2012 : chronologie performance

Publié le par Olivier Lussac

2012

 

- AL-AMERI Wathiq, Performance, 2012, Guangzhou live Festival, Chine

- ARJONA Maria José, All the Others in Me, March 7. 2012, Mandragoras Art Space, NYC. Photo. Agata Domanska.

In the works of Maria José Arjona, the body has always a central place. It is powerful element of visual communication, energy exchange and generator of significations. It is a body investigating on space and time diverse notions through repetitive and non-hierarchical movements. Our present is passed-through by some complicated phenomene such as the multiculturalism, leading to overpass the traditional concepts of identity, some phenomena that promote a symbiotic and fusional connection with the other. These are inescapable processes ossified by the society of mass media and by the virtual hypertext.

In the work of Maria José Arjona the body interacts with space to create an experience, which bypasses corporeality with cognitive responses, where the observer becomes the catalyst of a sensorial exchange, beyond the borders between identity and representation. This is an engaged practice that the Colombian artist presents, ready to violate and transform the limits imposed by the society on the individuals, and caused by violence and fear, some sensation which, unfortunately, still exist in the contemporary society.

- BOLIVER Rocio (aka La Congelada de Uva), Entre la menopausa y la vejez, 2012, XV Muestra de perf., Mexico.

- BOLIVER Rocio (aka La Congelada de Uva), Needle Streptise, 2012, Performance Space Londres.

- BOLIVER Rocio (aka La Congelada de Uva), To the Rhythm of swing, 2012, (4 mars).

- BROMS Gustaf, Words, 2012.

- CHAN Yufei, What have you seen ?, 2012.

- CHOPRA Nikhil, Blackening II, 2012.

- CUI Tao, Each breath-24 hour action, 2012, Pékin.

- CYRUS Jamal, Texas Fried Tenor, 2012, 29 nov., at CAMH Performance. Photo Max Fields.

- CZERWENKA-WENKSTETTEN Isabel, Kuenstlermilch/Artist’s Milk, 2012.

Performance about the need of nourishng ourselves from what we find in ourselves, especially in a phase of drastic change or crisis, as an artist and as a human being. Photographed by Klaus Pichler and filmed by Ilse Chlan at Sala Terrena, Vienna, 2012.

- CZERWENKA-WENKSTETTEN Isabel, Someone, Behind Clothing, 2012. (Project Veiled-It is only a piece of Clothing, 2007)

Veiled, in chadors, ICW and her collegue Greta Znojemsky visited worthwile sights in Vienna, Austria. In the course of that performance, video and photography based project, men and women were inviter to join for a walk, wearing borrowed chadors. Covered from head to toe. Personally hidden but very visible at the same time. In cooperation with Greta Znojemsky.

- D’EMILIA Dani, Sem Altar #1, 2012, Galeria Boa Vista, Lisboa.

Performance de Dani D’Emilia & Andrea Inocêncio. 22 avril 2012.

- D’EMILIA Dani, Sem Altar #2, 2012, Faculdade de Belas Artes, Lisboa.

Performance de Dani D’Emilia & Andrea Inocêncio. 22 mai 2012. 

- DE GRACIA Silvio & PEREZ SANZ Ana Esther, Happy Dog, 2012, Brazil.

- DAF/COLLAZOS Diana, Acciones con espajos, 2012, Perou. Ph. César Villanueva.

- DAF/COLLAZOS Diana, Agua. Accion simbolica, 2012, Pérou. ph. Rocio Gonzales.

- DAF/COLLAZOS Diana, Me-moria sostenida, 2012, Lota-Chili.

- DEIMLING BBB Johannes, Around the world #3, 2012.

28 minutes.

nta-norwegian theatre academy, Fredrikstad, Norway 2012.

- DEIMLING BBB Johannes, Blanc #8, 2012, photo : Monika Sobczak.

300 minutes

pab-international performance art festival, old prison, bergen, norway

- the floor of the prison cell is covered with 200 kg flour-flowers were laying underneath the white cover

- on the four walls are 4 big paper sheets attached

- sitting on a small bench all over covered with flour-holding a bouquet of roses in my hands

- moving extremely slow motion during the 5 hours

- leaving tracks in the flower

- painting with the petals of the flowers and the roses flowers on the papers

- erasing with charcoal all the painted flowers

- collecting all the flour in the middle of the cell and laying down

- DEIMLING BBB Johannes, Blanc #9, 2012.

5 performative images, each 60 minutes. Venice International Performance Art Week, plazzo Bembo, Venice, Italy, 2012.

- DEIMLING BBB Johannes, I Could, 2012.

PAE-performance art Event, Rotterdam, Netherdands, 2012.

- sitting in front of selected materials

- thinking about what to do with it in order to create a performance

- leaving when the concept is ready

- DEIMLING BBB JohannesI, Youth, 2012.

5 minutes

Tjp-Theater junge generation, dresden, germany.

as part as of the PASyouth studies ‘‘was ist (dir) wichtig ?’’

during the pasyouth studies the participating teenagers challenged me with a task (as i gave them each day a lot of tasks to solve) with a similar structure i have used for them. the task was: ‘‘work out a performance not longer than 5 minutes, you are free to choose your material, the topic of the action should be connected with ‘youth’, the action shoudl have a clear start and end’

this is how i solved the task:

- standing beside a white chair

- folding a paper boat on the chair

-  snipping with my fingers - at the same time enlightening a flame (4 times)

- holding the paper boat and making wave-like sounds with my mouth whilegoing around the chair

- walking on the chair - over the chair back until the chair is tilting - i am falling ‑ losing the paper boat

photos: Monika Sobczak.

- DUAN Yingmei, Happy Yingmei, 2012.

- FEMEN, La Charia n’est pas une constitution, 2012.

- FURLAN Massimo, Les Héros de la pensée, 2012.

Cette performance réunit sept penseurs (philosophes, historiens, anthropologues) tenus de débattre, sur le principe de l’abécédaire, de 26 thèmes différents pendant 26 heures d’affilée. Chaque heure se déroule sur le même modèle, 50 minutes de discussion et 5 minutes de création musicale. Les huit héros ont droit à 2 fois deux heures de repos sur l’ensemble de la performance. Cette performance travaille la forme du symposium de façon littérale : symposion signifie étymologiquement (en grec) boire ensemble, c’est-à-dire boire et débattre ensemble. Chez Furlan, l’épuisement n’est pas tant physique qu’intellectuel, c’est ici la pensée même qui éprouve les 26 heures.

- GALINDO Regina José, Hilo de Tiempo, 2012, photos: M. Jimenez Romero, L. Reich, C. Monroy Cuevas.

Hay que ir hacia atrás en el hilo tiempo para encontrar la razón de tanta muerte y encontrar así la vida.

Mi cuerpo permanece oculto dentro de una bolsa tejida para cadáveres. El público es libre de ir deshilando la bolsa hasta descubrir el cuerpo.

Producción: Doris Difarnecio, Caleb Duarte Piñon.

Cámaras: Mia Eve Rollow, Thomas Erling, Maria Jiménez Romero.

Edicíon: José Enrique Juárez.

Fotografia: Maria Jiménez Romero, Lydia Reich, Cecilia Monroy Cuevas.

Comisionado y producido por Centro Hemisferico de Performance y Politica en Chiapas y EDELO casa de arte en movimiento y residencia intercultural.

(San Cristóbal de las Casas, Chiapas, México, 2012)

- GALINDO Regina José, Necromonas, 2012, photo: Emilio Prieto Perez.

El olor de la muerte, penetra más que cualquier pestilencia, porque es el aviso de la muerte cercana. Ena señal. El olor se mete por los orificios y nos lleva hacia el hecho irrefutable de una muerte próxima. Está comprobado que algunos insectos emiten una mezcla de sustancias químicas antes de morir, una especie de ‘‘olor a muerte’’ universal. estas sustancias químicas, llamadas necromonas, están compuestas por una mezcla de ácidos que son emitidas por los cuerpos antes de morir para indicárselo a los demás miembros de su comunidad.

Necromonas es un performance oloro. Mi cuerpo permanece desnudo, pasivo, sobre una base que esconde el cadáver de un cerdo en descomposición.

Curaduria: Blanca de la Torre

Video: Roberto Lucas

Fotos: Emilio Prieto Pérez

(Tenerife, España, 2012)

- GALINDO Regina José, Paysaje, 2012, Photo: David Perez.

‘‘El peligro de la belleza es su apariencia. Y el peligro del paysaje es que traga la realidad-sublima la miseria.’’ Mario Monteforte Toledo.

De espalda la vida pasar. De espalda, junto a un hombre que excava una fosa, permanece de pie una mujer. Nunca se ven, él cava un agujero, un vacio, ella recibe la tierra que empuja la pla hasta quedar enterrada.

Curaduria: Santiago Olmo.

Video: José Enrique Juárez.

Fotos: David Perez.

(Bienal de Arte Paiz. Ciudad de Guatemala, Guatemala, 2012)

- GALINDO Regina José, Piel de Gallina, 2012, photos: Gert Voor in’t Holt.

La piel de gallina es un fenómeno producido por un diminuto grupo muscular llamado musculus erector pili. Es una respuesta natural a estimulos como el frio o una emoción demasiado fuerte. Entonces, el músculo erector se contrae y el pelo se eriza, y se produce este reflejo pilomotor.

Mi cuerpo permanece dentro de una cámara mortuoria refrigerada. El público debe abrir la cámara y sacar la bandeja con mi cuerpo para observar el efecto de enfriamiento sobre el piel.

Curaduria: Blanca de la Torre

Video: Karin Dolk

Fotos: Gert Voor In’t Holt

Comisionado y prodrucido por Artium

(Vitoria-Gasteiz, España, 2012)

- GISKES John & MUKARNO Philemon. 2012. Rotterdam.

- GLEERUP Trine Mee Sook, The Fool + The Magician: The Beginning Of A Performative Journey In Tarot And Life, 2012.

Trine Mee Sook Gleerup (1978, South Korea) is a visual artist working within installation, text and performance. Deeply invested in historical, national and political tendencies her artistic performance-based methodology also questions the politics and history of performance art itself. From a post-colonial and gender-related perspective her work is debating cultural and racial stereo-typing and representation, as well as it strives to (re)nagociate overall power structures, and identity building. Trine Mee Sook Gleerup is a former member of the closed-down artist network & residency, The Berlin Office, and co-founder of Scandinavian artist group, UFOlab (Unidentified Field Foreign Object laboratory). She has exhibited and collaborated with artists, cultural workers, activits and researches from the US, Europe and South Korea.

The performance lecture The Fool + The Magician: The Beginning Of A Performative Journey In Tarot And Life is divided in two parts corresponding to the two antagonist Tarot cards: the fool and the magician. Dressed like the allegorical figures the artist combines historical facts, divination, psychology and biographical material in relation to transnational adoption with a race and gender related discourse.

- GOLDWATER Helena, Performance, 2012, Once Venice International Performance Art Week.

- GOLUBOVIC Snezana, Series of durational Performances, 2012, Venice.International.Performance.Art.Week.-- GRACIA Fausto, Accion, 2012, Mexique, photo. Pablo M.

- GRACIA Fausto, Accion, 2012, Venezuela, photo. Victor Parra.

- GRACIA Fausto, Lamentationes, 2012, Mexique.

- GRACIA Fausto, Mas alla del protocolo-cambio climatico, 2012, photo. Alexander Escolona.

- GRACIA Fausto, Recordando momentos, acciones, espacios, 2012, Mexico.

- GRACIA Fausto, Resistencia, 2012, Mexique, photo. Raul Suazo.

- GRACIA Fausto, Resistencia al Calor,  Argentine, photo. Esteban Spila.

- GRACIA Fausto, Solo un instante, 2012, Chili, photo. Lucas Vega.

- GRACIA Fausto, Un minuto nos es suficiente, 2012, République Dominicaine.

- GRACIA Fausto, Visible-invisible, 2012, Mexique, photo. Pablo Shine.

- GRACIA Fausto, Ya no los puedo contar a todos, 2012, Monterrey, Mexique.

- GRACIA Fausto, Zona de Arte Accion, 2012, Argentine.

- KALWAJTYS Anna, Freeing the Mind, 2012, Toronto.

- HE Liping, Station 1-7, 2012, Guangzhou Live Performance 3, Chine.

- HILL Nate, Creep: First Villain, 2012.

How:

1. Photograph a woman that I don’t know. Tell her it’s for a facial symmetry project. It’s not.

2. Later, talk to her (through the picture) in a perverted, violent way.

3. Gain villain points.

4. Repeat.

- HILL Nate, Free Cheeseburgers: Second Villain, 2012.

How:

1. Dress as a McDonald’s employee.

2. Purchase an average of 15 cheeseburgers and take a bite out of each.

3. Discard the bites.

4. Throw wrapped, bad cheeseburgers from a moving bike to NYC pedestrians.

5. Gain villain points.

6. Repeat.

- HUKKATALVAL Helina, Grey, 2012.

- KOHOUT Milan, Mein Kampf Religious Fascim, 2012, Street Perf. Christ on Mount Olivier, Olomouc. Republique Tchèque

- KOVYLINA Elena, Cariatid, 1 avril 2012.

I appear as a Cariatide and stand sitll for an hour holding a Russian izba of pink color over my shoulders. Cariatide is a mythical woman and also a figure that holds architectural part of the building.

- KOVYLINA Elena, Live Concert, Moscou, Pecherskly gallery, 9 février 2012.

- KOVYLINA Elena, Russia: a Swaddled Soul, 26 avril 2012, Saint-Petersbourg.

Exhibition Happiness is a warm gun.

- KOVYLINA Elena, Vous voulez un café? ou Feu le monde bourgeois, 30-07-2012, Club Pride, région de Moscou.

- KRISTINSSON Magnus Logi, In a quiet spiral on a busy street, 2012, Helsinski.

- LA POCHA NOSTRA, Corpo insurrecto (rehearsals), 2012, Mexico.

Casa in San Augustin, Oaxaca, Mexico March 2012. La Pocha core members spent a week brainstorming, rehearsing new material, debating, laughing and facing the daunting yet exciting task of creating our next big performance piece: ‘Corpo Insurrecto’. Photo: Berenice Guraieb.

- LA POCHA NOSTRA, El cuerpo diferente: Jam de Performance y Electronica, 2012, photo studio.

XV Muestra Internacional de Performance: ‘‘El sonido de la ultima carcajada’’. Ex Teresa Arte Actual.

Mexico City, Mexico. Nov. 2012 performance project by Guillermo Gomez-Pena, Guillermo Gal and La Pocha Nostra (Saul Garcia Lopez, Violeta Luna Gerardo Juarez and Nayla Altamirano). Photos: Norma Patino.

- LA POCHA NOSTRA, La Pocha Nostra Live Art Laboratory-Summer Intensive, 2012, Taller Espacio Alternativo, Oaxaca. 

Co-produced by La Perrera & La Pocha Nostra.

Mexico, 21 Aug.-3 Sep. 2012

12-day intensive sessions on performance art with a focus on the human body as a site for creation, reinvention, memory and activism.

Led by troupe members Guillermo Gomez-Pena, Dani D’Emilia (Brasil), Erica Mott (USA), Saul Garcia Lopez (Canada) and Emma Tramposh of La Pocha Nostra and involving 24 participants from Mexico City, Chile, Colombia, USA, Poland, Canada and New Zealand.

Photos: Tania Bohorquez, Carolina Tabares, Lillian Rossetti.

- LA POCHA NOSTRA, Premier corpo insurrecto, 2012, Steirischer Herbst Festival of New Art, Dom im Berg, Graz, Autriche.

Three nights of performances as part of the performance program curated by Veronica Kaup-Hasler. Performed by Pocha members: Guillermo Gomez-Pena, Roberto Sifuentes, Erica Mott and Saul Garcia-Lopez with collaborators Olalla Lemus and Nadja Rothenburger.

- LA POCHA NOSTRA, La Pocha Nostra Remix: Acciones Psicomagicas para un mundo desviado, 2012.

Gran galeria del Centro Cultural Acapulco, Mexico, sept. 2012. Performed by Pocha members Roberto Sifuentes, Dani d’Emilia, Saul Garcia Lopez. Photos: Ricardo Vargas, Omar Zantana Lopez.

- LA POCHA NOSTRA, La Pocha Nostra Remix: Psycho-Magic Actions Against Violence, 2012, Brazil.

FIT-Festival Internacional de Teatro de Sao José do Rio Preto. July 2012.

Performed by Pocha members Guillermo Gomez-Pena, Roberto Sifuentes and Dani d’Emilia, in collaboration with Camila Bastos Bacellar, Clarissa Maria Freitas, Aguinaldo De Souza, Rubia Reame, Bruno Cavalcanti, Ariadne Amaral, Pedro de Freitas, FIT staff and audience members. Photos: Jorge Etecheber, Aquele Site, Jessica Amaral.

- LA POCHA NOSTRA, Taller de Artes del Cuerpo, nov. 2012, Mexico.

3-day intensive sessions on performance art with a focus on the human body as a site for creation, reinvention, memory and activism. Led by troupe members Guillermo Gomez-Pena and Saul Garcia Lopez. involving 16 participants from Mexico.

- LA POCHA NOSTRA WORKSHOP, Exercises For Rebel Artists, July 2012.

3 day Workshop. FIT. Festival Internacional de Theatro de São José de Rio Prato, Brazil.

- MARHAUG Rita, Norwegian Liquid, 2012, photo : Emilie Marhaug.

- MARHAUG Rita, Norwegian Liquid, 2012, photo : Emilie Marhaug.

Vestvågøy, Lofoten, July 2012.

- MARHAUG Rita, Norwegian Liquid, 2012, photo: Rita Rodrigues.

Marhaug participated in the festival La Muga Caula, a village north of Barcelona near the border of France, September 2012.

During three days she showed three different performance works under the headline of Norwegian Liquid.

Duration:

1 mn

10 mn

2 hours

Situated in and around the remote, beautiful village of La Muga Caula the artists found space for their individual contributions. Earlier the same summer a huge fire threatended the village leaving the woods around damaged. In this almost dead enviroment Marhaug’s last work took place.

curator Joan Casellas.

- MARHAUG Rita, Norwegian Liquid-Chinese Style, 2012, photo: Nisa Ojalvo.

In August and September 2012 Marhaug participated in two performance art festivals in Beijing, China; Beijing Live 2012; Love and Pain at Flower Art Center and Beijing Open at Factory Gallery.

She produced 3 new works during her stay under the headline of Norwegian Liquid. The images shows the performance for Beijing Open at Factory Space, District 798.

Duration 20 min.

Curator Jin Chen (Open Festival)

Curator He Chengyao (Beijing Live) 

- MARHAUG Rita, Pulse, 2012.

Part of Beautiful Lies arranged in the Garden of the University Library in Warszawa May 2012. 

Duration: 20 min.

Beautiful Lies was also part of Museum Night in Warszwa, 17th of May.

Organized by Gallery XX1, curator Eulalia Domanowska.

- MIAO Jiaxin, 400 Blows, 2012, Brooklyn, NYC.

Video documentation of live performances with audiences and a broadcasting website.

- MIAO Jiaxin, Chinaman’s Suitcase, 2012, NYC.

Performance/video/photo.

Bring hanging ducks to Zuccotti park, spray them colorful, hang them back in Chinatown.

- MOURA Michelle, Big Bang Boom, 2012, Rio de Janeiro, photo: Iti Briones.

- NICOLA L, 10th Birthday of the Biennal de Havana, 2012, Cuba.

- NICOLA L, White Cape Of the Chelsea Hotel, 2012-13.

- NORRIS Tameka, Untitled, 2012, CAMH Performance, Photo Max Fields.

- OKAMURA Yuki, Synchronized Sneezing, 2012, street performance.

- OLOWSKA Paulina, Alphabet, MoMA 2012, photo. W. Kaligosky.

- REN Qian, Hello, 2012.

- RIMA Nadja, Dress Me How We Like, 2012.

- ROLAA Marco Paulo & chef FONGAÇA Henrique, O esmagamento Sensivel, Sao Paulo, photo. Edouard Fraipont.

- RUGA Athi Patra, Performance Obscura, 2012 (Afrique).

- SANTAMARIA TORRES Elvira, 2012, Belfast, photo: Jordan Hutchings.

- SANTAMARIA TORRES Elvira, 2012, Red Flux, Burgdorf, Suisse.

- SHAH Dimple B., RIP, 2012, Inde.

- SIGDEL Sunil, Echo of Darkness, 2012, Pokhara, Népal.

Performance (15 min.) organize by Creative Artist Group, Pokhara.

Illiteracy causes the unemployment, unemployment causes the poverty, Unemployment, the main cause of making brain a devil’s house, to prevent oneself being a useless load, every day around 1200 youths are migrating to foreign land from this small mountainous country Nepal. As a heaven for worker from Nepal, India and Middle East holds major share beside these working in Indian and British forces as ‘‘Gurkha soldiers’’ has been holding over 60,00000 Nepalese youth worldwide.The more of the shocking fact is that only in Saudi Arabia monthly over 200 Nepali workers loses their life. Due to the the lack of benevolent leadership country has been in the vicious circle of political conflict between then the Maoist and government has caused the 15 years civil war. The saddest movement we have noticed that government is taking remittance as a major income and overseas job as a major product to export from the country, which has been a cause for the people to risk their life in foreign land. I am dedicating this performance to those Nepali workers who working in different foreign countries for small amount of money & putting their life in risk. ‘‘Echo of darkness’’ represents their stories, their works, & their pain. For this performance I used workers’ gloves (used one), Hammer, Charcoal,  50 pieces of white cloth & 50 envelopps with Nepali workers name from different country’s & visitors name.

- SURYODARMO Melati, I’m a Ghost in My Own House, 2012.

I’m a Ghost in My Own House Is a twelve hours performance where Melati Suryodarmo crusched and grinded hundreds of kilograms of charcoal briquettes on a grinding table placed in the middle of exhibition hall – which she has transformed into a vagueness and magical charcoal pool. For Melati, charcoals haver served as a symbol of life’s energy, but she has experienced herself how life’s magic can fade away and even become spent.

‘‘This charcoal process can represent my throughts and psychological state, charred into coals through a certain systems and, of course, through my personal events. In my mind, charcoals also have the potential to change and also to destroy… I choose to grind down these coals, turning them into grains and dust and soot. Grinded charcoal, will only lose its energy potential. My thoughts that have been turned into coals by the system, if they pass through the processes of liberation, catharsis, and death… maybe they will once again grow into something new.’’ (Melati Suryodarmo)

Duration : 12 hours

Performed at the Lawangwangi Creative Space, Lawangwangi Foundation, Bandung, Indonesia.

- SURYODARMO Melati, Mama Never Bought Me a Pair of Jeans Trousers, 2012, Lublin, Pologne.

‘‘Mama never bought me a pair of jeans trousers’’ is a performance piece at the public park in the midle of Lublin, Poland. The performance was about to the rules that mothers given to the daughter. In term of protection but it can never be separared from their own personal psychological experience. This includes their fears and anxieties. Duration : 30 minutes. performed at Performance Art Platform Lublin, Poland, 2012.

- SURYODARMO Melati, Reclaimed, 2012.

In April 2012, ‘‘Reclaimed’’ performance took place at the opening of the Re-claim’’ exhibition at the Jakarta National Gallery. As the exhibition focus was more about the archive of the artists participating in the exhibition, this performance action was my manifesto about position of performance art. Among the celebration of the arts in any form, performance artists all over the world are still taking place everywhere.

I begun the performance by expressing my gratitude to all my performance colleges from all over the world who have been sharing their works, ideas, thoughts and spirit to keep and develop our practice, not only for the arts but more for humanity and collective movement.

I spread an empty white paper to all audience and asked them to cover their faces with empty paper for a while, and to be quiet. And then I asked them to wave their papers to create waving sound. Then I ran against a brick wall.

Duration: 25 minutes

Performed at ‘‘reclaim’’ exhibition at the Jakarta National Gallery, Jakarta, Indonesia, 2012.

- SUTRA Lana, 2012.

- TANGO Hiromi, Pistil, 2012, GOMA, Australie (performance-installation).

- WEEKS & WHITFORD, Venice International Performance Art Week, 2012.

- WILSON Wilmer IV, My Paper Bag Colored Heart, 2012.

- WITTSTOCK Herma Auguste,  Image of München 1-Weiss Blau, 2012, Galerie des Künstler, München.

4 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

Undressed I lie on a white socle in the centre of the room. From the ceiling are stretched white and blue strings from wool, which are loosing ended in my mouth.

During the performance I drag the strings more tighten in my moth, so that the strings are not inflect flow from the ceiling in my moth, bit the strings are tighten from ceiling into my mouth.

Photo/video: Anna Fiore

- WITTSTOCK Herma Auguste,  Image of München 2-Münchner Kindl Dahoam, 2012, Galerie des Künstler, München.

18 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I sit on a white socle in the centre of the room. I wear a simple black dress and black shoes with gold web and a huge golden cross overhang my breast.

I crocher a chequered skirt from white and blue wool.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 3-Maximilianstrasse, 2012, Galerie des Künstler, München.

9 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I wear a white traditional blouse from this area and a short crochet skirt. The skirt is chequered and white and blue. Thereto I wear high heels and my har are braid to plaits.

In the first part of this piece I walk along the Maximilianstrasse. In front of each expensive branded shop I pose in same posture like the puppets ar behind the shop windows. Without movement I stay in this for a while, after I pose in front of the next shop.

In the second part of this piece I am inside the gallery. Two socles are build steplike. Each posture I pose one hour without a movement. I change in eight different postures.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 4-Happy Birthday Minga, 2012, Galerie des Künstler, München.

10 days/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

Today is Munich’s 854 anniversary. Because of that I first go to the Marienplatz and buy a gingerbread heart. I order to write on it Ois’ Guade Minga, means in this context Happy Birthday Munich in Bavarian language. I wear this heart and walk across the centre of Munich.

In gallery I build festoons in black and yellow and rosettes in white and blue and decorate the gallery with it. I put the gingerbread heart on the wall and wear a long black evening dress, which has on one side the emblem of Munich appliqued.

I paint and draw 854 cakes for Munich on paper and put them on the wall. I invite the audience to join me painting some cakes for Munich.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 5-200 Jahre Biergarten, 2012, Galerie des Künstler, München.

2 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I stay on a small socle in front of a wall and wear a traditional dress from this area. My right arm is outstretched. In the right hand I hold a glass filled with one liter beer. Quickly the suds of the beer dissapear and in same quick I bend my arm. I hold the beer as long as my arm is shaking and I spill the beer.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 6-Sound Piece Munich’s Favourite Artist Material, 2012, Galerie des Künstler, München.

8 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I wear simple black cloth and sit cross-legged on a socle. I have a space blanket in my hands and produce sounds on it. This sound getting to music.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 7-Mentality 1, 2012, Galerie des Künstler, München.

8 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

Undressed I sit on the corner of a socle. My legs are one upon the other. in the right hand I hold a huge knife, my left hand prop up on a book on which are in huge letters ART (KUNST). Without moving I stay in this position.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 8-Glockngspui, 2012, Galerie des Künstler, München.

8 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I wear a traditonal dress from this area and black tap-shoes. Variantly I click each second with the right and left shoe on the floor. But the rhythm change and the seconds become faster or slower. Each time when I count in my head that one hour is over I mince on the spot and strum with small bells which I hold whole time in my hands. Some minutes I spin on my own axis. I tap dance again. Only this monoton click is to hear in the next hour, till this hour ends and the bells ring out.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 9-Wetter, 2012, Galerie des Künstler, München.

8 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

With half of my body I sit on a socle in a corner. I wear a dark blue shirt and white tights. My left arm is based on my left knee. The right hand holds an open umbrella. The umbrella is white blue, in paint and model like the Bavarian sky. I look in the distance and stay long in this act. After some minutes I take the hair dryer, which is next to me, with the left hand, switch it on and hold it in front of my face. I keep this posture for some minutes, till I switch the hair dryer off again and lay it aside and based my left arm again on my left knee. After some minutes I put the hair dryer in my left hand again and repeat this action over and over again.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 10-Architektur, 2012, Galerie des Künstler, München.

16 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

A huge gold foil lies on the floor. I wear simple cloth. Repeatedly I draw ornaments, spirals and models with a black pen on the foil.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 11-Maxel, 2012, Galerie des Künstler, München.

6 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I sit on a chair which stands on a small socle. My feet stand side by side, my left hand lies on my left knee and my right arm is outstretched to the front. The golden foil from yesterday is converted to a cape, so that my shoulders and back are covered and the cape covers the back of the chair and the socle, too and forms a train on the floor. Apart from that I’m undressed. Like a stature stay in this posture.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste,  Image of München 12-Shakespeare meets Bavaria, 2012, Galerie des Künstler, München.

1 hour/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

Undressed I stand on a white socle and hold a bouquet of wild flowers in my right arm. 20 minutes I stay in this pose without moving. I move in slow motion. I set on the rim of the socle and bind a floral wreath with the wild flowers. I place again on the socle. The left arm is outstretched and the left hand is holding the floran wreath. 30 minutes I stay in this pose without moving. Slowly I put the floral wreath on my head and stay in this pose.

Photo/video: Ruth Spitzer.

- WITTSTOCK Herma Auguste,  Image of München 13-Mentality 2, 2012, Galerie des Künstler, München.

6 hours/live performance

On 13 sequential days I locally work each day on a new durational performance the Image of München series.

I sit on a chair on a huge table with many chairs around. On the table are some bottles with typical Munich beer, typical Bavarian bread, typical Bavarian cheese, butter, radish and tablecloth in white and blue. I wear a traditional bavarian Dress. I wait. I open a bottle of beer. I wait. I drink. I wait. I wait. I still wait. By and by more persons sit with me on the table. We cheers each other, we eat, we drink, we speak, we enjoy each other. It is a revel atmosphere. It is jovial for some hours. The food is finished up, the bottles are empty. The humans are gone. Again I sit alone on the table. I wait.

Photo/video: Herma Auguste Wittstock.

- WITTSTOCK Herma Auguste, Prison, 2012, Stadtbad Wedding, Berlin.

48 hours/live performance

For two days I locked-in in a small room which is just white tiled without any material, clothes, food or heat.

Most of the time I sit on the floor and think or I pace up and down at the room to be not bored. Later I try to open the door spasmodical. I cry, I feel myself like a prisoner

Photo/video: Marie Zbibowska.

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