The inclusion of performance practices in the museum marks an evolution in the recent history of the living arts. Immateriality, temporality and direct interaction with the public articulate the mechanisms of artistic production in the 21st century. Dance or theatre creators have nourished and expanded the disciplinary limits of exhibition containers, replacing artistic objects with the experience of their presence and occupying museum galleries with live bodies. The new performative turn is sustained by a firm commitment to the performative and participatory aesthetics of the live arts.
This book collects fragments of the PhD dissertation, El Fin de las Retóricas del Perfórmance, whose lecture took place at the University of Granada Fine Arts School in December 2019.