Abstract
This chapter describes a prototype platform developed by researchers at the Universities of Exeter and Nottingham in collaboration with Tate as part of the Research Councils UK funded Horizon project (2016–7). The prototype, hereafter called Cartography, consists of a web application enabling participants to input data and generate visualizations about participatory art practice in museums and art galleries. The chapter starts by analyzing the significance and changing role of performance documentation for museums and art galleries, focusing in particular on the role of the public in the context of participatory art practices. The chapter then makes a case for the capture of ‘relational’ forms of documentation which not only reflect how individual points of view sit in juxtaposition, or in opposition to each other, but also disclose important information about the rhizomatic nature of participatory practice. In conclusion, the chapter shows why relational documentation may offer significant insight into art and heritage more broadly.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Similar content being viewed by others
References
Goldberg, R. Performance Art: From Futurism to the Present. Thames and Hudson, London (1979).
Phelan, P. Unmarked: The Politics of Performance. Routledge, London (1993), p. 146.
Auslander, P. ‘The Performativity of Performance Documentation’. PAJ: A Journal of Performance and Art, 84, 28:3 (September 2006), 1–10, p. 5.
Jones, A. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal, 4 (Winter 1997), 11–8.
Clausen, B. ‘The (Re)presentation of Performance Art.’ In: After the Act. Museum Moderner Kunst Stiftung Ludwig, Wien (2007), pp. 7–20, p. 7.
Argelander, R. ‘Photo-Documentation (and an interview with Peter Moore)’. The Drama Review, 18:3, (1974), 51–58, 52.
Ibid., p. 53.
Mangolte, B. ‘Balancing Act Between Instinct and Reason’, media archive performance map (2009), http://www.perfomap.de/map1/i.-bewegung-plus-archiv/balancing-act-between-instinct-and-reason, verified 31/1/2017.
Giannachi, G. and Westerman, J. (eds) Histories of Performance Documentation. Routledge, London and New York: Routledge (2017), p. 42–8.
Ibid., p. 93–114.
Schneider, R. Performance Remains Art and War in Times of Historical Reenactment. Routledge, London and New York (2011).
Ibid., pp. 42–8.
Van de Vall, R., Hölling, H., Scholte, T., Stigter, S. ‘Reflections on a biographical approach to contemporary art conservation’ (2011), available online http://www.hannahoelling.com/wp-content/uploads/2016/09/Reflections_on_a_Biographical_Approach_t.pdf, verified 13/5/2017.
Bishop, C. Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso, London and New York (2012), p. 2, original emphasis.
Ibid., p. 276.
Kester, G. The One and The Many. Duke University Press, Durham: North Carolina (2011), p. 8.
Ibid., p. 125, added emphasis.
Jackson, S. (2011) Social Works: Performing Art, Supporting Publics. Routledge, London and New York (2011), p. 11.
Kelly, M. ‘Participatory Art’, Encyclopedia of Aesthetics. Oxford University Press, Oxford (2014), no p., added emphasis.
Lacy, S. Mapping the Terrain: New Genre Public Art. Bay Press, Seattle (1995), p. 18.
Ibid, p. 20, original emphasis.
Ibid., p. 174.
Serota N. Experience or Interpretation: The Dilemma of Museums of Modern Art. Thames and Hudson, London (2000), p. 55.
Bourriaud, N. Relational Aesthetics, tr. S. Pleasance and F. Woods. Les presses du reel, Paris (1998), p. 112.
Van der Krogt, P. ‘The Origin of the Word “Cartography”’. e-Perimetron, 10: 3 (2015) 124–142, p. 124.
Ibid., p. 125.
Ibid., p. 126.
Ibid., p. 132.
Ibid., p. 140.
De Certeau, M. The Practice of Everyday Life. Tr. S. Rendall. University of California Press, Berkeley, California (1984), p. 117.
Cosgrove, D. ‘Art and Mapping’. Cartographic Perspectives, Journal of the North American Cartographic Information Society, 53 (2006), pp. 1–58, p. 7.
http://serendipitor.net/site/, verified 5/2/2018.
http://deriveapp.com/s/v2/, verified 5/3/2018.
D’Ignazio, C. ‘Art and Cartography’, in Kitchin, R. and Thrift, N. (eds) International Encyclopaedia of Human Geography, vol. 1, Elsevier Ltd., Oxford (2009), pp. 190–206, pp. 191-2.
Crampton, J. ‘Cartography: performative, participatory, political’, Progress in Human Geography, 21/5/2009, 1–9, p. 1.
Ingold, T. The Perception of the Environment. Routledge, London and New York (2000), p. 231.
Woodward, D. (ed.) Arts and Cartography: Six Historical Essays. The University of Chicago Press, Chicago and London (1987), pp. 51–97.
Meissen, M. The Nightmare of Participation (2010), http://turbulence.org/blog/2010/10/31/thenightmare-of-participation-by-markus-miessen/, p. 34, verified 2/3/2017.
Cooke, B. and Kothari, U. (eds.) Participation: The New Tyranny. Zed Books, London, New York (2001).
Bishop, C. Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso, London and New York (2012),
Arnstein, S.R. ‘A Ladder of Citizen Participation’. Journal of the American Institute of Planners. 35:4. (1969), 216–224, p. 216.
Ibid. p. 217.
Sandell, R. ‘Museums as Agents of Social Change’, Museum Management and Curatorship, 17: 4. (2000), 401–418.
Simon, N. (2010) The Participatory Museum, http://www.participatorymuseum.org, verified 1/7/2017.
Pariser, E. The Filter Bubble: What the Internet is Hiding From You. Harmonsworth, Penguin (2012).
Cosgrove, D. ‘Art and Mapping’. Cartographic Perspectives, Journal of the North American Cartographic Information Society, 53 (2006), p. 41.
History Pin, https://www.historypin.org/en/, verified 18/3/2018.
Sinker, R., Giannachi, G. and Carletti, L. ‘Art Maps—Mapping the Multiple Meanings of Place’. International Journal of Art & Design Education, (2013) 32: 362–373. https://doi.org/10.1111/j.1476-8070.2013.12025.x).
Archives and access, http://www.tate.org.uk/about-us/projects/transforming-tate-britain-archives-access, verified 18/3/2018.
The Cartography Project http://www.tate.org.uk/research/research-centres/tate-research-centre-learning/cartography-research-project, verified 12/3/2018.
Simon, op. cit.
Acknowledgements
The Cartography project is an outcome of Horizon Digital Economy research, and has received extensive support from the EP/G065802/1. We would like to thank all participants to our workshops for their invaluable feedback that made the development of the platform prototype possible.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2020 Springer Nature Switzerland AG
About this chapter
Cite this chapter
Giannachi, G. et al. (2020). The Cartography Project: Towards a Relational Form of Documentation, the Case of Participatory Art Practices in Museums and Art Galleries. In: Kremers, H. (eds) Digital Cultural Heritage. Springer, Cham. https://doi.org/10.1007/978-3-030-15200-0_21
Download citation
DOI: https://doi.org/10.1007/978-3-030-15200-0_21
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-030-15198-0
Online ISBN: 978-3-030-15200-0
eBook Packages: Earth and Environmental ScienceEarth and Environmental Science (R0)