2010 : chronologie performance

Publié le par Olivier Lussac

2010

 

- ABDULAZIZ Ebtisam, Women’s Circle, 2010.

- ABE Sachiko, Cut Papers #11, 2010.

- AKRAS Rose & VISSER Rob, Movement with a rest product- space, 2010 Verbo, photo. Rafael Canas.

- ARAHMAIANI, Violence No More, On Edge, Cairns, Australie.

- ARSEM Marilyn, US Domestic  Policy II, 2010, Live action NYC

- BENINK Jo, Mercedes Benz, 2010, Amsterdam.

- BERNDTSON Anna, 2010.

- BING Han, Dreams of Lost Home, 2010.

- BING Han, Polluted and Profaned as Judgement, 2010.

- BLOMQVIST Johannes, Enduroperformance, 2010.

- BOLIVER Rocio (aka La Congelada de Uva), Au clair de la lune, 2010. 

Rencontre internationale d’art performance, Québec, Canada.

- BOLIVER Rocio (aka La Congelada de Uva), VaginaPhone, 25 mars 2010.

- CHAN Derek, Being-Becoming, 2010, durational performance Chicago Museum.

- CHIA Chuyia, Sleeping with ignorance, 2010.

- CHOPRA Nikhil, Yog Raj Chitrakar, 2010, Memory Drawing XI, Chicago.

- CIAPP Pascale, Nourriture poétique, 2010.

- COA Santiago, Pes(o)soa de Osso, 2010.

- CONNANSKI Loïc, Organic Time, 2010.

- D’EMILIA Dani, Deterritorialized Mirror State, 2010, Mostardas, Brasil, Photo. Angela Alegria.

- DEIMLING BBB Johannes, Cream Head, 2010.

- DEIMLING BBB Johannes, I Think About You, 2010. Vidéo, 2:15 min.

- DEIMLING BBB Johannes, Ruhe, 2010, photo: Heiko.

International performance art festival Grenzart/Kirschau, Germany.

Sitting in a calm forest I carve the word ‘‘Ruhe’’ (silence) into a rock using a hammer and a chisel. Ruhe was performed as part of the PASproject ‘‘there is no grass under my skin’’.

- DEIMLING BBB Johannes, Shamrock, 2010, photos. Andrés Galeano. Illustration. Christoph Illigens

(images #1) dressed in a white shirt and bright trowsers i am standing in front of a white wall to which several silver knifes are attached. with my hands i am three times rubbing my eyes very strongly. out of a white bowl i am pouring noodle letters on my eyes. with tapes i attach the silver knives to my head.

(images #2)with my feet i get into a bucket that is filled with water. i can hardly stand in it and i start pouring red hot chili into the water. remaining in this position i try to attach crispbread and some toys to the wall in a way it reminds of a barn. but it is not at all working and everything keeps failing apart.

(images #3) i lay down and place some cold meat in my face. i wrap my whole head in plastic wrap and stand up again. i open my shirt, and with two forks i scratch a red sun around my bellybottom. i open the plastic wrap right where my mouth is at and slowly i remove the meat

(images #4) i am standing in front of a white wall with a bouquet of red roses. i start to softly pat the wall with the blossoms. i repeat this movement several times while increasing the force until i am bashing the roses against the wall.

- GALINDO Regina José, Carapazón, 2010. photos: Rafael Burillo, Teresa Margolles, Amedeo Benestante.

El miedo en su forma sonora, en cada estallido, en cada golpe. Mi cuerpo desnudo permanece en posición fetal dentro de un domo blindada. Un grupo de individuos, armado con palo, golpea frenéticamente el domo destrozar sus propias armas.

(Corpus. Arte in Azione, MADRE, Museo d’Arte Contemporanea Donna Regina, Nápoles, Italia, 2010)

- GALINDO Regina José, Hermana, 2010, vidéo: José Juárez.

Mi cuerpo ladino es abofeteado, escupido y castigado por una mujer indigena gualtemalteca. (Guatemala, 2010)

- GALINDO Regina José, Looting, 2010, photos: Marlon Garcia.

De un lado la conquista, la politica de tierra arrasada, la explotació de los suelos, el humillado. Del otro el conquistador, el que da las órdenes, el hombre del viejo mundo, que levanta la mano y se queda con el oro.

En Guatemala, un dentista hace agujeros en mis molares y me coloca 8 incrustaciones de oro nacional de la más alta pureza.

En Berlin, un médico alemán extrae todos los rellenos de oro de mis muelas. Estas pequeñas esculturas, ocho en total, se dejan expuestas como objetos de arte.

(Comisionada y producida por House der Kulturen der Welt. Berlin, Alemania, 2010)

- GALINDO Regina José, Móvil, 2010, photo : Francisco Caviedes & Lalo Lomas.

Las drogas van al norte. Las armas van al sur. Los cuerpos vivos van al norte, vienen muertos al sur. Mi cuerpo permanece dentro de un carro para transporter cadávares. El público mueve este elemento de la manera y hacia las direcciones que quiera.

(Comisionada and producida por MUAC, Museo Universitario de Arte Contemporáneo Ciudad de México, México, 2010)

- GALINDO Regina José, Object, 2010, photo : Larisa Sitar.

Mi cuerpo desnudo, inmóvil. Alrededor de él, un sistema de alarmas y sensores que son actividas, automáticamente, cada vez que un alguien cruza el limite permitido.

(Producida por Mnac, Bucarest, Rumania, 2010)

- GALINDO Regina José, Punto Ciego, 2010, photo : Edna Sandoval.

Existe una pequeña parte dentro de nuestro enorme campo visual que no estamos percibiendo, de la que no llega información, que en realidad no vemos.

Mi cuerpo desnudo se encuentra de pie, en medio de una habitación vacia. Solamente personas ciegas pueden entrar al espacio. Cuando los ciegos se topan con el cuerpo se desencadenan una serie de reacciones.

(XVII Bienal de Arte Paiz. Ciudad de Guatemala, Guatemala, 2010)

- HATTAB Raafat, Fursan El-Leil, 2010.

- HATTAB Raafat, SevenSteps, 2010.

- HILL Nate, Mr. Dropout, 2010.

I got confused on who I was. Or wanted to forget who I was. One of those. For three months, from July-October, 2010, Mr. Dropout walked all over Manhattan and Brooklyn in a total of 26 walks.

- HILL Nate, Punch Me Panda: Fifth Free Public Service, 2010, photo: Teresa Nasty.

Brooklyn’s Nate Hill has a performance art ego that reincarnates often. His oeuvre has grown more complex, from public access rogue taxidermy shows to public service: He helped your purge your house of you ex’s stuff as the Death Bear and allowed you to pummel him with your fists as the Punch Me Panda. Currently, he’s focusing on internet-based performance that warps the notions of racism by comforting viewers with discomforting Internet entities through fake product sites and social media.

‘‘I’m a panda. You can punch me. I wear a chest protector. You wear boxing gloves. It’s free. No parties and don’t send me as a surprise. I prefer one on one, but roommates are fine. It’s a safe place to punch someone.’’

- KALSTRÖM Line Skywalker, At Danse Et Faengsel, 2010.

Line Skywalker Karlström (1971, Sweden, Denmark) is a Swedish performance artist who works with a diverse range of materials dealing with the role of art in life, lesbian and gay identity and the perception of space. Her performances take place in the public realm and also in gallery installations. In 2002-2007, Karlström was a member of the feminist performance group High Heel Sisters. She is also a founding member of the group of Swedish artist activists, YES! Association (2005).

The compound of a future state prison is the performance space in the video At Danse Et Faengsel (To Dance a Prison). Line Skywalker Karlström dances in this video before she squats part of the property. The artist intends to embody ideology and convey emancipation, restriction, violence and dominance through postures and gestures.

- KENTRIDGE William, I am not me, the horse is not mine, 2010.

Performed at the Museum of Modern Art, photo: Paula Court.

- KLUNCHUN Pichet, Ganesh, 2010, Bangkok (danse).

- KNEBL Jakob Lena, Titta von Tesa, 2010.

Jakob Lena Knebl (1970, Austria) works in the field of performance art and photography utilizing her own body as her primary medium. ‘‘The idea of a binary gender system started to become an ever-growing theme in my work while I was searching for structures that created my own self. I started to place my own transformation into the centre of my work. I consider my photos to be an acquisition, or even a ‘conquest’ of what is ‘ugly’. My self-portraits make the boundaries of gender become hazy.’’ (Knebl)

Jakob Lena Knebl’s photographs are abundant with cheeky and anarchic humour. They show processes of metamorphosis in which the artist reinterprets various roles and figures of an imaginary collective. In Ich bin die Anderen, the distorted faces of dolls address the narrow structures imposed by the definition of gender. Similarly, in Fettecke (Fat Corner), the artist examines the notion of female beauty expressed in the iconography of a reclining Venus throughout art history and at the same time ironically re-enacts Joseph Beuys’s infamous vork of the same title. Knebl destroys the conventions of art history by creating an unsetting self-ironic image between monstruosity, beauty and sensuality. Titta von Tesa and Austria Psycho-Portrait of a Lady directly address the media and literary icons anchored in popular culture. photo. Georg Petermichl. 

- KOH Terence, Nothingtoodoo, 2011.

Chinese-Canadian artist Terence Koh create curious conceputal zines and gorgeous monochromatic mixed media work, all imbued with a sense of humor, ritualism, and a luminous aura of white. His internet presence is like a little gallery of experiences. For his first solo show at the Mary Boone Gallery in NYC, Koh crawled on his knees around an eight-foot tall mound of rock salt for 25 days, as a minimalist rite.

- KOH Terence, Performance, 2010, Pékin, Chine.

- KOVYLINA Elena, Would you like a cup of coffee? Or burn the world of bourgeois, 8-09-2010, Center for contemporary culture CARAGE, Moscou. (photo: Aretem Ziteneev)

Would you like a cup of coffee? Or burn the world of bourgeois by Elena Kovylina. Her performances are known for their irreconcilable radicalism. Her performance Would you like a cup of coffee? Or burn the world of bourgeois brings together provocative political statements with radical artistic gesticulation. Kovylina invites viewers to join her at a refined tea party. After a few minutes of enjoying tea with the artist at her table, she unexpectidly sets the tablecloth on fire.

- LAITINEN Antti, Growler IV, 2010.

- LA POCHA NOSTRA, Corpo illicito, 2010, Artcena Festival, Tom Jobim Theatre, Rio de Janeiro, Brésil.

Octobre 2010. Two nights of performances as part of the Artcena performance program curated by Eleonora Fabiao e André Lepecki. Performed by Pocha members: Michèle Ceballos Michot, Guillermo Gomez-Pena and Dani d’Emilia with collaborators Felipe Espindola, Sara Panamby, Camila Bastos Bacellar, Marcela Levi, Raphi Soifer. Photos: Angela Alegria.

- LA POCHA NOSTRA, La Pocha Nostra International Summer School, August 2010, Museo del Ferrocarril Mexicano del Sur, Oaxaca, Mexico.

A group of 24 artists from Mexico, USA, United Kingdom, Greece, Australia, Puerto Rico, Columbia and Costa Rica come together in Mexico to experience La Pocha Nostra Radical Pedagogy. 

- LA POCHA NOSTRA, La Pocha Nostra International Summer School, 2010, York University, Toronto, Canada.

Toronto-based performance artists and students meet to learn and practice La Pocha Radical Pedagogy at the York Summer Institute. The two weeks intensive workshop ended with a performance salon at York University. 

- LA POCHA NOSTRA, La Pocha Nostra Workshop, 2010, The Instituto Buena Bista, Island of Curaçao. 

La Pocha was invited by The Instituto Buena Bista to give a series of performance, poetry, photography & video workshops to both teens and adults in the Island of Curaçao, off the shore Venezuela. We were also asked to help the Instituto develop a curriculum for the experimental arts. Photo: Omar Kuwas & Ana Diez.

- LA POCHA NOSTRA, La Pocha Nostra Workshop, 2010, Art Cena Festival, Rio de Janeiro, Brésil.

Three days of intense workshop with 20 artists from throughout Brazil leading to a 2-night performance at the Teatro Tom Jobim. Photo: Angela Alegria.

- MARHAUG Rita, 60 kg, 2010, photo: Bjarte Bjørkum.

Part of Art Swap arranged by AktB in collaboration with Bbeyond from Belfast and Bergen Art Museum.

Showed the 31st of October 2010 at Bergen Art Museum.

4 artists from Bergen and 4 artists from Belfast showing performances.

Duration 5 hours (during whole day)

60 kg Norwegian one kroner coins (similar to the artist’s body weight) were placed in a cicrcle on the floor of the museum entrance. Circle diameter was 155cm, (artist’s body lentgh). During the opening time, the coins were stacked in columns into a small tower. At the end of performance, the structure collapsed.

- MARHAUG Rita, Bbeyond, 2010.

A two day performance event in Belfast, October 14th and 15th, 2010.

Marhaug contributed with a twin work from the series Norwegian Liquid.

Day one duration 3 hours.

Day two duration 3 hours.

organized by Bbeyond, performance artist organization in Belfast.

Curator Brian Connolly.

- MARHAUG Rita, Norwegian Liquid, 2010, photo: Nisa Ojalvo.

Performance in Sete during performance festival Infr’Action 9, September 2010.

5 liters of crude oil seeping out the body and runs down the stairs of the theater building in the town of Sete. 

Duration 4 hours.

- MIAO Jiaxin & LIN Ei Jane Janet, Ass Print Business, 2010.

6 pieces of prints were sold to European countries and the United States through eBay. More than 500,000 people from 102 different countries viewed the eBay ad within 2 weeks before eBay removed the post.

- MIAO Jiaxin & LIN Ei Jane Janet, Collaboration, 1-6, 2010-2011.

Live feed performance on an interactive and broadcasting pornographic website, documented into performative videos and photos.

- MIAO Jiaxin, Laundry Mat, 2010.

- OWENS Clifford, Anthology (Senga Nengudi), 2010.

- PARR Mike, Fresh Skin like a Baby, 2010-2013, 34 min., 16 mm film, colour, sound rendered to dvd.

- ROE Alex Martinis, Free Associations, 2010.

Five white chalkboards were installed along a long gallery wall and were written on by participants using white chalk. The parameters for this encounter were controlled using a booking system. As people indicated their interest in experiencing the piece, the gallery generated new booking times. In order for an activation of the work to take place, there had to be five people booked in to write on the boards for twenty minutes at a time. Each person who booked in agreed to use one of the white chalkboards to write continuously in white chalk on the board for the twenty-minute duration of their allocated session. The instruction for the writing was to write continuously whatever came to mind, similar to the psychoanalytic parameter indertaken by the analysand to ‘‘freely associate.’’ The white chalk on the white board was guaranteed to be private as whatever was written was illegible. The encounters took place in a public gallery, which generated a tension between the private act of writing one’s thoughts and the knowledge of the presence of other spectators. The fact that five people participated at any one time generated a kind of group. This enacted a collectivity, which, rather than demanding sameness in order to participate, demanded the simultaneous difference of each participants thoughts.

- SAADEH Raeda, Drops, 2010.

We see a woman’s face, motionless and her mouth wide open. It takes a while to realise that drops of water are falling into her mouth, drops that begin to sound like the ticking of a clock. In this quiet, almost meditative scene, a change occurs that is practically imperceptible. Water begins to trickle out of the side of the woman’s mouth and down her cheek, while her face remains expressionless. Toward the end of the video performance, the woman closes her mouth, only to open it again –  caught in a loop between dying of thirst and downing, the procedure begins again.

- SATTERWHITE Jacolby, Orifice, 2010-2012.

- SIERRA Santiago, Enterrement de dix travailleurs, Calambrone, Italie (février).

- SIERRA Santiago, Le Public séparé (sécrété) selon que son revenu était plus grand ou plus petit à mille euros bruts pendant un symposium, Kunstacademie, Institut Cervantes Berlin, Allemagne, mai 2010.

- STAMPE Joakim, Never Seen Before, 2010, Toronto.

- STRÖM Annika, Ten Embarrassed Men, 2010.

The performances by Swedish artist Annika Ström (1964, Sweden, UK) deal with, among other things – especially with the fact that they are under-represented in public collections. The artist usually does not take part in her own performances. instead, she emplys actors to play individuals in specific situations, suc as the Ten Embarrassed Men (2010) at the art fair, The Upset Man (2011) talking loudly on his phone during the opening speeches of an art exhibition, or Seven Women Standing in the Way (2011-2012). Ironically, these performances affirm and subvert stereotypical gender roles in the art world at the same time. 

In the performance Ten Embarrassed Men, which was commissioned by Frieze Projects for the Frieze Art Fair 2010, ten embarrassed-looking men wandered around the fair stands during opening hours. The ten men were played by actors of different ages. All were dressed in identical derk trousers and white shirts, and all expressed embarrassment about the fact that women artists are under-represented on the art market.

- SURYODARMO Melati, Exergy-Butterdance, 2010 (see 2000).

(Danse orientale sur des plaques de beurre)

Lilith Catalogue Launch, June 5, 2010

- SURYODARMO Melati, Exergy-Butterdance Extended, 2010.

This was a project that involved dancers who wanted to perform my early work, Energi-Butter Dance (2000). Due to many request of re-enacting the piece, I decided to invite dancers to join me performing the piece. Ten dancers included me danced on the butter at the same time.

Duration: 20 minutes.

Performed at the ‘‘Asian Body and Beyond’’ at the Moderna Dance Teatern, Stockholm, Sweden, 2010.

- TANGO Hiromi, Behind the door, 2010, Perth Institute of Contemporary Art. Photo. Sarah Rowbottam

- TUNICK Spencer, New Vienna, 2010.

- UYEHARA Denise, Bone Transition, 2010.

- WITTSTOCK Herma Auguste & SPORLEDER Annika, Badezimmer, 2009, Live performance-4 days, Happenstudio, Berlin.

The art duo AHA live in a bathroom for four days. They are not allowed to leave. During this time they are just concentrating on each other and the situation. Because of being in just one and being together every minute, AHA hope that art will develop spontaneously from this situation.

- WITTSTOCK Herma Auguste, Fucking Kunst, 2010, Galerie Friedrichshöhe, Berlin.

45 minutes/live performance

Fucking Kunst is written on my belly with slimy and white colour. I’m dressed in a skirt with a 20 meter long trail made of buble wrap.

Slowly I walk down to iron stairs. The trail fills all the steps and it makes a sound. I lay down on the last steps.  My head and shoulders lie on the floor, the rest of my body is on the last steps. For a long time I’m in this position and don’t blink my eyes.

After a while I wipe off the letters from my belly and stay in the same position as before.

At the end I’m rolling over my head and slowly walk upstairs till nobody can see me and my trail. Photo/video: Jens Kutilek.

- WITTSTOCK Herma Auguste, Image of Amsterdam, 2010, WG-Terrein, Amsterdam, Pays-Bas

4 hours/live performance

This performance take place in different locations. I wear a dark purple dress and chequered black-purle tights. I wear black patent leather boots with silber buckles and huge heels and a leather neckband with rivets. The hair looks short, it is wanged into short pigtails.

Every hour I move to a different location. I start at a huge stone. I squat one hour in front of the stone and blow soap bubbles on the stone. The bubbles burst.

In the second hour I sit next to a pier in the middle of a road. Cars drive to the right and left on me. I blow the soap bubbles on the red  stones of the pier, the bubbles burst again.

In the third hour I stand in front of a huge birch tree. I blow the soap bubbles on the tree trunk. The bubbles take on the trunk for a while and little bubble hills spring up till they burst again.

In the fourth hour I stand in front of a window and blow the soap bubbles at the glass of the window.

The bubbles stick to the glass and huge bubble shapes spring up.

Photo/video: Astrid van Sterkenburg.

- WITTSTOCK Herma Auguste, Image of Herford, 2010, MARTa, Herford, Allemagne

1 hour 10 minutes/live performance

Behind the museum is a river, called Aar. In the middle of the river stands a tub filled with red liquid paint.

I wear a long white dress, made of paper towel.

Like a sculpture I stand in the tub in the red paint.

Slow by slow the dress soak the red paint. After a while the dress turns red from below more and more.

Photo/vidéo: Nora Wülker.

- WITTSTOCK Herma Auguste, Image of Roma, Fondazione Volume!, Rome.

5 hours/live performance

I lie sideways on a Roma couch. I wear a strapless, long dress which I crocheted. it has tree different colours. From the breast till the belly botton it is red, from the belly botton till the knees it is white and from the knees till the floor it is green. My hair has a high putting hair-style from the 50’s.

Bit by bit I unravel the dress. A green wool ball come into beeing and the dress gets shorter and shorter. I spool the white ball faster.

The red and last part I unravel fastest. Bit by bit my whole body is visual till I lie naked sideways on the Roman couch and the dress are just three wool balls. I put the wool balls between my legs. I stay in this position.

Photo/video: Ridolfi Federico.

- WITTSTOCK Herma Auguste, Thank You Iceland, 2010, Kiasma Theatre at the Museum of Contemporary Art, Helsinki, Finlande.

30 minutes/live performance/ Kiasma Theatre at the Museum of Contemporary Art, Helsinki, Finlande.

I lie on the stage floor. My legs are crossed, the upper part of my body and my arms lie on the floor, the palm of my hands are turned upwards. My body is supported by my forhead. I’m nude. A light is shining on me. A black burning candle is hanging approx. 50 cm above me. Black wax is dripping permanently onto my back. I don’t move for a long time.

I sit up on my knees, my back is facing the public. The wax is dripping on my back and running down my buttocks.

The candle has burned out. Slowly I’m santing up. I ‘‘dance’’ in one place, first slowly, later fast. Wax drops from my body. I’m standing. Slowly I turn my head to the public. I leave the stage. Photo/video: Antti Ahonen.

- WRAANES Tori, Loose Canyon, 2010.

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