National Museum. The main research aspects of the two samples were compared. The results are average results from survey records and respondents' responses to survey questions between RNM and MFM to each category: sustainable access (31%) material (31%) water efficiency (29.5%) energy efficiency (32%) smart solutions (31%) and techno-cultural solutions (33%). The health procedures (50.5%) in Table 2. The improvement will be reflected in more advanced and innovative solutions for the museum buildings. could be applied to museum buildings locally and internationally.

RESUMO
Ao contrário do que aconteceu numa série de países europeus onde no Pós II Guerra Mundial foram construídos museus de arte moderna, sinal de democracia e liberdade, em Portugal, devido ao regime de Salazar e Caetano, esta construção aconteceu já na década de 1980, por iniciativa da Fundação Calouste Gulbenkian. Assim, o Centro de Arte Moderna (CAM) da Fundação Calouste Gulbenkian, inaugurado em 1983, viria a ser, na prática, o primeiro museu de arte moderna do país, com uma colecção organizada de propósito para a ocasião.
Pensado como um centro de arte e não como um museu, o CAM incluía uma sala polivalente, um anfiteatro ao ar livre, uma sala de exposições temporárias e um pavilhão para
crianças. A actividade que tinha lugar para lá das galerias do museu era da responsabilidade do Serviço de Animação, Criação Artística e Educação pela Arte (ACARTE). Várias
temporalidades parecem coexistir: a promessa realizada de uma vontade de ter um museu de arte moderna vinda da década de 1950/1960; alojada num espaço arquitectónico característico da década de 1970 e inaugurada na década de 1980, o CAM; e albergando no seu interior um Serviço, o ACARTE, em sintonia com os esforços de criação de uma “Europa da Cultura” da década de 1990; e que se poderia entender como prefigurando a viragem curatorial em
direcção ao discursivo e ao performativo que tem lugar já em 2000.
O ACARTE pode igualmente entender-se como o culminar de duas décadas de investigação em Educação pela Arte e Educação Artística, pois a sua Fundadora e primeira
Directora, Madalena Perdigão, não apenas criou a Orquestra, o Coro e o Ballet Gulbenkian, como foi responsável pela reforma do Conservatório, em 1971, e por um projecto falhado de reestruturação do Ensino Artístico Nacional, em 1978. Uma história intrincada liga assim as
experiências em Educação pela Arte levadas a cabo na Gulbenkian antes da Revolução, a reforma do conservatório, a falhada reestruturação do Ensino Artístico Nacional e o regresso de Perdigão à Fundação Calouste Gulbenkian em 1984. Neste sentido, a actividade do ACARTE na década de 1980 continua as experimentações pedagógicas da década de 1960.
Mas não apenas: esta actividade pode também ser entendida no cruzamento entre uma série de práticas de curadoria e programação. Ao pautar a sua acção por uma “atenção à falta”, o ACARTE terá desenvolvido uma forma particular de albergar propostas estéticas e políticas
geralmente atribuídas a períodos distintos, abrindo-se às diferentes percepções que os contemporâneos teriam do seu momento histórico. Torna-se, como tal, um caso de estudo exemplar no que diz respeito a modernidades descentradas.
Estruturando-se como uma lente para observar o ACARTE na década de 1980, este trabalho organiza-se em duas partes: Texto e Timeline Digital ACARTE 1984-1989, composta exclusivamente para este fim. Se a última procura abrir a acção deste Serviço a investigações futuras, a primeira procura situá-lo no seu contexto de emergência, prestando
particular atenção aos modos como a sua acção contribui para uma reconfiguração da experiência da corporalidade que por estes anos tem lugar.

PALAVRAS-CHAVE: Fundação Calouste Gulbenkian, ACARTE, MadalenaPerdigão, Arte Moderna, Nova Dança, Anos 80, Europa, CEE, Modernidades Descentradas, Arquivos Digitais, Modernização, Transformação da Experiência da Corporalidade, Comuns na Cultura

ABSTRACT

Unlike several European countries where modern art museums were built in the 1950s/1960s following World War II as a symbol of democracy, Portugal’s economic
conditions (the country was drained by the colonial wars) and Salazar’s rule would only allow for the construction of a modern art museum in the 1980s under the private initiative of the Calouste Gulbenkian Foundation, shortly before Portugal joined the European Economic Community. The Gulbenkian’s Centro de Arte Moderna [CAM – Modern Art Center] opened in 1983, and it was the first modern art museum in Portugal.
Thought of as an art center rather than a museum, CAM included a multi-purpose hall; an open-air amphitheater; a temporary exhibition hall and a children’s art center. The activity taking place beyond the exhibitions gallery where the museum was lodged was the responsibility of ACARTE, the Gulbenkian Foundation’s Department of Artistic Creation and
Art Education. Several temporalities seem to be at stake. Schematically: CAM was a promise from the 1950/60s that was fulfilled; placed in an architectonic archetype from the 1970s; which opened in the 1980s; hosting the ACARTE Department, whose curatorial approach – mainly focused on performance, dance, theatre and relational events – could be seen as prefiguring the curatorial discursive and performance turn of the 2000s.
ACARTE can also be thought of as the culminating point of two decades of research on Education through Art and Artistic Education. Its founder and first director Madalena
Perdigão not only founded the Gulbenkian Orchestra, Chorus and Ballet, but was also responsible for the reform of the national conservatory school in 1971 and for a failed
reorganization project of the national artistic education in 1978, after the 1974 Revolution.
There is thus an intricate history linking the pedagogic experiments prompted by the Gulbenkian Foundation before the 1974 Revolution, the reform of the national conservatory
school, Perdigão’s failed efforts towards restructuring the National Art Education, and her return to the Gulbenkian Foundation as ACARTE Director in 1984. Hence, ACARTE’s
activities in the 1980s are directly related to the 1960s’ experiments in pedagogy. But not exclusively: the department’s activities can also be looked at as being at the crossroads between a series of curatorial and programming practices. By basing its activity on the need to attend to what “is missing” ACARTE developed a particularly attentive way of moving through aesthetic and political proposals usually allocated to different time spans, thus accounting for the different perceptions its contemporaries had of their time. As such, ACARTE is a superb case study with regard to decentered modernities.

Organized as a lens to look into ACARTE through the 1980s, this work is divided into two parts: Text and Digital Timeline ACARTE 1984-1989. If the latter, a digital archive, aims at opening up ACARTE’s activity to future researches, the first aims at situating this Department in its context of emergence. It pays particular attention to the ways in which
ACARTE can be seen as a major event for the reconfiguration of the subject’s experience of corporeality that was taking place by then.

KEYWORDS: Calouste Gulbenkian Foundation, ACARTE, Madalena Perdigão, Modern Art,
New Dance, 1980s, Europe, European Economic Community, Decentered Modernities,
Digital Archives, Modernization, Transformation of Corporeality, Culture Common

This paper considers Joan Jonas's translations of her works from performance to installation through a focus on one specific but crucial work: her 1976 performance, turned multi-channel video installation, Mirage. Throughout her career Jonas has worked fluidly across media, cultivating transformations among motifs as they traverse two and three dimensions, still and moving images, and return in various works over time. As introduced within the context of Jonas's 1994 retrospective at the Stedelijk Museum Amsterdam, installation forms a relatively new component in this matrix, but not a fundamentally different approach. This paper argues that to recognize that continuity is to appreciate Jonas's performances and installations not as dichotomous but rather as integrated within a cohesive practice that encompasses her multifaceted artistic concerns. At the same time, to recognize the new emphasis that Jonas placed on installation at a crucial historical juncture in the 1990s suggests an interpretation of her practice as historiographical, the artist's active shaping of her work's legacy in the future. With close attention, Jonas's actions demonstrate her conceptualization of her performances and their potential relationships to other art forms—information vital to broader histories of performance art and the integration of performance within museum collections.

Este artículo revisa las traslaciones que Joan Jonas realiza en sus obras desde la performance a la instalación, mediante la focalización en un proyecto concreto que resulta crucial: Mirage, su performance de 1976 que fue convertida en una video-instalación multicanal. A lo largo de su carrera, Jonas desarrolló sus ideas a través de diferentes medios, cultivando transformaciones entre temáticas que atravesaban las dos y tres dimensiones, imágenes tanto estáticas como dinámicas, y obras sobre las que volvía pasado el tiempo. Tal y como se introdujeron en el contexto de la retrospectiva de Jonas en el Stedelijk Museum de Amsterdam en 1994, las instalaciones-performance constituyen un componente relativamente novedoso en su matriz artística, pero no plantean una aproximación fundamentalmente diferente. Este artículo argumenta que, para reconocer esa continuidad, hay que apreciar las performances e instalaciones de Jonas no como algo dicotómico, sino más bien como integradas en una práctica coherente que acompasa sus preocupaciones artísticas multifacéticas. Al mismo tiempo, reconocer el nuevo énfasis que Jonas puso en la instalación durante una coyuntura histórica crucial en los años 90, sugiere una interpretación de su práctica como historiográ ca, la con guración activa del legado de su obra para el futuro. Una mirada atenta muestra que las acciones de Jonas proponen una conceptualización de sus performances y de su relación potencial con otras formas artísticas –información vital de cara a unas historias ampliadas de la performance y a la integración de esta en las colecciones de museos

Art is a very dynamic, holistic learning tool in Adult Education with the power to contribute, not only to the process of understanding oneself with alternative media, but to the potential transformation of dysfunctional beliefs and attitudes.
This poster presentation introduces an example of good practices in the use of the arts in Adult Education, through a museum educational program that took place in the Herakleidon Museum of Contemporary Art in 2013.
Its basic goal was the inner exploration and reflection upon the meaning of the " Labyrinth " , in a process of self-awareness through activating emotional and kinesthetic intelligence.
In the final of five sessions, the group of the adult participants painted their version of the "labyrinth", while at the end they choreographed their paintings.
The results were impressive: everyone involved developed special bonds with each other, demonstrated empathy and embraced their kinaesthetic intelligence.
It was an overall rewarding, fun and liberating experience.
Key words: Labyrinth, Self-awareness, Empathy, Emotional Intelligence, Kinesthetic Intelligence.