{"id":4334,"date":"2019-10-16T20:23:45","date_gmt":"2019-10-16T18:23:45","guid":{"rendered":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/?page_id=4334"},"modified":"2025-03-18T09:07:45","modified_gmt":"2025-03-18T08:07:45","slug":"julia-reich","status":"publish","type":"page","link":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/kollegiat_innen\/julia-reich\/","title":{"rendered":"Julia Reich, M.A."},"content":{"rendered":"

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Universit\u00e4tsstr. 105
\n44789 Bochum
\nRoom: UNI 105, 3\/38<\/p>\n

Phone: +49 (0) 234\/32-27104
\nE-Mail: julia.reich-387@rub.de<\/p>\n

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Title of the Dissertation<\/u><\/strong><\/h3>\n

Arrangements des Abwesenden in der Performancekunst seit den 1960er Jahren. <\/span>(working title)<\/p>\n

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Project Description<\/u><\/strong><\/h3>\n

Since the 1990s, the discourse on the relationship between performance art and documentation has shaped the prevailing understanding that performances are singular, ephemeral, non-material events that are nevertheless predicated on moments of presence and their manifestation. How can we describe a year-long sustained performance by Tehching Hsieh which purely from a logistics perspective cannot be attended by an audience, or a work in which the artist does not appear until its media recording, as is the case with Christian Falsnae? What performative role is played by the documents, artefacts, relicts involved in the work and its production, and how are they related to the live performance?<\/p>\n

This doctoral thesis examines performances as entities constituted in a relational framework of various modalities and its creative and institutional operations. The study focuses on performances from 1960 to the present day that arrange the absent in the form of gaps, blank spaces and invisibilities, focusing on both the live performance and materials involved in order to consider their significance for how artistic work is constituted. The principal idea is that the documentary\u2019s varieties of readability and irritation are arranged not only in their manifestation, but also in their absence, their withdrawal or disappearance. Correspondingly, recognising the inherent potential of documentary practices and the resulting documents of performance is of central importance. The project seeks to render visible the relationships between performance, the act of documentation and the documents themselves by examining their respective specific performativities. Analysing select performances with a reflective and playful approach to the authority of the documentary, I unravel and emphasise the specific connections between these three performative areas.<\/p>\n

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Scholarly Career<\/u><\/strong><\/h3>\n