- BANANA Anna, In the Red, collaboration with Victoria Kirby, Inter-Dada 84 festival, San Francisco.
- BRAMBRING Peter, Scumbag, 1984.
- BRODBECK Christine, Vidéo Performance, 1984.
- DAKIN Sue, An Artist for President, 1984.
- Die Tödliche Doris, Super Mom, 1984.
- FERRER Esther, Festival de Cogolin, France, avec Juan Hidalgo. 1984.
- FERRER Esther, Festival international vidéo de Madrid, Espagne.
- FINLEY Karen, Danceteria, 1984.
- FOX Terry & SCARRITT Alan, White Bread, 1984, Pillsbury Gold Medal Building, Minneapolis, Minnesota.
- FOX Terry, Quid Pro Quo, 1984, Long Beach Museum of Art, Long Beach, California.
- GOMEZ-PENA Guillermo, The Border Art Workshops, 1984-1990.
- HAMMONS David, Bliz-aard Ball Sale, 1984.
Like much of David Hammons’ work, Bliz-aard Ball Sale starts with a minor gesture. On a snowy winter day, Hmmons stood in aheavy coat behind a blaket with an array of snowballs, arranged like a Minimalist grid and presented in descending order by size. It is unknown whether the artist actually sold any snowballs, but making sales probably wasn’t the point. The piece mirrored the gray market economies that were common in New York in the early 1980s. It was particularly common then to see people laying blakets or sheets on the sidewalk and offering up various items for sale that had been scavenged from the trash. The objects were often as abundant and worthless as snow on a winter day. When police forced the vendors to move, they could simply pull up all four corners of the sheet or blaket and be on their way.
Standing behind his snowballs, Hammons sold an image that he has adopter many times since: the artist as a clever, knowing jester. With Blitz-aard Ball Sale, Hammons gave the public street direct access on the street by being bodily present in a way that he frequently denies the art world, where he is more reclusive.
(Source: Steven Stern, « A Fraction of the Whole », revue Frieze, 2009, www.frieze.com/issue/article/a_fraction_of_the_whole)
- HOMLER Anna, Performance, 1984.
- JONES Joe, Fluxeum Wiesbaden, 1984 (fluxus)
- KARAWAHN Kain, The Berlinersummernichtdream, 1984. Action/vidéo.
- KRIESCHE Richard, Elektronic Milieu, 1984.
- PIPER Adrian, Funk Lessons, 1984.
- POHLAND Maria, Seil, 1984.
- PAQUEE Ria, Voyeurisme, Performance 2. 1984. Rotterdam.
- SCHLEGEL Christine, Strukturen I und II, 1984-85.
Christine Schlegel (1950, Germany) studied painting in Dresden and has been creating cross-genre, provocative (physical) performances, installations and screenings since 1977. She has been collaborating with dance performer Fine Kwiatkowski since 1984. Their performances incorporating film screenings, spontaneous painting, dance and live music were hallmark events in the GDR. In 1986, Schlegel emigrated to West Berlin. Today, she lives in Dresden, where she works as a painter.
Strukturen I und II by experimental filmmaker Christine Schlegel is a collage typical for the cross-over spirit of the Dresden art scene in the early 1980s, an exemplary mixture of elements from painting, music and performance art. Schlegel painted over and scratched the exposed footage, creating manifold combinations of painterly particles reminiscent of Fluxus films.
- SZIRTES Janos, Free Style Swimming, 1984.
- WARPECHOWSKI Zbigniev, Der Sand, 1984. Cologne.
- WENT Johanna, Knifeboxing, 1984.