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Performance Art in the 1990s and the Generation GapBook Section
Pierre Saurisse Performance Art in the 1990s and the Generation Gap
In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
2022. Performance; Reenactment; Generation; 1990s
Aspects and AbstractaBook Section
B. Madison Mount Aspects and Abstracta
Philosophers of perception and psychologists first studied ‘multistable’ or ‘reversible’ figures, Kippbilder, in the nineteenth century. The earliest description of the phenomenon of a ‘sudden and involuntary change in the apparent position’ of a represented object occurred in a letter written by Louis Albert Necker in Geneva to Sir David Brewster on 24 May 1832 and published six months later in the Philosophical Magazine. The picture in question would become known as the Necker cube.
2014. abstract algebra; aspect-relative cognition; homonyms; mathematical analysis; multistable figures; multistability; Wittgenstein, Ludwig – Philosophical Investigations