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hi Johannes and CRUMB thanks for the report on the two interesting shows where you are in Texas... there are so many questions in your post, I hardly know where to begin, so I might just re-state them for the wisdom of this crowd to comment on them .... On 9 Jan 2013, at 20:25, Johannes Birringer wrote: > This scheduling of screen programs besides the exhibition is a common feature, is it not, and has been practiced for many years in major museums? How do these screening runs tie up with the recording of exhibitions? yes you are right, it is common, and I know of no other standard way of documenting this aspect of the exhibition other than the calendar/press listing of the 'accompanying' programme -- such links are easily lost if it is not included in catalogues or somesuch that the screen program is a _part_ of the exhibition. Does anyone on the list have any top tips for exhibition documentation? > I am precisely interested in the question of the "repository", and the "curating" of live & media art (...in the so-called information age)....... > Here is how the CAM contextualizes the exhibit: > "...Radical Presence will feature video and photo documentation of performances, performance scores and installations, audience interactive works, as well as art works created as a result of performance actions. > In addition, the exhibition will feature a live performance series scheduled throughout the run of the exhibition..." > What I am wondering is how such performance work, along with the films, documentaries, videos, and photographs and the left-overs are curated to be preserved or re-sited/re-performed or remembered and documented/installed on or off line? This is an ongoing consideration, and while new media art can learn much from how performance and live art has made it into the institution of the museum over the years, I suppose we could now consider how new exhibitions of 'intermedia' art can learn from the recent histories of the exhibition of new media art. The exhibition sounds good but I'm guessing from your question that there isn't an online component to the show or the inclusion of recent new media art based on performance actions? > PS. I called the CAM and they tell me a catalogue of the exhibition will be forthcoming after all the live events have passed. Good. With pictures? with narrative descriptions such as the one you've given us of the live event you attended? With audience feedback? It seems getting things into print is still important for art history, but telling the story of the live events in book form isn't easy as many on this list could attest to. > PS 2: Notably, the museum incorporates happening, dance, fluxus and performance into "black visual art" thus writing a new history, yes? Sounds like it! Blurring of categories is usually a good thing when a show is well curated (Ref. The Robert Breer show held recently at BALTIC - an artist always understood as either a film-maker, or a sculptor, or a painter, but never as someone whose practices wove between and around different media, until now). Sarah -- Dr. Sarah Cook Reader MA Curating Module Leader Faculty of Arts, Design and Media University of Sunderland Curator for the Festival of New Media and Video, Transitio_MX05 "Biomediations", September 20-29, 2013 in Mexico City Co-editor and co-founder, The Curatorial Resource for Upstart Media Bliss, www.crumbweb.org Read our books: Euphoria & Dystopia: The Banff New Media Institute Dialogues. http://www.banffcentre.ca/press/39/euphoria-and-dystopia.mvc Rethinking Curating: Art After New Media. http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071 A Brief History of Curating New Media Art, and A Brief History of Working with New Media Art. http://www.thegreenbox.net