- ALPERT Richard, Earshot, 1982.
One steel ball bearing is placed into a large glass jar and rolled around on the inside of the jar as fast as possible. Additional steel balls are added to the jar while the contents are kept in motion, until the number of steel balls causes the glass to crack and split open.
- ALPERT Richard, Finger, 1982, 80 Langton Street, San Francisco.
- ARAHMAIANI, Black Bamboo and White Cloth, Bandung, Indonesia.
- ASCARI Ferruccio, Quiescenta Obliqua, 1982. Lyon.
- BANANA Anna, Going Bananas Fashion Contest, 10th Anniversary April Fool’s Event presented on CKVU-TV’s ‘Vancouver Show’
- BANANA Anna, Why Banana ?, solo performance in 14 Canadian & US cities. (photo. Dallas Public Library Theatre). 1982.
- BEUYS Joseph, Coyote III- Tokyo, 1982 (fluxus)
- BEUYS Joseph, Green Party Land Conference, 1982.
- BEUYS Joseph, Sonne Statt Reagan, 1982.
- BÖRÖCZ Andreas & REVESZ Laszlo, Jubilee, 1982. Budapest.
- BUSTAMANTE Maris, Instrumento de Trabajo/Para quitarle a Freud lo macho (part of the performance Caliente-Caliente, 1982 (photo : Ruben Valencia)
For Instrumento de Trabajo/Para quitarle a Freud lo macho from the performance Caliente-Caliente, Bustamante manufactured 300 masks in her own image, replaced the nose of the mask with a penis, added a sign to it stating ‘‘work instrument’’ and distributed the masks to the audience as a response ‘‘to Sigmund Freud’s theory that a woman who wanted to engage in professional endeavours suffered from penis envy’’ (Bustamante).
- DEMNIG Gunter, Ariadne Faden, Kassel-Venise. 26 juin-31 juillet 1982.
- CONCIERTO ZAJ. 1 Semana Musica y Poesia Contemporeana, Santa Cruz de Tenerife (Espagne).
Performers : Ferrer/Hidalgo/Marchetti.
- EXPORT Valie, Body Configuration, 1982.
- FOX Terry & DECRISTEL George, A Table of Simple Sounds, 1982, Künstlerhaus Bethanien, Berlin.
- FOX Terry, Ditto, 1982, Glaskastenhaus, Marl.
- FOX Terry, Left Sided Sleepers Dream, 1982, Opera House, Graz, Austria.
- FOX Terry, Wired Flats, 1982, Pescheria Vecchia, Rimini, Italy.
- GAULKE Cheri, This Is My Body, 1982.
- GILLES Peter, R.E.M. Aktion, 1982. Cologne.
- HATOUM Mona, Under Siege, 1982. Aspex Gallery. Plymouth.
- HUBAUT Joël, CHICO Jaco, GRATIA Christian, LERCH Olivier, Concert du groupe New Mixage, 1982, Beaubourg, Paris.
- MARMOLEJO Maria Evelia, 11 de Marzo, 1982, San Diego Gallery, Bogota. Photo: Camilo Gomez.
- MARMOLEJO Maria Evelia, Anonimo 3, 1982.
- MARMOLEJO Maria Evelia, Anónimo 4, 1982.
Standing inside a triangular-shaped hole dug on the earth, surrounded by three smaller triangles filled ‘residual water’, Maria Evelia Marmolejo wrapped her body with plastic straps holding out bits of human placentas taken from women who has given birth during the days and in the cities where the piece was being performed (Cali and Guayaquil). Marmolejo described this as ‘‘a psychological and sociological act of self exploration about the fear of being born in a society where the option to survive is not guaranteed. These reflections generated in me physiological involuntary reactions such as vomiting and crying.’’ Performance: 1982, Banks of the Causa River, Colombia. Video: Juan Carlos Velasquez and José Dorado. Performance: 1982, Banks of the Guayas River, Ecuador, photo: Paco Cuesta.
- MENDIETA Ana, Body Tracks, 1982.
- MUNOZ Juan, Performance, 1982, PS1 contemporary art center Long Island NYC.
- PACQUÉE Ria, On a grey sunday afternoon Brada, 1982.
- PACQUÉE Ria, Sex Drugs and Rock & Roll, 1982, Paris.
- PIPER Adrian, Funk Lessons, 1982-84. University of Berkeley. Californie.
- SMITH Barbara, The Alien Ambassador, 1982. Santa Monica.
- SMITH Michael, Mike’s House, 19-2 au 11-3/1982, Whitney Museum.
- WEIBEL Peter, Medienpoesie, 1982.
- WENT Johanna, Hyena, 1982.
- YENI & NAN, Integrations in Water, 1982.
Jennifer Hackshaw (1948, Venezuela) and Maria Luisa Gonzalez (1956, Venezuela) worked as a team from 1978 to 1986 under the name of Yeni & Nan. Polaroid photographs, installations, performances and photographs makes up their artistic universe under the motto ‘‘the body as nature’’. With a background in psychology and theatre, both artists were practioners of martial art and yoga, which guaranteed great physical consistency ot their performances. Essential to their artistic proposals is a return to nature and a fusion with the cosmos. The processes of metamorphosis and the cycles of life make up their artistic imagination, which can be summarised as ‘‘one’s body as a body of the world’’.
The artists are dressed in black. They enter into a large transparent bag filled with water suspended from the ceiling, reminding us of an amiotic sac, in which it seems to be possible to return to the floating life that precedes birth. They help each other in perfect harmony and rid themselves of the black clothes to reveal a white elastic fabric that shrouds them like an osmotic membrane. Finally, the artists leave the bag, breaking water – symbolically reborn. Water as a vital oceanic and organic element, from which life emerges, also hosts and expels women in a state of duality – they are capable of giving and receiving life, simultaneously mothers and newborns in a poetic action where time confounds itself.