DRAF Studio – Live Forever. Does Performance Need Collecting? (21 Nov 2015)
21 Nov 2015 - 4pm
Free, no booking required.
A Saturday afternoon of performance and conversation, with Dora Garcia’s The Game of Questions (2004), a panel discussion between Teresa Calonje (Author, Live Forever: Collecting Live Art), Claire Louise Staunton (Director, Flat Time House), dancer Ellen van Schuylenburch and Jonah Westerman (Postdoctural Research Associate, ‘Performance at Tate’).
Teresa Calonje is a curator and researcher based in London. She is a PhD candidate at Goldsmiths College and is currently commissioning a series of live interventions at Second Home, London. In 2014, she published a collection of essays and interviews critically engaging in issues of acquisition and conservation of performance, Live Forever. Collecting Live Art, (Koenig Books).
Ellen van Schuylenburch was an independent dancer in the late 1970s in New York working with experimental and Post-Modern choreographers whilst training with Merce Cunningham from 1978 to 1984. In 1983 Michael Clark invited Van Schuylenburch to dance in a duet and she soon became a founder member of Michael Clark Company. More recently she set up Clark’s archive. She teaches at Trinity Laban Conservatoire for Music and Dance. She has performed in Nina Beier’s The Complete Works since 2011 and in several Tino Sehgal’s productions.
Claire Louise Staunton is a curator and researcher based in London. She is Director of Flat Time House: an institute, gallery and archive in the former home and studio of artist, John Latham. Staunton is also Curator with Inheritance Projects that she established in 2007. She writes for a number of paper and on-line publications including Frieze and rhizome.org. Her research interests focus on the social imaginary, the idea of a “fictional public”, temporal contingencies, migrancy and newness as a condition for art making.
Jonah Westerman holds a PhD in Art History from The Graduate Center, City University of New York (CUNY) and a BA from Harvard University. He is now working on a two-year, AHRC-funded research project, ‘Performance at Tate’, which interrogates the place of performance in the museum’s collection and programming. He has published on the relationship between performance and its media in journals and edited collections, and has taught courses on modern and contemporary art at Brooklyn College, CUNY and the Museum of Modern Art, New York.