This essay asks the question whether and in what respect the work of German choreographer Pina Bausch can be considered to be contemporary. Building on Peter Osborne's definition of the contemporary as “a disjunctive unity of present times,” I aim to extract the conceptual concerns of Bausch's work that thus far have received little critical attention. In so doing, I first consider the temporal relations articulated in Bausch's work, particularly her relation to the past that comes to define the present, exposing its claims to unity as a fiction. Second, I focus on the medial aspects of Bausch's work, including her 1988/89 film,The Plaint of the Empress. By making the media aspect of Bausch's work the center of my attention, I argue that it is precisely the work's media saturation that allows for its contemporary distribution, display, and formatting. It is here that Bausch's contemporaneity as a principle of work and a working principle can be found.

中文翻译：

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做当代：作为概念艺术家的皮娜·鲍什

这篇文章提出了一个问题，德国编舞家皮娜·鲍什的作品是否以及在哪些方面可以被认为是当代的。基于彼得·奥斯本（Peter Osborne）将当代定义为“当今时代的分离统一体”，我的目标是提炼出迄今为止很少受到批评关注的博士生作品中的概念关注点。在这样做的过程中，我首先考虑了鲍什作品中所表达的时间关系，尤其是她与定义现在的过去的关系，将其作为虚构的统一性的主张暴露出来。其次，我关注博士生作品的内在方面，包括她 1988/89 年的电影，皇后的诉状. 通过将 Bausch 作品的媒体方面作为我关注的中心，我认为正是该作品的媒体饱和度允许其当代分布、展示和格式化。正是在这里，可以找到鲍什作为工作原理和工作原理的当代性。