Скачать или смотреть From Re-Construction to Co-Production (Laura Dudley)

Lasting Impressions 2019 - Making and Re-making the replica
28th of June 2019, Pitt Rivers Museum, Oxford (UK)

LAURA DUDLEY, University of Leicester
From Re-Construction to Co-Production

Laura’s PhD project, titled: From Re-Construction to Co-Production: the past and present authorship of participatory art exhibitions, explores the reconstruction of art exhibitions, which in their original form had a participatory element. A key question is concerned with the role which public reception and engagement plays in the re-activation of an historical art exhibition, and how its materiality and outcomes are reconstructed in a contemporary museum landscape.
This paper aims to cast a lens on Robert Morris’s bodyspacemotionthings, an exhibition reconstruction which drew media and public attention at both its original opening in 1971, and for its reconstruction at Tate Modern as part of the UBS Openings: Long Weekend in 2009. Tate curator, Kathy Noble described the exhibition as ‘exploring ideas of spatial awareness, of becoming aware of yourself, your own body, as a physical object in space’ (2009). The original 1971 exhibition had only lasted for four days before being closed, due to the structures and materials used to construct the platforms - which the public were invited to climb, balance and crawl onto - giving way. As time has passed this initial failure has in many ways become the
triumph of this participatory exhibition. Its memorably premature closure is one of the factors which led to its reconstruction in 2009, this time with new materials which lasted for the full exhibiting period. In this paper Laura will include findings from Tate Archives concerning the 1971 and 2009 exhibitions, the material referenced will include marketing/publicity material,
installations plans, curatorial notes and original photography. I plan to use these findings to interrogate key ideas within my paper, specifically focusing on whether changing the materials
alters the authenticity of this exhibition, and how this impacts on conventional attitudes towards the authorship of past canonical participatory exhibitions.

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