Abstract
The Object of the Performance. Towards a Reassessment of the Role of “Accessories” Produced and Displayed in Italian Artistic Centers in the 1970s ; A large part of the historiography on performance art still tends to focus on the ephemeral nature of its actions, taking for granted the rejection of commercial structures on which the ideology of the dematerialization of art was founded. By reducing performance art to an attitude, such discussions overlook the existence of its display environment. In order to understand the material culture of the art of performance, the essay focuses on the Italian art world of the 1970s, which, as a space of creation and dissemination of international performances, constitutes a remarkable case study, given the variety of structures it provided artists and audiences. Vito Acconci’s Italian career is used as the central thread to express three ways of grasping objects (both works and documents) : the exhibition as enunciation, the object as performance and performance as exhibition.
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