The more radical possibility is that they [the performances themselves] may not even depend on whether the event actually happened. It may well be that our sense of the presence, power, and authenticity of these pieces derives not from treating the document as an indexical access point to a past event but from perceiving the document itself as a performance that directly reflects an artist’s aesthetic project or sensibility and for which we are the present audience.
Philip Auslander. PAJ 84 (2006), pp. 1–10.1 THE PERFORMATIVITY OF PERFORMANCE DOCUMENTATION
Our archive collects and organizes documentation of performing and performance art in different media: photography, video, text and physical objects. This Archive functions in a way as a corporeal catalogue available for the general public interested in approaching performance, performing arts and its ideas. But also as a more objective platform for the exposure to such a practice into the contemporary Art realm and its different contexts.
Artists are invited to submit their portfolios to:
Once selected, the artist will be guided through an individual didactical process that follows a wide decentralized understanding of their practices, avoiding categorizations upon gender, age and nationality.
We offer artists the opportunity to constantly update their profiles and add new data once selected.