Abstract

In 2015, Simone Forti’s Dance Constructions, a group of understated, equipment-based performances from 1960–1961, entered the permanent collection of the Museum of Modern Art in New York (MoMA) as the museum’s first acquisition of historical dance works. This essay details Forti’s arrangements with MoMA for the Dance Construction Huddle, which complicated the already complicated proposition of how to collect and care for dances in a visual art institution. Examined closely, the acquisition process reveals both how the museum transformed Forti’s work and how Huddle—and dance more generally—presses back on the institution and its investments in objecthood, singular authorship, and private property.

摘要

2015 年，Simone Forti 的《舞蹈构造》是一组 1960 年至 1961 年以设备为基础的低调表演，作为博物馆首次收藏历史舞蹈作品，进入纽约现代艺术博物馆 (MoMA) 的永久收藏。这篇文章详细介绍了 Forti 与 MoMA 为 Dance Construction Huddle所做的安排，这使已经很复杂的关于如何在视觉艺术机构中收集和照顾舞蹈的命题变得复杂。仔细观察，收购过程揭示了博物馆如何改变了 Forti 的作品，以及Huddle——以及更普遍的舞蹈——如何压制该机构及其对实物、单一作者身份和私有财产的投资。