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Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977

Total Cost €


EC-Contrib. €






Project "HiPArtDoc" data sheet

The following table provides information about the project.


Organization address
city: BERLIN
postcode: 14195

contact info
title: n.a.
name: n.a.
surname: n.a.
function: n.a.
email: n.a.
telephone: n.a.
fax: n.a.

 Coordinator Country Germany [DE]
 Project website
 Total cost 159˙460 €
 EC max contribution 159˙460 € (100%)
 Programme 1. H2020-EU.1.3.2. (Nurturing excellence by means of cross-border and cross-sector mobility)
 Code Call H2020-MSCA-IF-2016
 Funding Scheme MSCA-IF-EF-ST
 Starting year 2017
 Duration (year-month-day) from 2017-05-29   to  2019-05-28


Take a look of project's partnership.

# participants  country  role  EC contrib. [€] 
1    FREIE UNIVERSITAET BERLIN DE (BERLIN) coordinator 159˙460.00


 Project objective

'Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977” introduces a new historiographical approach that accounts for the dynamic development of performance art and its theories through the history of performance documentation. Focussing on the role of performance documentation in the conservation and presentation of performance-based art from 1970 to 1977, “Between Evidence and Representation” will examine the different strategies undertaken to provide duration and mediated access to definitionally ephemeral and immaterial events. The project’s aim is to demonstrate that, simultaneous to the formation, circulation, and acknowledgment of the category of performance art in the early 1970s, performance documentation itself was aestheticised. The goal of the research is to show that both these changes are part of an historical process of containment of performance within the traditional framework of visual arts. Thereby, “Between Evidence and Representation” will show how this process actively shaped the history of performance art, filling a gap in the historiography of performance art and performance documentation. The research programme, which will end in the publication of a monograph, will be carried out in three phases. In the first phase, programmatic writings by artists and art movements will be used to map theories of performance from the 1950s to the 1970s. Referencing art journals, indexes, and exhibitions catalogues and documents, the second phase will examine the function assigned to performance documentation from 1970 to 1977, as well as its correlation to parallel developments in the critical discourse concerning the medium of “performance”. The last phase of the research, relying on archival sources, will provide a final corroboration to the research hypothesis through its application to four paradigmatic case studies.'

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The information about "HIPARTDOC" are provided by the European Opendata Portal: CORDIS opendata.

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