Cuando uno lee titulares como "¿Es Youtube la muerte del performance?", se debe tener cuidado de leer entre líneas que la disyuntiva es entre una plataforma tecnológica y un arte representativo en general. De esta forma, si formulamos "¿Es el ebook la muerte de la literatura?" nos daremos cuenta con mayor evidencia de la falacia que se encuentra en esta clase de preguntas gancho que realiza el periodismo.
Aunque existe un contexto muy específico donde surge la pregunta arriba mencionada. Remito a la siguiente entrada de Hyperallergic:
Enlace: Is the Internet the Death of Performance Art?
Aunque existe un contexto muy específico donde surge la pregunta arriba mencionada. Remito a la siguiente entrada de Hyperallergic:
Did video kill the performance art star? The New York Times asks this question in a post that claims that the constant spectacle of YouTube and social media have trumped performance art’s shock value. James Westcott, author of the biography, When Marina Abramovic Dies, writes:The ubiquity of digital spectacles and curiosities today is one reason performance art has had its thunder stolen. Another is more insidious — a new form of subjectivity prompted by platforms like Facebook: the constant need to Perform Yourself (which could be YouTube’s slogan, rather than “Broadcast Yourself”). It’s not surprising, then, that many people were blasé about the nudity on Wall Street.
But were people really unfazed by Zefrey Throwell’s strip tease in downtown Manhattan? Sure, some busy bankers might have rushed on by, but seeing boobs on Wall Street usually doesn’t constitute an ordinary day even for the most jaded of New Yorkers. Westcott also argues that the online palooza surrounding Marina Abramovic’s “The Artist is Present” (2010) turned her intimate performance into a Where’s Waldo for celebrity visitors.
Enlace: Is the Internet the Death of Performance Art?