'Live Art Vibes' in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe.
In this article I explore two intersections with live art as a conceptual and cultural strategy in relation to migrant cultures in and from 'Eastern' Europe, with a focus on Romania. Whilst live art is a debated term whose parameters have changed over time, its scope continues to remain strategic, f...
| Publicado en: | Contemporary Theatre Review Vol. 34; no. 3; pp. 374 - 394 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=182091416&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 182091416 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: Aug2024 vid: 34 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 182091416 10.1080/10486801.2024.2388034 ppf: 374 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 8.5MB tig: atl: 'Live Art Vibes' in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe. aug: au: Damian Martin, Diana su: Art & culture Immigrants Digital technology Neocolonialism Art Eastern Europe sug: subj: Eastern Europe Art & culture Immigrants Digital technology Neocolonialism Art keyword: affect creolisation digital culture Live art Romania social media vibes ab: In this article I explore two intersections with live art as a conceptual and cultural strategy in relation to migrant cultures in and from 'Eastern' Europe, with a focus on Romania. Whilst live art is a debated term whose parameters have changed over time, its scope continues to remain strategic, framing a multiplicity of practices with differing and uneasy relationships to categorisation, institutionality and legibility. I am not interested in arguing for an expansion of live art as an art historical frame, but in developing a methodology for the analysis of work whose poetics sits uneasily across borders, in circulation. Through an engagement with 'vibe' I build on resonances of live art as they entangle with art histories of performance in Eastern Europe. I locate a radical possibility offered by 'vibes' as refusal and circulation of political agency. Taking up the provocation from that disaffection can act as a refusal to feel in the face of white sentimentality, I explore how an anonymous Instagram account called 'Latifundiar', which superimposes urban scenes, usually from Romanian towns and cities, against Western canonical art historical landscapes, manifests 'live art vibes' – seeking to capture the entanglement between complicity, affective regimes and political accountability in neo-colonial regimes in East and West Europe. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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