ARCHIVE AND DOCUMENT IN PERFORMATIVE ARTS: THEORIES, METHODOLOGIES AND PRACTICES

Abstract

The problem of archiving and document status has long been one of the cornerstones for the theory of performative arts. Moreover, for decades its discussion has inevitably accompanied discussions about the key concepts of the theory of performative arts: presence, media and mediatization, participation, etc. In the modern art of the last third of the twentieth century, thanks to institutional criticism, the archive was interpreted as an artistic form. Conceptual art and the art of institutional criticism are associated with numerous projects of fictitious, composed archives, author's collections, etc. Archiving and documentation as a problem and technique have spread widely beyond the gallery and museum into cinematography, theater, street art. The concept of a New Archive appeared in aesthetics, which was developed in Russian philosophy by Elena Petrovskaya. These circumstances require the reaction of both the professional community of historians, archivists engaged in art archives, and the community of historians.

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