Posts tagged "performance"
  1. Notes: 50 / 6 months ago 
    Monday Dali with Lotte Tarp,1965 by Werner Bokelberg

    Monday Dali with Lotte Tarp,1965 by Werner Bokelberg

     
    2. Comments
  2. Notes: 1479 / 1 year ago  from igoyugo
    Marina Abramović, Rhythm 0, 1974 To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her. Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions. Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later: “What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation. photo courtesy of igoyugo , audio available @ MoMA

    Marina Abramović, Rhythm 0, 1974

    To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

    Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

    Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

    “What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.

    photo courtesy of igoyugo , audio available @ MoMA

     
    3. Comments
  3. Notes: 192 / 1 year ago  from bookmarklet
    Lindsay Seers, I saw the light, 2005 “She is engrossed by the conceptual and philosophical questions raised by the medium that relate to truth, imagination, memory and history. (…) as a child she could not speak. This silence was possibly caused by a condition called eidetic memory (photographic memory). Seers first spoke at the age of eight when she saw a photograph of herself, asking: ‘Is that me?’ Her eidetic memory faded with the onset of language. This traumatic loss of her memory led her to ‘become’ a camera; she started forming images by inserting pieces of light-sensitive paper into her mouth and using her lips as the aperture and shutter. This passive process of ‘ingesting’ the world occupied her for many years, she gave up her life as a camera to ‘become’ a projector emitting images in an act of extramission.”   Nicolas Bourriaud on Lindsay Seers @Tate

    Lindsay Seers, I saw the light, 2005

    “She is engrossed by the conceptual and philosophical questions raised by the medium that relate to truth, imagination, memory and history.

    (…) as a child she could not speak. This silence was possibly caused by a condition called eidetic memory (photographic memory). Seers first spoke at the age of eight when she saw a photograph of herself, asking: ‘Is that me?’ Her eidetic memory faded with the onset of language. This traumatic loss of her memory led her to ‘become’ a camera; she started forming images by inserting pieces of light-sensitive paper into her mouth and using her lips as the aperture and shutter. This passive process of ‘ingesting’ the world occupied her for many years, she gave up her life as a camera to ‘become’ a projector emitting images in an act of extramission.”  

    Nicolas Bourriaud on Lindsay Seers @Tate

     
    4. Comments
  4. Notes: 91 / 1 year ago  from bookmarklet
    From Intellectual,1975 performance by Fabio Mauri feat. Pier Paolo Pasolini  photo by Antonio Masotti  more, also here

    From Intellectual,1975

    performance by Fabio Mauri feat. Pier Paolo Pasolini

     photo by Antonio Masotti

     more, also here

     
    5. Comments
  5. Notes: 80 / 1 year ago  from bookmarklet
    Marina Abramović by Lucie Jansch in the opening night performance of ‘The Life and Death of Marina Abramović’ at the Manchester International Festival [09-16 July 2011] from Phaidon

    Marina Abramović by Lucie Jansch in the opening night performance of ‘The Life and Death of Marina Abramović’ at the Manchester International Festival [09-16 July 2011]

    from Phaidon

     
    6. Comments
  6. Notes: 33 / 1 year ago  from bookmarklet
     Was Ist Kunst Marinela Kozelj ,1978 by Raša Todosijević [bio in english here]

     Was Ist Kunst Marinela Kozelj ,1978 by Raša Todosijević [bio in english here]

     
    7. Comments
  7. Notes: 17 / 2 years ago  from bookmarklet

    Music video for OR, taken from Kangding Ray’s latest album.

    Out now on raster-noton.

    music : Kangding Ray
    gestures : Jean-Baptiste André
    directed by Nicolas Lelièvre
    Shot at Le Cent Quatre (Paris), october 2010

    just downloaded and inhaled deeply. leaves me speechless.

    with thanks to dear DorianFuk

    8. Comments
  8. Notes: 49 / 2 years ago 
    Hélène Vanel in L’acte manqué [The Unconsummated Act] performed for the opening of the 1938 Surrealist Exhibition in Paris from chagalov & Lewis Kachur, Displaying the Marvelous - Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations [MIT Press, 2001] [google books]

    Hélène Vanel in L’acte manqué [The Unconsummated Act]

    performed for the opening of the 1938 Surrealist Exhibition in Paris

    from chagalov & Lewis Kachur, Displaying the Marvelous - Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations [MIT Press, 2001] [google books]

     
    9. Comments
  9. Notes: 213 / 2 years ago  from bookmarklet
    Monday Dali with Lotte Tarp Da Da Dali. Akt 5- Le Dîner, 1965 by Werner Bokelberg [book available here] via adski_kafeteri & Ader

    Monday Dali with Lotte Tarp

    Da Da Dali. Akt 5- Le Dîner, 1965 by Werner Bokelberg [book available here]

    via adski_kafeteri & Ader

     
    10. Comments
  10. Notes: 38 / 2 years ago  from bookmarklet
    Scene from Ernst Toller’s Transformation [also translated as Transfiguration], Berlin,1919

    Scene from Ernst Toller’s Transformation [also translated as Transfiguration], Berlin,1919

     
    11. Comments
  11. Notes: 83 / 2 years ago  from bookmarklet
    In 1936, Salvador DalÍ collaborated with fellow surrealist Sheila Legge to stage a surrealist happening in Trafalgar Square. Legge appeared as The Phantom of Sex Appeal dressed in a long white satin dress, her face completely obscured by paper roses and ladybirds. Photographs of this event showing pigeons perching on the Phantom’s arms have become an iconic surrealist image. via Manchester Confidential [with thanks to Asha;]

    In 1936, Salvador DalÍ collaborated with fellow surrealist Sheila Legge to stage a surrealist happening in Trafalgar Square. Legge appeared as The Phantom of Sex Appeal dressed in a long white satin dress, her face completely obscured by paper roses and ladybirds. Photographs of this event showing pigeons perching on the Phantom’s arms have become an iconic surrealist image.

    via Manchester Confidential [with thanks to Asha;]

     
    12. Comments
  12. Notes: 71 / 2 years ago  from bookmarklet
    Body Sign Action,Frankfurt 1970 by Valie Export [one of the images from this performance is circulating on tumblr with no caption or credit, I can’t even locate where i saw it….I find that very annoying and disrespectful esp. considering the fact that ‘artist is still present’…]

    Body Sign Action,Frankfurt 1970

    by Valie Export

    [one of the images from this performance is circulating on tumblr with no caption or credit, I can’t even locate where i saw it….I find that very annoying and disrespectful esp. considering the fact that ‘artist is still present’…]

     
    13. Comments
  13. Notes: 12 / 2 years ago  from bookmarklet
    1970-s Happening by Leonard Freed 

    1970-s Happening by Leonard Freed 

     
    14. Comments
  14. Notes: 10 / 3 years ago  from bookmarklet
    Performatism An interesting lot of Poloroid photographs circa 1984. All I have been able to find out about the woman’s life is that her name appears to be Cathy. These images are shot by one other person who may have lived with her say a girlfriend or a lover, I cannot be sure. there are one or two portraits that suggest strong friendship over coupling. The images are reminiscent of the relationship between Cookie (sp) Mueller and Nan Goldin for which the latter published under Ballad of Sexual Dependency. Unfortunelt Cokie (sp) had an overdose not long after.  These images express a very interesting take on personal performance and instant gratitification with Polaroid film. The gestures are loose and full of life as opposed to being clausteraphobically staged to the point of artifice. “Cathy” seems to take pleasure out of the experience and its perhaps best not to read too much into these images, but they do entertain a somehow bixarre association with identity, performance, and the poloroid instant camera. one more from extra-ORDINARY-LIGHT

    Performatism

    An interesting lot of Poloroid photographs circa 1984. All I have been able to find out about the woman’s life is that her name appears to be Cathy. These images are shot by one other person who may have lived with her say a girlfriend or a lover, I cannot be sure. there are one or two portraits that suggest strong friendship over coupling. The images are reminiscent of the relationship between Cookie (sp) Mueller and Nan Goldin for which the latter published under Ballad of Sexual Dependency. Unfortunelt Cokie (sp) had an overdose not long after.  These images express a very interesting take on personal performance and instant gratitification with Polaroid film. The gestures are loose and full of life as opposed to being clausteraphobically staged to the point of artifice. “Cathy” seems to take pleasure out of the experience and its perhaps best not to read too much into these images, but they do entertain a somehow bixarre association with identity, performance, and the poloroid instant camera.

    one more from extra-ORDINARY-LIGHT

     
    15. Comments
  15. Notes: 26 / 3 years ago  from bookmarklet
    Janine Antoni ~Loving Care, 1992 Performance at the Anthony D’Offay Gallery, London. photo by Prudence Cumming  Associates via acidolatte

    Janine Antoni ~Loving Care, 1992

    Performance at the Anthony D’Offay Gallery, London.
    photo by Prudence Cumming  Associates

    via acidolatte

     
    16. Comments
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