event
Saturday 29 February 2020 ore 11:30 - ore 13:00
The Histories of Performance.Electric visions. From Nam June Paik to Matthew Barney
other events of the Le Storie della Performance cycle
Collection
MAXXI’s Collection of Art and Architecture represents the founding element of the museum and defines its identity. Since October 2015, it has been on display with different arrangements of works.
Portrait of Nam June Paik by Lim Young Kyun, 1981.
other upcoming events
1 Dec 2023 ore 18:00
talkEmilio Isgrò and Mario Botta
3 Dec 2023
deposits guided tourArt
5 Dec 2023 ore 17:00
talkDesign Collecting for the 21st CenturyThe new Design's Collection
5 Dec 2023 ore 18:30
film screeningAnselmby Wim Wenders
6 Dec 2023 ore 18:30
talkL’architettura ha tante anime. Conversazioniby Stefano Bucci
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MAXXI Auditorium – € 5
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10 individual seats reserved for myMAXXI cardholders writing to mymaxxi@fondazionemaxxi.it by the day before the event
Five authorial and informative lessons, to recount the evolution of a language that has been able to go through the last decades of with great creativity.
Over the last century, the body of the artist and their actions became central to live art practice, gradually finding their own lexicon within the performance vocabulary. Performance, which has established itself as a non-intermittent, tangible artistic expression of the reflections of conceptual art, has become, over time, the medium through which generations of artists have explored and experimented with the link between the performative dimension and the language of theatre, music, film, the body and nature.
Electric visions. From Nam June Paik to Matthew Barney
With Alessandra Mammì
It is neither cinema nor television, yet it will disrupt the domains of both, producing a language that changes both artist’s films and the very use of television. Since Sony produced the first portable machine in 1960, some artist-pioneers have been using the camera as a weapon to distort visual and television iconography and make a political, intimist, narrative and even sculptural use of it, which will forever change the visual language of exhibitions and the viewer’s perception. Behind this story there are people, experiments, anecdotes and mistakes that are worth telling in order to understand what is left of video art on the liquid screens of the digital era.
Alessandra Mammì