The contribution takes the form of a self-interview to tackle the analysis of the historicization of contemporary performing arts on the illustrative example of the Temporary Slovenian Dance Archive, founded by the author, a “precarious cultural worker”, as his personal
cultural-activist project. The contribution offers basic information on the scale of the material, its systematization and the archive’s operating principle, which for now runs with no promise of adequate public infrastructure. The self-interview auto-reflexively unfolds the complex
issue of the Temporary Slovenian Dance Archive, which stems from a wider issue of historicizing elusive, procedural and performative contemporary performing arts; at the same time, the self-interview begins to tackle deeper reasons for the lack of institutional background, which discourages
the Temporary Slovenian Dance Archive from hoping to ever have any stable and continuous function. Most of all, the self-interview on the Temporary Slovenian Dance Archive opens up a question that exceeds contemporary performing arts, namely, in what way can the “impossible history”
of non-territorial and transnational character be historicized at all.
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