TABLE OF CONTENTS

performance

“Our Literal Speed”

CHAIRING A TALK at the Frieze Art Fair in London in 2006, art historian and critic Claire Bishop observed that the live panel discussion had, in recent years, replaced performance art as the home of “authenticity.” Paradoxically, her comment put into relief the performed quality of the thoughts being articulated by the panelists surrounding her on the podium, making it seem that Bishop was very much aware of the theater at play in such an impression—especially as the live event in question was a supplement to the nakedly transactional character of an art fair. It’s very often that the academic symposium or conference within which this kind of discussion takes place is a frustrating experience, divorced from any direct encounter with art and comprising the straight reading of written papers—harder to listen to than to read—or, marginally better, the repetition of a well-rehearsed lecture

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