Performance art
Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a
It involves five basic elements: time, space, body, and presence of the artist, and the relation between the creator and the public. The actions, generally developed in art galleries and museums, can take place in the street, any kind of setting or space and during any time period.[4] Its goal is to generate a reaction, sometimes with the support of improvisation and a sense of aesthetics. The themes are commonly linked to life experiences of the artist themselves, the need for denunciation or social criticism and with a spirit of transformation.[5]
The term "performance art" and "performance" became widely used in the 1970s, even though the history of performance in visual arts dates back to futurist productions and cabarets from the 1910s.[6][1] Art critic and performance artist John Perreault credits Marjorie Strider with the invention of the term in 1969.[7] The main pioneers of performance art include Carolee Schneemann,[8] Marina Abramović,[9] Ana Mendieta,[10] Chris Burden,[11] Hermann Nitsch, Joseph Beuys, Nam June Paik, Tehching Hsieh, Yves Klein and Vito Acconci.[12] Some of the main exponents more recently are Tania Bruguera,[13] Abel Azcona,[14] Regina José Galindo,[15] Marta Minujín,[16] Melati Suryodarmo and Petr Pavlensky. The discipline is linked to the happenings and "events" of the Fluxus movement, Viennese Actionism, body art and conceptual art.[17]
Definition
The definition and historical and pedagogical contextualization of performance art is controversial. One of the handicaps comes from the term itself, which is polysemic, and one of its meanings relates to the scenic arts. This meaning of performance in the scenic arts context is opposite to the meaning of performance art, since performance art emerged with a critical and antagonistic position towards scenic arts. Performance art only adjoins the scenic arts in certain aspects such as the audience and the present body, and still not every performance art piece contains these elements.[19]
The meaning of the term in the narrower sense is related to
Performance art is a term usually reserved to refer to a conceptual art which conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand.
Some types of performance art nevertheless can be close to performing arts. Such performance may use a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays.
Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about "what art is". As long as the performer does not become a player who repeats a role, performance art can include satirical elements; use robots and machines as performers, as in pieces of the
Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art", "actions", "intervention" (see art intervention) or "manoeuvre" to describe their performing activities. As genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia.
Origins
Performance art is a form of expression that was born as an alternative artistic manifestation. The discipline emerged in 1916 parallel to dadaism, under the umbrella of conceptual art. The movement was led by
Cabaret Voltaire
The Cabaret Voltaire was founded in Zürich, Switzerland by the couple Hugo Ball and Emmy Hennings for artistic and political purposes, and was a place where new tendencies were explored. Located on the upper floor of a theater, whose exhibitions they mocked in their shows, the works interpreted in the cabaret were avant garde and experimental. It is thought that the Dada movement was founded in the ten-meter-square locale.[23][24] Moreover, Surrealists, whose movement descended directly from Dadaism, used to meet in the Cabaret. On its brief existence—barely six months, closing the summer of 1916—the Dadaist Manifesto was read and it held the first Dada actions, performances, and hybrid poetry, plastic art, music and repetitive action presentations. Founders such as Richard Huelsenbeck, Marcel Janco, Tristan Tzara, Sophie Taeuber-Arp and Jean Arp participated in provocative and scandalous events that were fundamental and the basis of the foundation for the anarchist movement called Dada.[25]
Dadaism was born with the intention of destroying any system or established norm in the art world.[27] It is an anti-art movement, anti-literary and anti-poetry, that questioned the existence of art, literature and poetry itself. Not only was it a way of creating, but of living; it created a whole new ideology.[28] It was against eternal beauty, the eternity of principles, the laws of logic, the immobility of thought and clearly against anything universal. It promoted change, spontaneity, immediacy, contradiction, randomness and the defense of chaos against the order and imperfection against perfection, ideas similar to those of performance art. They stood for provocation, anti-art protest and scandal, through ways of expression many times satirical and ironic. The absurd or lack of value and the chaos protagonized[clarification needed] their breaking actions with traditional artistic form.[27][28][29][30]
Cabaret Voltaire closed in 1916, but was revived in the 21st century.
Futurism
Bauhaus
The Bauhaus, an art school founded in Weimar in 1919, included an experimental performing arts workshops with the goal of exploring the relationship between the body, space, sound and light. The Black Mountain College, founded in the United States by instructors of the original Bauhaus who were exiled by the Nazi Party, continued incorporating experimental performing arts in the scenic arts training twenty years before the events related to the history of performance in the 1960s.[34] The name Bauhaus derives from the German words Bau, construction and Haus, house; ironically, despite its name and the fact that his founder was an architect, the Bauhaus did not have an architecture department the first years of its existence.[35][36]
Action painting
In the 1940s and 1950s, the action painting technique or movement gave artists the possibility of interpreting the canvas as an area to act in, rendering the paintings as traces of the artist's performance in the studio [37] According to art critic Harold Rosenberg, it was one of the initiating processes of performance art, along with abstract expressionism. Jackson Pollock is the action painter par excellence, who carried out many of his actions live.[38] In Europe Yves Klein did his Anthropométries using (female) bodies to paint canvasses as a public action. Names to be highlighted are Willem de Kooning and Franz Kline, whose work include abstract and action painting.[37][39][40]
Nouveau réalisme
Nouveau réalisme is another one of the artistic movements cited in the beginnings of performance art. It was a painting movement founded in 1960 by art critic Pierre Restany and painter Yves Klein, during the first collective exhibition in the Apollinaire Gallery in Milan. Nouveau réalisme was, along with Fluxus and other groups, one of the many avant garde tendencies of the 1960s. Pierre Restany created various performance art assemblies in the Tate Modern, amongst other spaces.[41] Yves Klein is one of the main exponents of the movement. He was a clear pioneer of performance art, with his conceptual pieces like Zone de Sensibilité Picturale Immatérielle (1959–62), Anthropométries (1960), and the photomontage Saut dans le vide.[42][43] All his works have a connection with performance art, as they are created as a live action, like his best-known artworks of paintings created with the bodies of women. The members of the group saw the world as an image, from which they took parts and incorporated them into their work; they sought to bring life and art closer together.[44][45][46]
Gutai
One of the other movements that anticipated performance art was the Japanese movement
Land art and performance
In the late 1960s, diverse land art artists such as Robert Smithson or Dennis Oppenheim created environmental pieces that preceded performance art in the 1970s. Works by conceptual artists from the early 1980s, such as Sol LeWitt, who made mural drawing into a performance act, were influenced by Yves Klein and other land art artists.[50][51][52] Land art is a contemporary art movement in which the landscape and the artwork are deeply bound. It uses nature as a material (wood, soil, rocks, sand, wind, fire, water, etc.) to intervene on itself. The artwork is generated with the place itself as a starting point. The result is sometimes a junction between sculpture and architecture, and sometimes a junction between sculpture and landscaping that is increasingly taking a more determinant role in contemporary public spaces. When incorporating the artist's body in the creative process, it acquires similarities with the beginnings of performance art.
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Portrait of Valentine de Saint-Point in the space of creation
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Intervened cover by Russian Futurist Olga Rozanova (1912)
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Portrait of Willem de Kooning, action painting painter in his studio
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Installation by Gutai Group, in the 2009Venice Biennial
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Installation by Dennis Oppenheim in Hesse, Germany
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Land art work by Robert Smithson
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Portrait of Pierre Restany in one of his openings
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Freeing of 1001 blue balloons, "sculpture aérostatique" by Yves Klein
1960s
In the 1960s, with the purpose of evolving the generalized idea of art and with similar principles of those originary from
Viennese actionism
The term Viennese Actionism (Wiener Aktionismus) comprehends a brief and controversial art movement of the 20th century, which is remembered for the violence, grotesque and visual of their artworks.[54] It is located in the Austrian vanguard of the 1960s, and it had the goal of bringing art to the ground of performance art, and is linked to Fluxus and Body Art. Amongst their main exponents are Günter Brus, Otto Muehl and Hermann Nitsch, who developed most of their actionist activities between 1960 and 1971. Hermann, pioneer of performance art, presented in 1962 his Theatre of Orgies and Mysteries (Orgien und Mysterien Theater).[55][56][57] Marina Abramović participated as a performer in one of his performances in 1975.
New York and avant-garde performance
In the early 1960s, New York City harbored many movements, events and interests regarding performance art. Amongst others, Andy Warhol began creating films and videos,[58] and mid decade he sponsored The Velvet Underground and staged events and performative actions in New York, such as the Exploding Plastic Inevitable (1966), that included live rock music, explosive lights and films.[59][60][61][62]
The Living Theatre
Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre is a theater company created in 1947 in New York. It is the oldest
Fluxus
Fluxus, a Latin word that means flow, is a visual arts movement related to music, literature, and dance. Its most active moment was in the 1960s and 1970s. They proclaimed themselves against the traditional artistic object as a commodity and declared themselves a sociological art movement. Fluxus was informally organized in 1962 by George Maciunas (1931–1978). This movement had representation in Europe, the United States and Japan.[65] The Fluxus movement, mostly developed in North America and Europe under the stimulus of John Cage, did not see the avant-garde as a linguistic renovation, but it sought to make a different use of the main art channels that separate themselves from specific language; it tries to be interdisciplinary and to adopt mediums and materials from different fields. Language is not the goal, but the mean for a renovation of art, seen as a global art.[66] As well as Dada, Fluxus escaped any attempt for a definition or categorization. As one of the movement's founders, Dick Higgins, stated:
Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning.[67][68]
Robert Filliou places Fluxus opposite to conceptual art for its direct, immediate and urgent reference to everyday life, and turns around Duchamp's proposal, who starting from Ready-made, introduced the daily into art, whereas Fluxus dissolved art into the daily, many times with small actions or performances.[69]
John Cage was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century.[70][71][72][73] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.[74][75]
Cage's friend
Process art
Happening
Wardrip-Fruin and Montfort in The New Media Reader, "The term 'Happening' has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction."[80] A happening allows the artist to experiment with the movement of the body, recorded sounds, written and talked texts, and even smells. One of Kaprow's first works was Happenings in the New York Scene, written in 1961.[81] Allan Kaprow's happenings turned the public into interpreters. Often the spectators became an active part of the act without realizing it. Other actors who created happenings were Jim Dine, Al Hansen, Claes Oldenburg, Robert Whitman and Wolf Vostell: Theater is in the Street (Paris, 1958).[82][83]
Main artists
The works by performance artists after 1968 showed many times influences from the political and cultural situation that year. Barbara T. Smith with Ritual Meal (1969) was at the vanguard of body and scenic feminist art in the seventies, which included, amongst others, Carolee Schneemann and Joan Jonas. These, along with Yoko Ono, Joseph Beuys, Nam June Paik, Wolf Vostell, Allan Kaprow, Vito Acconci, Chris Burden and Dennis Oppenheim were pioneers in the relationship between body art and performance art, as well as the Zaj collective in Spain with Esther Ferrer and Juan Hidalgo.
Barbara Smith is an artist and United States activist. She is one of the main African-American exponents of feminism and LGBT activism in the United States. In the beginning of the 1970s she worked as a teacher, writer and defender of the black feminism current.[84] She has taught at numerous colleges and universities in the last five years. Smith's essays, reviews, articles, short stories and literary criticism have appeared in a range of publications, including The New York Times, The Guardian, The Village Voice and The Nation.[85][86][87]
Joan Jonas (born July 13, 1936) is an American visual artist and a pioneer of video and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s.[93] Jonas' projects and experiments provided the foundation on which much video performance art would be based. Her influences also extended to conceptual art, theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.[94][95] Immersed in New York's downtown art scene of the 1960s, Jonas studied with the choreographer Trisha Brown for two years.[96] Jonas also worked with choreographers Yvonne Rainer and Steve Paxton.[97]
Yoko Ono was part of the avant-garde movement of the 1960s. She was part of the Fluxus movement.[98] She is known for her performance art pieces in the late 1960s, works such as Cut Piece, where visitors could intervene in her body until she was left naked.[99] One of her best known pieces is Wall piece for orchestra (1962).[100][101]
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Portrait of Barbara Smith
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Conference by Yoko Ono in the Viena Biennial, 2012
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Portrait of Yoko Ono
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Video art piece from the Brooklyn Museum with an interview with Carolee Schneemann
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Joan Jonas during a performance documented on video and installed, 1972
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Portrait of artist Joan Jonas
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Portrait of Joseph Beuys in a conference-performance, 1978
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Joseph Beuys in a video art piece
Nam June Paik was a South Korean performance artist, composer and video artist from the second half of the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg conservatory. While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace as well as George Maciunas, Joseph Beuys and Wolf Vostell and was from 1962 on, a member of the experimental art movement Fluxus.[111][112] Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage and his use of everyday sounds and noises in his music.[113] He was mates with Yoko Ono as a member of Fluxus.[114]
Dennis Oppenheim was an American conceptual artist, performance artist, earth artist, sculptor and photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work progressed from perceptions of the physical properties of the gallery to the social and political context, largely taking the form of permanent public sculpture in the last two decades of a highly prolific career, whose diversity could exasperate his critics.[126]
Yayoi Kusama is a Japanese artist who, throughout her career, has worked with a great variety of media including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the pop art, minimalism and feminist art movements and influenced her coetaneous, Andy Warhol and Claes Oldenburg.[127] She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art.[128][129]
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Video-installation-performance by Nam June Paik in 2008
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Video-installation-performance by Nam June Paik in Düsseldorf
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Portrait of Wolf Vostell in 1980
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Portrait of Allan Kaprow in 1973
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Vito Acconci during a video-performance in 1973
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Installation by Vito Acconci in the Luigi Pecci Contemporary Art Centre
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Installation by Dennis Oppenheim in the Vancouver Sculpture Biennial
1970s
In the 1970s, artists that had derived to works related to performance art evolved and consolidated themselves as artists with performance art as their main discipline, deriving into installations created through performance, video performance, or collective actions, or in the context of a socio-historical and political context.
Video performance
In the early 1970s the use of video format by performance artists was consolidated. Some exhibitions by Joan Jonas and Vito Acconci were made entirely of video, activated by previous performative processes. In this decade, various books that talked about the use of the means of communication, video and cinema by performance artists, like Expanded Cinema, by Gene Youngblood, were published. One of the main artists who used video and performance, with notorious audiovisual installations, is the South Korean artist Nam June Paik, who in the early 1960s had already been in the Fluxus movement until becoming a media artist and evolving into the audiovisual installations he is known for.
Carolee Schneemann's and Robert Whitman's 1960s work regarding their video-performances must be taken into consideration as well. Both were pioneers of performance art, turning it into an independent art form in the early seventies.[130]
Joan Jonas started to include video in her experimental performances in 1972, while Bruce Nauman scenified[clarification needed] his acts to be directly recorded on video.[131] Nauman is an American multimedia artist, whose sculptures, videos, graphic work and performances have helped diversify and develop culture from the 1960s on. His unsettling artworks emphasized the conceptual nature of art and the creation process.[132] His priority is the idea and the creative process over the result. His art uses an incredible array of materials and especially his own body.[133][134]
Endurance art
Endurance performance art deepens the themes of trance, pain, solitude, deprivation of freedom, isolation or exhaustion.[140] Some of the works, based on the passing of long periods of time are also known as long-durational performances.[141] One of the pioneering artists was Chris Burden in California since the 1970s.[142] In one of his best known works, Five days in a locker (1971) he stayed for five days inside a school locker, in Shoot (1971) he was shot with a firearm, and inhabited for twenty two days a bed inside an art gallery in Bed Piece (1972).[143] Another example of endurance artist is Tehching Hsieh. During a performance created in 1980–1981 (Time Clock Piece), where he stayed a whole year repeating the same action around a metaphorical clock. Hsieh is also known for his performances about deprivation of freedom; he spent an entire year confined.[144] In The House With the Ocean View (2003), Marina Abramović lived silently for twelve days without food.[145] The Nine Confinements or The Deprivation of Liberty is a conceptual endurance artwork of critical content carried out in the years 2013 and 2016. All of them have in common the illegitimate deprivation of freedom.
Performance in a political context
In the mid-1970s, behind the Iron Curtain, in major Eastern Europe cities such as Budapest, Kraków, Belgrade, Zagreb, Novi Sad and others, scenic arts of a more experimental content flourished. Against political and social control, different artists who made performance of political content arose. Orshi Drozdik's performance series, titled Individual Mythology 1975–77 and the NudeModel 1976–77. All her actions were critical of the patriarchal discourse in art and the forced emancipation programme and constructed by the equally patriarchal state.[146] Drozdik showed a pioneer and feminist point of view on both, becoming one of the precursors of this type of critical art in Eastern Europe.[147] In the 1970s, performance art, due to its fugacity,[clarification needed] had a solid presence in the Eastern European avant-garde, specially in Poland and Yugoslavia, where dozens of artists who explored the body conceptually and critically emerged.
The Other
In the mid-1976s, Ulay and Marina Abramović founded the collective The Other in the city of Amsterdam. When Abramović and Ulay[148] started their collaboration. The main concepts they explored were the ego and artistic identity. This was the start of a decade of collaborative work.[149] Both artists were interested in the tradition of their cultural heritage and the individual's desire for rituals.[150] In consecuense,[clarification needed] they formed a collective named The Other. They dressed and behaved as one, and created a relation of absolute confidence. They created a series of works in which their bodies created additional spaces for the audience's interaction. In Relation in Space they ran around the room, two bodies like two planets, meshing masculine and feminine energies into a third component they called "that self".[151] Relation in Movement (1976) had the couple driving their car inside the museum, doing 365 spins. A black liquid dripped out of the car, forming a sculpture, and each round represented a year.[152] After this, they created Breathing In/Breathing Out, where both of them united their lips and inspired the air expired by the other one until they used up all oxygen. Exactly 17 minutes after the start of the performance, both of them fell unconscious, due to their lungs filling with carbon dioxide. This piece explored the idea of the ability of a person to absorb the life out of another one, changing them and destroying them. In 1988, after some years of a tense relationship, Abramović and Ulay decided to make a spiritual travel that would put an end to the collective. They walked along the Great Wall of China, starting on opposite ends and finding each other halfway. Abramović conceived this walk on a dream, and it gave her what she saw as an appropriate and romantic ending to the relationship full of mysticism, energy and attraction.[153] Ulay started on the Gobi dessert and Abramovic in the Yellow sea. Each one of them walked 2500 kilometres, found each other in the middle and said goodbye.
Main artists
In 1973, Laurie Anderson interpreted Duets on Ice in the streets of New York. Marina Abramović, in the performance Rhythm 10, included conceptually the violation of a body.[154] Thirty years later, the topic of rape, shame and sex exploitation would be reimagined in the works of contemporary artists such as Clifford Owens,[155] Gillian Walsh, Pat Oleszko and Rebecca Patek, amongst others.[156] New artists with radical acts consolidated themselves as the main precursors of performance, like Chris Burden, with the 1971 work Shoot, where an assistant shot him in the arm from a five-meter distance, and Vito Acconci the same year with Seedbed. The work Eye Body (1963) by Carolee Schneemann en 1963, had already been considered a prototype of performance art. In 1975, Schneemann recurred to innovative solo acts such as Interior Scroll, that showed the feminine body as an artistic media.
One of the main artists was
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Portrait of Ulay in 1972
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Abramovic and Ulay's Furgone
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Exhibition of Marina Abramović's first works in Stockholm
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Installation by Bruce Nauman in Germany
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Video installation by Nam June Paik
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Gilbert and Georgein a presentation
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Orshi Drozdik in one of her exhibitions
1980s
The technique of performance art
Until the 1980s, performance art has demystified virtuosism,[clarification needed] this being one of its key characteristics. Nonetheless, from the 1980s on it started to adopt some technical brilliancy.[160] In reference to the work Presence and Resistance[161] by Philip Auslander, the dance critic Sally Banes writes, "... by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment."[162] In this decade the parameters and technicalities built to purify and perfect performance art were defined.
Critique and investigation of performance art
Despite the fact that many performances are held within the circle of a small art-world group, Roselee Goldberg notes in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise." In this decade, publications and compilations about performance art and its best known artists emerged.
Performance art from a political context
In the 1980s, the political context played an important role in the artistic development and especially in performance, as almost every one of the works created with a critical and political discourse were in this discipline. Until the decline of the European Eastern bloc during the late 1980s, performance art had actively been rejected by most communist governments. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or was covered as another activity, like a photo-shoot. Isolated from the western conceptual context, in different settings it could be like a playful protest or a bitter comment, using subversive metaphors to express dissent with the political situation.[163] Amongst the most remarkable performance art works of political content in this time were those of Tehching Hsieh between July 1983 and July 1984, Art/Life: One Year Performance (Rope Piece).[164]
Performance poetry
In 1982 the terms "poetry" and "performance" were first used together. Performance poetry appeared to distinguish text-based vocal performances from performance art, especially the work of escenic[clarification needed] and musical performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture. Many artists since John Cage fuse performance with a poetical base.
Feminist performance art
Since 1973 the Feminist Studio Workshop in the Woman's Building of Los Ángeles had an impact in the wave of feminist acts, but until 1980 they did not completely fuse. The conjunction between feminism and performance art progressed through the last decade. In the first two decades of performance art development, works that had not been conceived as feminist are seen as such now.[clarification needed]
Still, not until 1980 did artists self-define themselves as feminists. Artist groups in which women influenced by the 1968 student movement as well as the feminist movement stood out.[165] This connection has been treated in contemporary art history research. Some of the women whose innovative input in representations and shows was the most relevant were Pina Bausch and the Guerrilla Girls who emerged in 1985 in New York City,[166] anonymous feminist and anti-racist art collective.[167][168][169][170] They chose that name because they used guerrilla tactics in their activism [167] to denounce discrimination against women in art through political and performance art.[171][172][173][174] Their first performance was placing posters and making public appearances in museums and galleries in New York, to critique the fact that some groups of people were discriminated against for their gender or race.[175] All of this was done anonymously; in all of these appearances they covered their faces with gorilla masks (this was due to the similar pronunciation of the words "gorilla" and "guerrilla"). They used as nicknames the names of female artists who had died.[176] From the 1970s until the 1980s, amongst the works that challenged the system and their usual strategies of representation, the main ones feature women's bodies, such as Ana Mendieta's works in New York City where her body is outraged and abused, or the artistic representations by Louise Bourgeois with a rather minimalist discourse that emerge in the late seventies and eighties. Special mention to the works created with feminine and feminist corporeity[clarification needed] such as Lynda Benglis and her phallic performative actions, who reconstructed the feminine image to turn it into more than a fetish. Through feminist performance art the body becomes a space for developing these new discourses and meanings. Artist Eleanor Antin, creator in the 1970s and 1980s, worked on the topics of gender, race and class. Cindy Sherman, in her first works in the seventies and already in her artistic maturity in the eighties, continues her critical line of overturning the imposed self, through her use of the body as an object of privilege.
Judy Chicago is an artist and pioneer of feminist art and performance art in the United States. Chicago is known for her big collaborative art installation pieces on images of birth and creation, that examine women's part in history and culture. In the 1970s, Chicago has founded the first feminist art programme in the United States. Chicago's work incorporates a variety of artistic skills such as sewing, in contrast with skills that required a lot of workforce, like welding and pyrotechnics. Chicago's best known work is The Dinner Party, that was permanently installed in the Elizabeth A. Sackler Center for Feminist Art in the Brooklyn Museum. The Dinner Party celebrated the achievements of women throughout history and is widely considered as the first epic feminist artwork. Other remarkable projects include International Honor Quilt, The Birth Project,[178] Powerplay,[179] and The Holocaust Project.[180]
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Students in a Martha Rosler exhibition
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The Guerrilla Girls in an opening in London
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Works of the 'Guerrilla Girls' in an exhibition in the Museum of Modern Art, Manhattan, New York
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Guerrilla Girls exhibition
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Installation by Louise Bourgeois in a Brazilian museum
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Portrait of Judy Chicago
Expansion to Latin America
In this decade performance art spread until reaching Latin America through the workshops and programmes that universities and academic institutions offered. It mainly developed in Mexico, Colombia -with artists such as Maria Teresa Hincapié—, in Brasil and in Argentina.[181]
Ana Mendieta was a conceptual and performance artist born in Cuba and raised in the United States. She's mostly known for her artworks and performance art pieces in land art. Mendieta's work was known mostly in the feminist art critic environment. Years after her death, specially since the Whitney Museum of American Art retrospective in 2004[182] and the retrospective in the Haywart Gallery in London in 2013[183] she is considered a pioneer of performance art and other practices related to body art and land art, sculpture and photography.[184] She described her own work as earth-body art.[185][186]
Tania Bruguera is a Cuban artist specialized in performance art and political art. Her work mainly consists of her interpretation of political and social topics.[187] She has developed concepts such as "conduct art" to define her artistic practices with a focus on the limits of language and the body confronted to the reaction and behavior of the spectators. She also came up with "useful art", that it ought to transform certain political and legal aspects of society. Brugera's work revolves around power and control topics, and a great portion of her work questions the current state of her home country, Cuba. In 2002 she created the Cátedra Arte de Conducta in La Habana.[188][189][190]
Regina José Galindo is a Guatemalan artist specialized in performance art. Her work is characterized by its explicit political and critical content, using her own body as a tool of confrontation and social transformation.[191] Her artistic career has been marked by the Guatemalan Civil War that took place from 1960 to 1996, which triggered a genocide of more than 200 thousand people, many of them indigenous, farmers, women and children.[181] With her work, Galindo denounces violence, sexism (one of her the main topics is femicide), the western beauty standards, the repression of the estates and the abuse of power, especially in the context of her country, even though her language transgresses borders. Since her beginnings she only used her body as media, which she occasionally takes to extreme situations (like in Himenoplasty (2004) where she goes through a hymen reconstruction, a work that won the Golden Lyon in the Venice Biennale), to later have volunteers or hired people to interact with her, so that she loses control over the action.[192]
1990s
The 1990s was a period of absence for classic European performance, so performance artists kept a low profile. Nevertheless, Eastern Europe experienced a peak. On the other hand, Latin American performance continued to boom, as well as feminist performance art. There also was a peak of this discipline in Asian countries, whose motivation emerged from the
Performance with political context
While the
Professionalization of performance art
In the Western World, in the 1990s, performance art joined the mainstream culture. Diverse performance artworks, live, photographed or through documentation started to become part of galleries and museums that began to understand performance art as an art discipline.
Performance in China
In the late 1990s, Chinese contemporary art and performance art received great recognition internationally, as 19 Chinese artists were invited to the Venice Biennial.[195][196] Performance art in China and its history had been growing since the 1970s due to the interest between art, process and tradition in Chinese culture, but it gained recognition from the 1990s on.[197][193] In China, performance art is part of the fine arts education programme, and is becoming more and more popular.[197][198] In the early 1990s, Chinese performance art was already acclaimed in the international art scene.[199][197][200]
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Performance art in the Lyon Biennale
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Performance art in the Lyon Biennale
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Performance at the entrance of the Romanian Pavilion at the Venice Biennale
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Performative installation by Joseph Beuys in the Tate Modern of London
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Video installation with the Chinese artist Ai Weiwei
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Tehching Hsieh exhibition in downtown New York City
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China Pavilion at the Venice Biennale
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Portrait of Wang Xiaoshuai
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Liu Xiaodong during a performance artwork
Since the 2000s
New-media performance
In the late 1990s and into the 2000s, a number of artists incorporated technologies such as the World Wide Web, digital video, webcams, and streaming media, into performance artworks.
In the second half of the decade, computer-aided forms of performance art began to take place.[205] Many of these works led to the development of algorithmic art, generative art, and robotic art, in which the computer itself, or a computer-controlled robot, becomes the performer.[206]
Coco Fusco is an interdisciplinary Cuban-American artist, writer and curator who lives and works in the United States. Her artistic career began in 1988. In her work, she explores topics such as identity, race, power and gender through performance. She also makes videos, interactive installations and critical writing.[207][19]
Radical performance
During the 2000s and 2010s, artists such as Pussy Riot, Tania Bruguera, and Petr Pavlensky have been judged for diverse artistic actions.[208]
On February 21, 2012, as a part of their protest against the re-election of
Since 2012, artist
In December 2014
In November 2015 and October 2017 Petr Pavlensky was arrested for carrying out a radical performance art piece in which he set on fire the entry of the Lubyanka Building, headquarters of the Federal Security Service of Russia, and a branch office of the Bank of France.[233] On both occasions he sprayed the main entrance with gasoline; in the second performance he sprayed the inside as well, and ignited it with a lighter. The doors of the building were partially burnt. Both times Pavlenski was arrested without resistance and accused of debauchery. A few hours after the actions, several political and artistic reivindicative videos appeared on the internet.[234]
Institutionalization of performance art / performance collecting processes
Since the 2000s, big museums, institutions and collections have supported performance art. Since January 2003, Tate Modern in London has had a curated programme of live art and performance.[235] With exhibitions by artists such as Tania Bruguera or Anne Imhof.[236] In 2012 The Tanks at Tate Modern were opened: the first dedicated spaces for performance, film and installation in a major modern and contemporary art museum.
The Museum of Modern Art held a major retrospective and performance recreation of Marina Abramović's work, the biggest exhibition of performance art in MoMA's history, from March 14 to 31, 2010.[237][238] The exhibition consisted of more than twenty pieces by the artist, most of them from the years 1960–1980. Many of them were re-activated by other young artists of multiple nationalities selected for the show.[239] In parallel to the exhibition, Abramovic performed The Artist is Present, a 726-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.[240] The work is an updated reproduction of one of the pieces from 1970, shown in the exhibition, where Abramovic stayed for full days next to Ulay, who was her sentimental companion. The performance attracted celebrities such as Björk, Orlando Bloom and James Franco[241] who participated and received media coverage.[242]
Against the background of the institutionalisation of performance, the Bruxelles-based initiative A Performance Affair[243] and the London-based format Performance Exchange[244] inquire about the collectability of performance works. With The Non-fungible Body?, the Austrian museum and culture centre OÖLKG/OK reflects upon recent developments in institutionalizing performance through a discursive festival format that was presented for the first time in June 2022.
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Facade of theGuggenheim Museum in Bilbao with a Yoko OnoBanner
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Work by Doris Salcedo in the Tate Modern in London, 2007
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Marina Abramović during her seven performances in Seven Easy Pieces (2005), in the Solomon R. Guggenheim Museum
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Zenith shot of the performance The Artist Is Present in the Museum of Modern Art
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Work by Marina Abramović reproduced for the retrospective in Bologna, Italy, 2018
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Hermann Nitsch carrying out a performance in his homonymous museum (2009)
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Performance by Bryan Zanisnik, called When I Was a Child I Caught a Fleeting Glimpse, 2009
Collective reivindication performance art
In 2014 the performance art piece Carry That Weight is created, also known as "the mattress performance". The artist behind this piece is Emma Sulkowicz who, during her end of degree thesis in visual arts in the Columbia University in the city of New York City. In September 2014, Sulkowicz's piece began, as she started carrying her own mattress around the Columbia University campus.[245] This work was created by the artist with the goal of denouncing her rape in that same mattress years before, in her own dormitory, which she reported and was not heard by the university or the justice,[246] so she decided to carry the mattress with her for the entire semester, without leaving it at any moment, until her graduation ceremony in May 2015. The piece generated great controversy, but was supported by a bunch of her companions and activists who joined Sulkowicz multiple times when carrying the mattress, making the work an international revindication. Art critic Jerry Saltz considered the artwork to be one of the most important of the year 2014. [247]
In 2019 the collective performance art piece
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Companions of Emma Sulkowicz and the artist herself carrying the mattress to the graduation as a complaint
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Sulkowicz with the instructions for her performance in the Columbia University
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Part of Sulkowicz's performance, an action called "Llevemos el peso entre todas" (Carry That Weight Together)
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Sulkowicz's portrait in one of the presentations of the work
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Roberta Smith, New York Times art critic (left), discussing Mattress Performance with Sulkowicz, Brooklyn Museum, December 14, 2014
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Mexican interpretation of A Rapist in Your Path in Oaxaca, November 27, 2019
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A Rapist in Your Path presented in the context of the2019-2020 Chilean protests
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Peruvian interpretation of A Rapist in Your Path in Lima, December 12, 2019
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A Rapist in Your Path presented in the context of the 2019-2020 Chilean protests
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A child intervening during the performance of A Rapist in Your Path
See also
References
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{{cite book}}
: CS1 maint: location missing publisher (link - ^ "Russian Artist Pyotr Pavlensky Sentenced over Paris Bank Fire". ArtForum. January 15, 2019. Retrieved May 16, 2020.
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{{cite web}}
: CS1 maint: multiple names: authors list (link) - ^ "Home". Performance Exchange. Retrieved September 12, 2022.
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External links
- Live Art Archives at the University of Bristol Theatre Collection
- Thomas Dreher: Intermedia Art: Performance Art (most articles in German)