Conserving Performance, Performing Conservation

Saša Asentić’s research is rooted in contemporary dance and disability-led artistic practice. He views accessibility as a fundamental aspect of an artwork, crucial for the emergence of an aesthetics of access that fosters new memories of solidarity and social justice. In his presentation, Asentić will share insights into his method of reconstruction used in the creation of a variety of performances. This method acts as a form of resistance against ableism and cultural oppression by reviving overlooked, forgotten and erased perspectives. Asentić, a non-disabled artist and activist, is currently pursuing an artistic-doctoral research project on these themes. By critically examining the historicization of dance, his research addresses key questions: How can the aesthetics of access create new memories and alter the affective state from which the past, present and future are perceived?

Having worked across genres as a curator, advisor, mediator, facilitator, producer, and manager, Julia Asperska helped create and served as Collection Manager (2020-2022) of the Something Great Collection, an independent project dedicated to the presentation and conservation of contemporary performing arts. The project began in 2020 with the acquisition of works created in the 21st century. By reflecting on the history of international performing arts and its recent developments, the collection aimed to recontextualize that history from a more inclusive and transcultural perspective. The project was an attempt to rethink the logic of the production and dissemination of performing arts. In this talk, Asperska will offer insights into her work with this collection, an experience that has later led her to implement conservation practices for two works by South American choreographer Tamara Cubas: Multitud (2014) and Offering for a Monster (2023).