Abstract
What conservation strategies can be used for Tino Sehgal's 2005 work This Is So Contemporary, and what are their relations to oral traditions? Sehgal's art leaves no material traces, as the artist resists the use of photos and videos acting as a documentary surrogate for his work. This paper will explore how Sehgal's non-written documentation strategies connect to the work of Yumutjin Wunungmurra, a contemporary artist and ceremonial leader from Northeast Arnhem Land, Australia. The connection will be tracked through the role of caretaker and custodian that features in the workflow of both artists. The paper asks whether the performance-based strategies discussed can support the notion of conservation as a social process with multiple stakeholders.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
