Abstract Derived from a distinction that J. L. Austin drew between words that are “constative” and those that are “performative,” performativity, as Von Hantelmann (2014) explains, marks a shift in approach “from what an artwork depicts and represents to the effects and experiences that it produces.” In highlighting the interpretative process, it also emphasises meaning-making as relative. A concept central to much contemporary commemorative art, “performativity” could also be understood to be at play in the conceptualisation and interpretation of creative interventions to historical commemorative monuments and sculptures in South Africa. Through engagement with the P. T. O. initiative in Cape Town as well as two interventions to sculptures at universities, it is argued that creative mediations underpinned by a performative approach enable viewers to glean alternative perspectives about South African histories and arrive at new understandings about how their present circumstances may be informed by events from the past.

中文翻译：

---

纪念性调解：对南非公共纪念艺术的表演性干预

摘要源自 JL Austin 区分“consative”和“performative”的词，正如 Von Hantelmann (2014) 解释的那样，表演性标志着方法的转变“从艺术品描绘和表现的内容到效果以及它产生的体验。” 在强调解释过程的同时，它还强调意义的形成是相对的。作为许多当代纪念艺术的核心概念，“表演性”也可以被理解为在对南非历史纪念纪念碑和雕塑的创造性干预的概念化和解释中发挥作用。通过参与开普敦的 PTO 倡议以及对大学雕塑的两次干预，