Zusammenfassung
Beginnen möchte ich mit einigen Sätzen der Performancetheoretikerin Amelia Jones. 1997 eröffnete sie mit diesen Sätzen ihren Text Presence in Absentia. Experiencing Performance as Documentation:
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Notes
- 1.
Jones: „Presence“ in absentia, 11.
- 2.
Vgl. Phelan: The ontology of performance, 146–149.
- 3.
Jones: „Presence“ in absentia, 16.
- 4.
Vgl. ebd., 12.
- 5.
Sontag: Über Fotografie, 28.
- 6.
Vgl. Didi-Huberman: Bilder trotz allem, 46.
- 7.
Vgl. Buskirk: The Contingent Object of Contemporary Art, 221.
- 8.
Vgl. ebd.
- 9.
Vgl. ebd.
- 10.
Derrida: Bleibe, 28.
- 11.
Vgl. Jones: „Presence“ in absentia, 16.
- 12.
Burden zit. nach Puetz: In Support of Uncertainty.
- 13.
Vgl. ebd.
- 14.
Ebd.
- 15.
Barthes: Die helle Kammer, 86.
- 16.
Burden: Documentation of Selected Works.
- 17.
Ebd.
- 18.
Vgl. hierzu auch die Ausführungen in Bormann: Der unheimliche Beobachter.
- 19.
Steyerl: Die Farbe der Wahrheit, 34.
- 20.
Vgl. Sontag: Das Leiden anderer betrachten, 29.
- 21.
„This video document was preserved, and although it is not available for public use at this time, it is held in the MCA Archives and available as a reference for scholars.“ Puetz: In Support of Uncertainty.
- 22.
Sontag: Das Leiden anderer betrachten, 71–72.
- 23.
Phelan: Live Art in LA, 28.
- 24.
Vgl. Gadd: Performing Violence, 23.
- 25.
Vgl. Phelan: Live Art in LA, 8.
- 26.
Zit. nach Cheng: In Other Los Angeleses, 55.
- 27.
Zit nach Mroués Performance Who’s Afraid of Representation?
- 28.
Zit. nach Gadd: Performing Violence,19.
- 29.
Die Erfahrung des Angeschossenwerdens beschreibt Burden später folgendermaßen: „People asked, ‚What did it feel like?‘ Well, I can only speak for myself, I compare it to standing on an expressway and having the corner of a giant truck hit you on the side of your arm as it whizzes by – so your arm just goes, basically, numb but when you look down at it you see a hole that is smoking out of both ends and it’s very upsetting.“ Zit. nach Schechner: Performed Imaginaries, 144.
- 30.
Vgl. Phelan: Live Art in LA, 28.
- 31.
„I thought: Guns on campus; that could be problematic. It would have been a crisis with the Chancellor. It’s not about testing the University or anything like that. I thought doing it in a university context could be problematic for the university. I’d already thought about shooting and being shot, and so I thought this would be a perfect place to do it and then I thought better of it. Which I think was a wise decision because the campus police would have been involved.“ Zit. nach Stiles: Burden of Light, 30.
- 32.
Zit. nach Small: He Has Forsaken the Violent Art of His Youth.
- 33.
Sayre: The Object of Performance, 102.
- 34.
Ebd.
- 35.
Schneider: Das Attentat, 8.
- 36.
Vgl. stellvertretend Serazio: Shooting for Fame.
- 37.
Vgl. Phelan, 28: „For me, the questions Burden says he intended to explore in the performance are significantly less interesting than what he has remained silent about for these past forty years: the name of the marksman, his own speculations about why the mistake occurred, the subsequent relationship the two men shared after the shooting and so on.“
- 38.
Anlässlich Burdens Tod im Jahr 2015 veröffentlichte Eric Kutner eine Kurzdokumentation über Shoot, in der es neben einem Interview mit Chris Burden auch eins mit dem Schützen Bruce Dunlap zu sehen gibt. Über Dunlap sagt Kutner: „[…] the identity of the man who shot Mr. Burden in the arm was kept secret. I set out to track him down. I learned that he was a fellow art student of Mr. Burden’s, figured out his name, and persuaded him to give his first on-camera interview for this Op-Doc video.“ Kutner: Shot in the Name of Art.
Literatur- und Quellenverzeichnis
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Umathum, S. (2022). Von Lücken und Leerstellen. Oder wovon die dokumentarischen Spuren einer Performance Zeugnis (nicht) ablegen. In: Tuna, Z., Wischhoff, M., Zinsmaier, I. (eds) Bezeugen. Kriminalität in Literatur und Medien, vol 2. J.B. Metzler, Stuttgart. https://doi.org/10.1007/978-3-476-05800-3_10
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