Docere et Delectare - Lecture Performance and the Trajectories of Knowledge Production in Contemporary Art
Created: 6. 4. 2016 from Vysoká škola uměleckoprůmyslová v Praze

Docere et Delectare - Lecture Performance and the Trajectories of Knowledge Production in Contemporary Art

Jelena Vesić

 

12th April, 4 pm

 

Academy of Art, Architecture and Design in Prague
nám. Jana Palacha 80, Praha1
5th floor, room 406 (Studio of Photography)

 

free entry

 

Shall we speak on lecture performance in terms of ‘artistic genre’ or an ‘auxiliary department of edu-factory’?

 

This lecture will lean on the exhibition Lecture Performance, shown in Köln and Belgrade in 2009/2010[i][i] as the first exhibition directly concerned with this art form, that gained extreme popularity over the last decade. In the practices that may be named as Lecture Performances in contemporary art context, artists operate on the boundary between lecture and performance, including elements of self-reflection, social reflection, discussion form, performance virtuosity or different forms of action.  The genesis of lecture performance can be traced back to the activities of conceptual artists, through theoretical articulations of artistic work suggested by the group Art&Language, although the notion itself wasn’t introduced as a part of wide-spread artistic terminology until the end of the nineties, when it came from the side of contemporary dance, and where the work of artists such as Xavier Le Roy played the crucial part.



 

Jelena Vesić is an independent curator, writer, editor, and lecturer. She was co-editor of Prelom  – Journal of Images and Politics (2001–2009) and co-founder of independent organization Prelom Collective (2005–2010). She is active in the field of publishing, research, and exhibition practice that intertwines political theory and contemporary art. In her writing, Vesić explores the relations between art and ideology in the field of geopolitical art history writing, focusing on experimental art and exhibition practices of the 1960s and 1970s in former Yugoslavia and Eastern Europe. She also writes on artistic labour and practices of self-organization in the age of cognitive capitalism. Her latest curatorial projects are based on experiments with the form of lecture-performance, immaterial quality of the exhibits and story telling, and include: Oktobar XXX: Exposition–Symposim–Performance (2012–2013); On Undercurrents of Negotiating Artistic Jobs – Between Love and Money, Between Money and Love (2013–2014); and Exhibition on Work and Laziness (2012–2015). Vesić lives and works in Belgrade.