Trisha Brown at documenta 12 – history, media, performance
With Trisha Brown’s performances Floor of the forest (1970), Accumulation (1971), the video Roof and fire piece (1973), as well as the drawings Geneva, handfall (1999) and Untitled (2007), for the first time in documenta history, dance performances will be seen in the museum space throughout the 100 days of the exhibition, as well as being presented in the context of the artist, dancer and choreographer’s graphic and video work.
Many visitors, following their viewing of inanimate art works, are visibly captivated by the movements of the real bodies of the dancers in Trisha Brown’s performances Floor of the forest (1970) and Accumulation (1971). However, the roots of the performances in dance history, as well as their references to the development of pictorial art in New York in the 60s and 70s, remain unnamed and unrecognised.
How do the performances appear in connection with Brown’s graphic and medial works at documenta 12? Which direct spatial relations does the live performance space enter into? How does the relationship between art and the observer change within this space, compared to other museum spaces? Which repertoire of movements do the performers employ and how can we read their language? Two performers and two art educators will be present on the podium to answer your questions, inviting you to enter into the discussion.
Lecture and discussion with Katharina Geyer and Teresa Mayer, performers of Trisha Browns Floor of the forest and Accumulation, and Marvin Altner and Kathrin Nölle, art educators of documenta 12.
Language: German
Many visitors, following their viewing of inanimate art works, are visibly captivated by the movements of the real bodies of the dancers in Trisha Brown’s performances Floor of the forest (1970) and Accumulation (1971). However, the roots of the performances in dance history, as well as their references to the development of pictorial art in New York in the 60s and 70s, remain unnamed and unrecognised.
How do the performances appear in connection with Brown’s graphic and medial works at documenta 12? Which direct spatial relations does the live performance space enter into? How does the relationship between art and the observer change within this space, compared to other museum spaces? Which repertoire of movements do the performers employ and how can we read their language? Two performers and two art educators will be present on the podium to answer your questions, inviting you to enter into the discussion.
Lecture and discussion with Katharina Geyer and Teresa Mayer, performers of Trisha Browns Floor of the forest and Accumulation, and Marvin Altner and Kathrin Nölle, art educators of documenta 12.
Language: German
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