“Für die Ewigkeit”


Performance art used to be resistant to history. A reaction to commodification, performances could not be sold; nor could they be stored in a museum archive for future study. Surveys of the medium had to rely on scarce remains, whether salvaged props or blurry photographs. But recent years have seen livelier attempts to capture this ephemeral history. In 2001, Kunst-Werke’s “A Little Bit of History Repeated” invited younger artists to restage the classics, like actors in a repertory theater; and Whitechapel Art Gallery’s series “A Short History of Performance,” initiated in 2002, invited the pioneers to reenact their original works.

Now, such projects having become commonplace, reenactments are serving the commodification once reviled by performance artists. The Wrong Gallery brought Gino de Dominicis’s Second Solution of Immortality: The Universe is Immobile, 1972, back to life at the

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