Abstract Occasionally, in Performance Art, after the event we are faced with some material leftovers, so-called ‘performance relics’. This raises the question of how to handle such artefacts in accordance with the museum’s core task of preservation. This article concentrates on the moment when the artistic process is completed and the transformation of its traces into relics begins. As leftovers of an ephemeral and fugitive action, relics have lost their original context and thus need to be redefined. In this article we will focus on a special kind of performance relic, ones that were transformed into new works of art. Two installations by the artist Joseph Beuys: Richtkräfte einer neuen Gesellschaft 1974–77 and Das Kapital Raum 1970–1977, 1980 are used as case studies to demonstrate how such performance-based art works need to be handled from a conservator’s perspective.

中文翻译：

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从行动到目标。关于约瑟夫·博伊斯基于性能的装置的保护

摘要有时，在表演艺术中，事件发生后，我们将面临一些剩余的物质，即所谓的“表演遗物”。这就提出了一个问题，即如何根据博物馆的核心保存任务来处理此类文物。本文着眼于完成艺术过程并将其痕迹转变为文物的那一刻。作为短暂和逃亡行为的遗留物，文物已经失去了其原始背景，因此需要重新定义。在本文中，我们将重点介绍一种特殊的表演遗物，将其转化为新的艺术品。艺术家约瑟夫·博伊斯（Joseph Beuys）的两个装置：1974–77年的Richtkräfteeiner neuen Gesellschaft和1970–1977年的Das Kapital Raum，