Abstract:

This essay takes as its central concern the historical transmission of Reza Abdoh’s performance works via their circulation in the artist’s retrospective exhibit at the KW Institute for Contemporary Art in 2019. I analyze two interlaced defining features in the KW exhibition—archival remixing and viscerality—that the curators used to honor Abdoh’s artistic legacy. Focusing on the exhibit as a medium of performance historiography in diaspora, this essay argues that the multimedia installation of Abdoh’s archival work in the exhibition format utilized performance archives to create a haptic and visceral site of historiography and memory.

 抽象的：

本文以礼萨·阿卜杜 (Reza Abdoh) 行为作品在 2019 年 KW 当代艺术学院回顾展中的流通为中心，重点关注其行为作品的历史传播。我分析了 KW 展览中两个相互交织的定义特征——档案混音和本能性——策展人过去常常纪念阿卜杜的艺术遗产。本文重点关注展览作为散居海外的表演史学媒介，认为展览形式中阿卜杜档案作品的多媒体装置利用表演档案来创建一个触觉和本能的史学和记忆场所。