2000 : chronologie performance

Publié le par Olivier Lussac IDEAT

2000

 

- ALMEIDA Helena, Dentro de Mim, 2000.

- ARAHMAIANI, His-story, Jakarta International Performance Art Festival (JIPAF 2000), Jakarta.

- ARAHMAIANI, His-story, NIPAF 2000, Taipei, Nagano, Nagoya, Tokyo.

- ARAHMAIANI, His-story (II), Funkhouse, Dresde.

- ARAHMAIANI, His-story (II), Werklietz Biennale, Allemagne.

- ARAHMAIANI, NIPAF Asian Series, Hong-Kong, Macau.

- ASHERY Oreet, Marcus Fisher’s Wake, 2000.

Oreet Ashery (1966, Israël, UK) lives and works in London. Her work operates on the intersections between Jewishness, race, gender and the Arab and Muslin world. During 2006 her on-going project ‘Welcome Home’ focused on the Palestinians’ right to return. Ashery’s work has been shown extensively in museums, at cinemas, festivals, on streets, the internet, and in site-specific installations.

This mock-documentary fictionalises the life of Oreet Ashery’s alter ego, the orthodox Jewish man Fisher Marcus. The grungy film uses footage from interventions, performances and home vidéos.

- BANANA Anna, Consciousness Raising Session… Gone Bananas at The New Gallery, Calgary (April 13).

- CHANG Hsia-Fei, Artifice, 2000. Nantes.

- CHANG Hsia-Fei, Box, 2000. Beaux-Arts de Nantes.

- CUNNINGHAM Merce & RAUSCHENBERG Robert, Interscape, 2000 (danse).

- DEIMLING BBB Johannes, Speechless (version #1), 2000.

Art cross frestival/Berlin Germany/2000/60 minutes

my entire body is completely covered with several kilograms of noodle-letters; without moving, like a sculpture, I am sitting on a stool.

Photo: Irina Thormann.

- DESERT Jean-Ulrick, Negerhose, 2000 (2003).

- DIAZ Maria Adela, Alegoria de la Realidad/Allegory of Reality, 2000.

Performance/Public intervention. Giving birth to a live doves during the peace celebration day. Central Park, Guatemala city, 2000. photo: José Osorio. The peace symbol intervening, I dyed 12 white doves with red dye which represents the blood of many people who die everyday in Guatemala. After the governor signed the peace agreement in 1996 the blood hasn’t stop.

- DIAZ Maria Adela, Ambrosia, 2000.

Performance. Duration: 1.15 hours. Myself inside a clear box with 25.000 male flies. Historic Center Festival and the Commission of Urban Art, Guatemala, ‘‘Parque del calvario’’, 2000, photo: Andrea Aragon.

This talks about different issues that women go thru such as harassment, violence and murder. How women is view as food but at the same time is also used as a target for abuse and violence. In a political point of view a women body blindfolded stays still with her body full of flies representing a spoiled body after is being kidnapping or kill.

- DIAZ Maria Adela, Cagarda de Sal/Loaded with Salt, 2000.

Performance. Photo: Digital C-print 11’’x 14’’, Puerto de San José, Guatemala, 2000, photo: Raul Touzon. Walking through a public beach, carrying 20 pounds of fresh fish.

- DIAZ Maria Adela, Cuba Fago, 2000.

Intervention. House in La Habana Vieja, Cuba. Feeding American dollars to a pig. The pig is one of the animals that eats anything, even garbage. It’s meat is one of the must favorites dishes in Cuba, some citizens keep this animals hidden in their houses, because of the limitations in their diet and the government policies. A pig eating Money becomes a symbol of power.

- DIAZ Maria Adela, En nombre de la obra/In the name of the Artwork, 2000.

Installation performance. Duration: 1 hour. On fesh cow leather, I wrote with hot iron, the phrase ‘‘Llevamos los nombres desnudos.’’ Jovenes creadores Bancafé, Guatemala City, 2000. Photo: Andrea Aragon.

- DIAZ Maria Adela, Mujer sin Titulo/Untitled Women, 2000 (National Theater, Guatemala) et 2007 (Teresa Carreno Theater, Caracas, Venezuela). Photo: Jaime Freire (Guatemala) et Howard Yanes (Caracas)

Performance, Space Intervention. Twelve young women’s dressed equal, walking through a closed circuit repeated times. I obtained the collaboration of thirteen women who voluntered to participate in this performance even though they knew that the piece was meant to be understood as a self-criticism of us as women. The orange color of the uniforms was meant to remind the viewer of the uniforms of prisoners who are condemned to death. I used a similar make-up scheme for all the women, as well as similar hairstyles and shoes. The idea was to evoke an image of a living mannequin. The piece was intended as a criticism of uniform women who don’t break the cycles or the links that tie her down in the comings and goings of daily life which tend to follow a single pattern. Untitled Women are the women who remain inert in society.

- DIAZ Maria Adela, Simbiosis Interrumpida/Interrupted Symbiosis, 2000.

Performance, Odor Installation. Duration: 1hour 3 min. Photo: Digital C-print, variable dimensions, Tripiarte, post Building, Guatemala, Guatemala, 2000. photo: Andrea Aragon. 

Taking out the eyes of a 300 dead fishes.

- DIAZ Maria Adela, Un Passeo por La Habana/A Walk through La Habana, 2000.

Performance, public intervention. Photo: Digital C-print 11’’x 14’’, Habana Cuba, photo: Ivan Gonzalez.

A pig becomes a symbol of hunger in a country like Cuba, walking with it in the streets of the La Habana, the message becomes political. Just the fact of being a tourist, in taht country allowes me to do eat in restaurants, but food, meat and even walk with a pig on the streets, action that a regular Cuban citizen wouldn’t be able to perform.

- DIAZ Maria Adela, Vivir Aqui/To live Here, 2000, Ixchel Museum, Guatemala (photo)

Space Intervention, action. ‘‘I deposited a dead dog body in the entrance of the Art show called: Vivir Aqui. Ixchel Museum, Guatemala.

To live to Guatemala is not to live, the representation of death is everywhere in our daily lives. To take an very usual image of a death dog in an art gallery transforms the perception of dying. We are getting kill by others in a daylight our best friend is dying and we are just contemplating the scene as piece of artwork.

- GALINDO Regina José, No perdemos nada con nacer, 2000, photo: Belia de Vico.

Metida en una bolsa de plástico transparente, como un despojo humano soy colocada en el basurero municipal de Guatemala.

(9no. Festival de Performance. Ex-Teresa Art Actual. Zócalo de la Ciudad de México, México, 2000)

Segundo Festival del Centro Histórico. Basurero Municipal, Guatemala, 2000)

- GALINDO Regina José, Todos Estamos Muriendo, 2000, photo: Rosina Cazali & Belia de Vico.

Me conecto a una bomba de oxigeno, mientras permanezco encerrada en una pequeña celda en las afueras de un museo.

(Seminario Temas Centrales, Galeria Nacional. San José, Costa Rica, 2000)

- GALINDO Regina José, Valium 10ml, 2000, photo: Rosina Cazali.

Me injecto 10 miligramos de Valium, permanezco sedada en el espacio de la galeria.

(Colectiva Vivir Aqui. Museo Ixchel, Guatemala, 2000)

- HENDRICKS Geoffrey & READ Christine, Eating/Breathing, 2000.

- HUAN Zhang, Chickenpox, 2000, NYC.

« I’m living and working in New York. Although I am surrounded by technology, I cannot use a computer. All over the world, people are celebrating these technology times as though they are possessed. I think they are poisoned: everyone is so busy, there is more pain than ever, there is little difference between man and machines. People make so much trouble for themselves, and continue making trouble for themselves. Maybe we are heading for disaster. I think we should separate some from contemporary civilization; we should return to slower times and live closer to nature.

My little boy is seven month old now. I feel him, bathe him, clean up for him, I feel so happy as a father. I feel beauty and happiness being alive. But it hurts me to think of him growing up in a murderous society, in a society that kills without spilling blood. Sometimes I dream that we are in my hometown, where he is a Buddhist monk in the He Han Shao Lin Temple.

Will be appreciate me? I dont’t know. These pressures stifle me. I just want to live lighter. »

- HUAN Zhang, Family Tree, 2000, NYC.

« I have been feeling pain on the left side of my chest for over a year, which lately seems to have gotten worse. I sense an ill omen and am afraid that something unpredicable might happen.

When a mother squeezes out the last bit of her energy, a new life eventually emerges. There are numerous events in our lives over which we have no control.

More culture is slowly smothring us and turning our faces black. It is impossible to take away your inborn blood and personality. From a shadow in the morning, then suddenly into the dark night, the first cry of life to a white-haired man, standing lonely in front of window, a last peek of the world and a remembrance of an illusory life.

In my serial self-portrait I found a world which Rembrandt forgot. I am trying to extend his moment.

I invited 3 calligraphers to write texts on my face from early morning until night. I told them what they should write and to always keep a serious attitude when writing the texts even when my face turns to dark. My face followed the daylight till it slowly darkened. I cannot tell who I am. My identity has disappeared.

This work speaks about a family story, a spirit of family. In the middle of my forehead, the text means « Move the Mountain by Fool (Yu Kong Yi Shan) ». This traditional Chinese story is known by all common people, it is about determination and challenge. If you really want to do something, then it could really happen. Other texts are about human fate, like a kind of divination. Your eyes, nose, mouth, ears, cheekbone, and moles indicate your future, wealth, sex, disease, etc. I always feel that some mysterious fate surrounds human life which you can do nothing about, you can do nothing to control it, it just happened. »

- HUAN Zhang, Flowers, 2000, Helsingborg Museum, Suède.

« I heard about a big news story before I prepard my performance: a young man jumped off the tower–his suicide shocked me. The next day I had to give a performance project in the same place. He was only twenty-six years old, but he chose to die. He gave up his desire to live in this world. Later I saw his wife, who looked so sad, plating a lot of flowers into the ground where her husband jumped off.

I can not bear this scene, I want to resuscitate his life-for him, for myself.

Life has so much stress, that’s why people choose to die. I can understand them. »

- HUAN Zhang, My Australia, 2000, National Gallery of Australia, Canberra.

- HUAN Zhang, Rubens, 2000.

Rubens’ masterpiece The Rape of the Daughters of Leucippus absolutely stunned me. I still remember professor Liu, my art history teacher, continuously ‘‘Rubens’ red is the gratest red in the world, his red is gorgeous, profound and passionate. Our red is too simple’’.

After graduation, I became an art teacher and passed on Professor Liu’s words one by one to my students in every class. I kept telling them about the first rate Rubens’ red, even though I never saw it with my own eyes. When I eventually saw it in Munich, I realized that it is a very special, emotional red.

What do the hands capture in my ‘‘Rubens’’?

- HUBAUT Joël, Büro Orange, 2000. Grenoble.

- Kein Mensch ist illegal, Deportation Class, 2000. (Action politique).

- KOVYLINA Elena, A Light Lunch, 1-06-2000, Moscou.

- KOVYLINA Elena, Time for Sleeping, 1-04-2000, Vahtangov’s Theatre.

- LOPEZ Carmen Luna, Lingua stellare, 2000. (theatre-performance)

- MARHAUG Rita, 13+35, 2000.

Opening performance at the project gallery Døgnfluen, 28th of April 2000.

Døgnfluen or th Mayfly was an artspace for temporary art in Bergen, Norway. It was situated in aprivate apartment in Nygaardsgaten 70A, 3th floor. During the period from 28th of April to 2nd of June 2000, Døgnfluen showed happenings, performances and stunts every friday. Curators: Veronica Diesen, Arne M. Rygg and Morten Kvamme.

- OSTOJIC Tanja, International Projekt Archive. 

International Wedding Document & Passport Photos from Looking for a Husband with EU Passport, 2000-2005, 5 colour photos.

Integration Projekt Archive is an installation presenting the results of many years of reseach. It includes video and audio material as well as books, essays and documents of a temporary performance, a temporary language school, a talks show and several discussions on immigration and asylum laws. The resources in this continually growing archive are available to the public and can be copied for private use.

- OSTOJIC Tanja, Wedding Book, 2000-2005. 

Hand made original unique book with over 100 pages of text, photos, prints.

The Wedding Book comprises texts and photos documenting Ostojic’s work Looking for a Husband with an EU Passport, including letters that the artist exchanged with marriage candidates, wedding photos, marriage certificates, and ‘‘marriage for papers’’ testimonies from several of her friends who had to use similar strategies.

- PETTIBON Raymond, WEIGAND Hans & MEESE Jonathan, Fort Knox de DAF, 2000.

- POPE William, Eating The Wall Street Journal, 2000, The Sculpture Center, NYC.

- ROSSA Boryana, The Moon and The Sunshine, 2000. (videoperformance)

- SIERRA Santiago, Public transporté entre deux lieux de Guatemala City, Belia de Vico Arte Contemporáneo, Tierra Nueva, Guatemala City, Guatemala, janv. 2000.

Un bus d’école fut modifié de manière à obstruer toute visibilité de l’intérieur. Toutes ses fenêtres furent recouvertes de plastique adhésif et le siège du conducteur isolé par un écran de carton. Le public de la galerie ne fut pas informé de ce qui allait advenir, simplement invité à monter dans le véhicule. Une fois à l’intérieur, et sans aucun moyen de deviner la route, ils furent conduits jusqu’à une zone en bordure de la ville. Le trajet de  45 minutes fut pénible en raison des températures élévées.

- SIERRA Santiago, Une ligne de 160 cm tatouée sur 4 personnes, 2000, El Gallo Arte Contemporaneo, Salamanque, Espagne, décembre 2000.

Quatre prostituées héroïnomanes furent engagées à se faire tatouer en échange d’une dose d’héroïne. Pour une fellation, elles perçoivent normalemant 2000 ou 3000 pesetas, soit entre 15 et 17 $, alors qu’une injection d’héroïne s’élève autour de 12 000 pesetas, environ 67 $.

- SIERRA Santiago, Une personne payée pour nettoyer les chaussures des visiteurs sans leur consentement, lors d’un vernissage, ACE Gallery Mexico, Mexico City, Mexique, mars 2000.

Il est fréquent de voir dans le réseau métropolitain de Mexico City de jeunes garçons et de jeunes filles se traîner au sol pour nettoyer les chaussures des gens, sans leur consentement et dans le but de gagner un pourboire. Ils attendent une récompense ou une indemnité de la compassion éventuelle du client, plutôt qu’ils ne recherchent l’efficacité et la nécessité de lui cirer les chaussures. Pour cette occasion, un garçon d’environ 11 ans fut introduit au vernissage d’une exposition de photographie, où il exécuta son travail habituel.

- SIMONETTI Gianni Emilio, Fluxus Concert, 2000, Bassano del Grappa.

- SURYODARMO Melati, Exergie-Butter Dance, 2000 (see 2010).

Performances focusing on identity and human relations and often refferring to political issues and ecological questions are a central part of Melati Suryodarmo oeuvre. The artist says, ‘‘I intend to touch the fluid border between the body and its environment through my art works. I aim to create a concentrated level of intensity without the use of narrative structures. Talking about politics, society or psychology makes no sense to me if the nerves are not able to digest the information. I love it when a performance reaches a level of factual absurdity.’’ Suryodarmo was born in 1969 in Surakarta, Indonesia. She studied international relations and political sciences in Bandung, Indonesia, before transferring to the Brauschweig University of Art, where she studied butoh and choreography with Anzu Furukawa, time based media with Mara Mattuschka and performance and spatial concepts with Marina Abramovic. She has living in Braunschweig since 1994.

In her performance Exergie-butter Dance Melati Suryodarmo wears a black dress making her slip and fall. Her repertoire of movements consists of slipping and sliding, crashing down and picking herself up again.

- TANIUCHI Tsuneko, Micro-Event No.5/Nine Female Characters. Paris Pour Escale, Museum of Modern Art, Paris, 2000-2001.

During a five-hour period, I enclosed in a 27 cubic-meter transparent plastic cube; I played nine female characters, each identifiable by a simple gesture and different costumes. These nine characters are: a female narrator, a waitress, a homeless woman (the Plastic Bag Lady), a Japanese high school girl, a Japanese school girl, ‘‘Ninja Girl’’, a female boxer, a sale rep for baby nappies, Ganguro Girl (the bimbo: with a faced blacked from ultra-violet rays, in colorful clothing and platforms shoes). The furnishing of this cube was composed on a bed, a table, a chair, a television, a mirror and a punching ball. The five hours of activity were video taped and shown during the exhibit next to the cube containing the traces of this action. At Transpalette Gallery, I transformed the exhibit space into a discotheque, I invited a DJ (X.K.I.) to play while I simulated the 9 women characters.

- TANIUCHI Tsuneko, Micro-Event No.9/Une boxeuse, Constellations 3, Galerie éof, Paris, 2000.

Premier temps : le soir du vernissage, je joue une boxeuse à l’intérieur d’une installation que j’ai montée. Sous des tubes de néons blancs et entre deux murs de miroirs en PVC, je boxe contre deux punching-balls sur une musique rap pendant trois quarts d’heure. Cette performance est enregistrée sous format vidéo. Deuxième temps : la vidéo de la performance est projetée sur le mur du fond de l’installation. Troisième temps : je rejoue la boxeuse, la vidéo du premier temps est projetée sur le mur du fond. Quatrième temps : la vidéo de la performance est projetée sur le mur du fond de l’installation jusqu’à la fin de l’expo. (photo : Manrc Domage)

- TANIUCHI Tsuneko, Micro-Event No.9bis/A Female Boxer. ‘‘I am not a Penelope’’, François Mitterrand Art Center, Beauvais, 2000.

I installed a bathtub, a TV monitor for screening the second performance of Micro-Event No. 9 ans a poster announcing the date of the world championship boxing match (which corresponds with the closing day of the exhibit). The closing day of the exhibit, in full public view, I asked a model (a naked white man) to sit in the bathtub full of the bubble bath and watch the entire 45-minutes video (in which I boxed against a punching ball, with rap music), without moving. I filmed the whole scene with for 45 minutes at the closing day.

– Premier temps : j’installe un moniteur qui diffuse la vidéo de la première performance du Micro-événement n° 9, une affiche qui annonce la date du combat pour le titre de champion du monde (qui correspond à la date du finissage), et une baignoire. Deuxième temps : au finissage, devant le public, je demande à un modèle (un homme blanc nu) de s’installer dans la baignoire remplie d’un bain moussant et de regarder la vidéo pendant toute sa durée (45 min), sans bouger. Je filme l’ensemble de la scène (45 min).

- VALIE EXPORT SOCIETY (VES), Touch Cinema, 2000.

Valie Export Society (Kadi Estland, Mari Laanemets, Killu Sukmit) was founded in 1999 an attempt to fill gap in feminist art in Estonia. In their remakes of performances by VALIE EXPORT, Yoko Ono and Ann-Sofi Sidén, the members of VES use their bodies as instruments to radicalise gender relations and blur the borders between art and life. The VES collective concentrates on the specific shift in meaning that occurs in these performances through different social, local and temporal contexts.

Valie Export Society (VES) borrowed its name and numerous performances from the feminist performances and media artist VALIE EXPORT. Their Touch Cinema refers to EXPORT’s Tapp-und Tastkino (1968), which criticised cinemma as a realm of male projections. Homometer II is also a remake of a public performance Homometer II by EXPORT from 1976. For this, the three women artists stood on a street in Talinn with a loaf of bread tied to their stomachs, offering to cut off a piece for passers-by. The VES artists also walked an art critic on a leash through the centre of the Estonian capital in an action based on EXPORT’s Aus der Mappe der Hundigkeit (from The Portfolio of Doggishness) (1968) (compare to Cornelia Sollfrank).

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