“Live Forever: Collecting Live Art” by Teresa Calonje
Literature代写 The “Live Forever: Collection Live Art” is her recent work amongst other collections of articles in Calonje (12-16) books.
About the Writer
Teresa is a United Kingdom and Spain based researcher as well as a curator who has an interest in the live art collection. Coming from a rich background in Art History from Complutense in Madrid and Political Economy and Development Studies from SOAS in London, Teresa is passionate about her career. In her quest to learn the live arts, she has also pursued a Ph.D. in live art and the existential. And legal implication of its transferability, ownership, and use at the Goldsmith College.
The “Live Forever: Collection Live Art” is her recent work amongst other collections of articles in Calonje (12-16) books. The book is a collection of essays and interviews on issues about the acquisition and conservation of live arts. In her pursuance of live artworks, made her a curator of performance for Second Home in London. In this regard, she has been conducting events on various topics around collecting. And appropriation of live arts with the recent one being at Delfina Foundation.
Context of the Text Literature代写
Her literature on live art is based on numerous experiences she has gathered in her career since the early 1990s. This work preceded her interest in pursuing Art and History. It came at a period when then work of live art was surrounded by the dilemma of whether to remain as it has been since the time immemorial or to be collected and compiled for future reperformance.
The manuscript rationalizes the need to collect live art even though it is full of future uncertainties associated with transferability and ownership. Her work is thorough and rich in details. It is comprised of interviews and research as well as personal encounters with performers of the live art. In essence, this makes her work very resourceful as a point of reference for those seeking knowledge on the work of art.
Description and Information Literature代写
The writer focuses on advocating for change in the live art, which according to her has remained so close and conservative in its world. In her view, the live art is a domain on its own like any other work of art. As such, she expounds on issues surrounding its collection and appropriation. Which can be a useful future reference, even though the live art is faced by unprecedented uncertainties to the performers.
The literature is divided into parts each of which covers a specific perspective on live art. She introduces the thesis of the paper followed by the clear distinction of live art from other artworks. The following part presents the primary objective of the article especially on live art collection, and the uncertainty created thereof. Her article is summed up with an appeal for a change in the live art to the contemporary ways of making it live forever rather than making it temporary.
Structure of the Article Literature代写
In her work, Teresa was looking for the live art moments, both acquired and collected. And mainly she was seeking to explore the live art ownership, possession, appropriation and economic as well as the existential issues therein emerges. Notably, to achieve this, her work is divided into sections each exhaustively covering a specific aspect of live art.
The first section generally introduces the main ideas that she intends to address in the article. The part curtain raises and introduces the audience to the more profound need for the literature. As such, she can give a general overview of the live art to the readers and thus prepare them for more on the topic.
Following her brief introduction is the first chapter which mainly she uses the work of La Ribot to present her arguments. Literature代写
Here she details the economic perspective of the live art in the bid to build the understanding the motivating factors. That are in play for the performance action to the objective of the performance. In this regard, she explores detail the theatre space, economy and audience as well as visual space, economy and the logic behind visual art.
In her exposition, the accumulation of live artwork is assimilated and at the same time assimilates the rationale for belated capitalism in the live art and the experience economy. In her bid to create the understanding on the economy behind a collection of live art. She creates attention on the issues of exchange, transfer. What is alienated in the exchange as well as the gains and losses.
Because the market is bound to legal frameworks and regulations and the existence of property rights. The second chapter she addresses the issue of live art alienation as construed in the market. And commercialization where property and copyright laws are into play. In this respect, she explains how live art interacts with legal aspects in the art market. Further, she uses illustrations using Tino Sehgal strategy in live art through which cite some artist. Who administered the death of their work through sales contracts thus coming to terms with artworks in ownership and collection.
At last chapter, the writer revisits the outlaw, that place beyond the law where there is resistance.
Teresa moves away from the legal implications to the existential questions. Where the performers see the impossibility in the appropriation of the work of live art. She uses an instance of experiences from such remarkable artists like Heidegger and Agamben. In that respect, she expounds on not owning the live art and the poverty associated as well as the lacking to collect the live art equally to not performing them as well.
Teresa used both descriptive and inferential approaches to achieve her text objective. Through narration of past events and encounters, she has managed to compose a convincing message in support of collection and appropriation of live arts. For instance, she used experience of La Ribot to explain the commercialization aspect of Choreography as an art and to question the rationale behind that economy. Inferences approach is used to bring out the logic in support of her arguments like in an attempt to define work of art. She analyzes the fact that each of the art category has a distinctive name making it have authority of it category.
The text is not a research paper but the author has utilized various methodologies in the bid to achieve the text objective. She mainly utilized scholarly work as a secondary source to inform her arguments for instance the case of John Elsner. And Roger Cardinal support collection as a way of sustaining the live work. She also used recorded interviews to get expert opinions like in the case of Tania Bruguera interview on defining art works.
The target population is the art performers who live in the notion that their art work will lose value ones collected. Some of the methods which she could have used in support of her text her questionnaires and structured interviews with live art performers.
In summing up, Teresa has proven to be an epitome of live art passion coupled with the need to have live art store value like any other future reperformance. According to her arguments, the performer needs a way to capture. That contextual value surrounding the live art to present it in the future.
Work Cited Literature代写
Calonje, Teresa. “Live Forever: Collecting Live Art” Koenig Books. 2014.