1989 : chronologie performance

Publié le par Olivier Lussac

1989

 

- ARCE Elia, Lip Sync, 1989.

- BANANA Anna, Banana Power, at Women’s Studio Workshop, Rosendale, NY.

- FERRER Esther, Festival de la Bâtie, Ginebra, Suisse. Performers : Ferrer/Hildalgo/Marchetti.

- FERRER Esther, Perf. para 34 zapatos y otras tantas sillas y un reloj, Festival MilanoPoesia. Milan. 1989.

- FINLEY Karen, We Keep Our Victims Ready, NYC.

- FLANAGAN Bob, Auto-Erotism SM, 1989. Los Angeles.

- FOX Terry & Wada Yoshi, Resonators, 1989, The Anchorage, Brooklyn, NYC.

- FOX Terry, A flor d’aqua, 1989, Piazza Ognisanti, Florence.

- FOX Terry, Reveille, 1989, Burg Stolberg, Solberg, Germany.

- FOX Terry, Übung, Stadt Galerie, Saarbrücken.

- GUERRILLA GIRLS, Poster.

- HARRIS Lyle Ashton, Construct no. 10, 1989

- JONES Joe, Meditations Solar Night Music Performance, 1989 (fluxus).

- MACLENNAN Alastair, Bag to Prague, 1989. 

- MURAK Teresa, River Mud, 1989. Muzeum Ziemi Chelmskiej. Video: Wojciech Majewski.

Together with Natalia LL and Ewa Partum, Teresa Murak (1949, Poland) was one of the leading performance and body artists in Poland in 1970s. At the beginnin of the 1970s, Teresa Murak discovered the natural material that was to become central to her artistic practice: plan seeds. After martial law was declared in Poland in the 1980s, she was forced to take her activities to the artistic underground. During this time Murak turned from seed actions and began working with dirt and mud as a means of expression in her art.

For the sculpture River Mud, Murak extracted river mud and grass from their natural environment in an outwardly ritualistic action. She then spread the organic material on large surfaces in a gallery, where it dried and eventually died. Murak bases her so-called earth sculptures on a contradictory aesthetic relationship betweeen organic and distinct abstract forms. Murak’s poetic imagery in her performance and installation works, located either indoors or inrural or urban exterior spaces, makes visible the principles of life, growth and decay inherent in her art material in a more compact form. Her use of organic materials reflects the ephemeral nature of these actions.

- MURAK Teresa, Seed, 1989. Künstlerhaus Bethanien. Berlin.

- PARKER Jayne, K, 1989 (film)

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