1990 : chronologie performance

Publié le par Olivier Lussac

1990

 

- AGUILAR Laura, Three Eagles Flying, 1990 (photo).

- ARAHMAIANI, Knocking the Door, Malioboro street, Yogyakarta, Indonesia.

- BLUME Bernhard & Anna, Metaphysik ist Männersache, 1990-91.

- COLETTE, Visits to the Normal World. Living with Art Stage III, festival Munich. 1990.

- FERRER Esther, Circulo de Bellas Artes, Madrid. Espagne.

- FERRER Esther, Performance para 7 Sillas, Festival Polyphonix, Marseille, Centre International de Poésie. 1990.

- FERRER Esther, Intimo y personal, Studio Ethel. Paris. 1990.

- FERRER Esther, Molkerei Wekstatt, Cologne, Allemagne.

- FERRER Esther, 15 Minutos de performance, Le Lieu. Québec, Canada. (1ère Biennale d’art actuel)

- FOX Terry & WADA Yoshi, Arrectus Auribus, 1990, Cell Block Theater, Sydney, Australia.

- FOX Terry, Fluss, 1990, Palace of Exhibition Mucsarnok, Budapest, Hungary.

- FOX Terry, Lesung, 1990, Syndikat-Halte, Bonn.

- FOX Terry, Locus Harmonium, 1990, Furkapass, Suisse.

- HINCAPIÉ Maria Teresa, Una Cosa es una cosa, 1990.

Maria Teresa Hincapié (1956-2008, Colombia) started her artistic career in the theatre as an actor. During the mide-1980s she shifted her attention to performance art and started investigating non-representational psychophysical practices; moreover, she embraced life as an artistic practice. Hincapié as other Colombian creators at that time, was mobilized by Colombia’s extreme socio-political situation. The murder by drug cartels in 1982 of the Minister of Justice at the time, Rodrigo Lara Bonilla, was a major event in a long history of violence involving governmental forces, drug trafficking syndicates, guerilla groups, paramilitary forces and civilians. Hincapié used her body to respond to and resist a state of acute violence. 

In Una cosa es una cosa (A Thing is a thing), Hincapié made and unmade series of labyrinth-like concentric squares on a gallery floor using dozens of her own domestic objects (kitchen ustensils, cleaning supplies, beauty supplies, bed sheets…). For 12 hours, 18 days in a row, in a careful and slow ceremonial way, she combined prosaic and singular gestures, materiality and ephemerality, everydayness and ritual, gender and artistic issues. For this work, Hincapié was awarded the first prize dedicated to performance art in Colombia at the XXXIII Salon Nacional de Artistas.

- HINCAPIÉ Maria Teresa, Vitrina (The Shop Window), 1990.

Maria Teresa Hincapié (1956-2008, Colombia) started her artistic career in the theatre as an actor. During the mide-1980s she shifted her attention to performance art and started investigating non-representational psychophysical practices; moreover, she embraced life as an artistic practice. Hincapié as other Colombian creators at that time, was mobilized by Colombia’s extreme socio-political situation. The murder by drug cartels in 1982 of the Minister of Justice at the time, Rodrigo Lara Bonilla, was a major event in a long history of violence involving governmental forces, drug trafficking syndicates, guerilla groups, paramilitary forces and civilians. Hincapié used her body to respond to and resist a state of acute violence. 

In Vitrina, during a six-hour period, Hincapié successively dirtied a store window with lipstick and cleaned it with soap. Dressed as a cleaning woman, she wrote sentences, drew her silouette emphasizing sexual parts, and stamped kiss marks on the glass. Her tasks addressed the invibility of the cleaning woman’s labour, the extreme appeal of commodities framed by shop windows, the objectification of the female body, and the political verve of a performance artist.

- HOTCHKIS Joan, Tearsheets, 1990.

- LUNA James, End of the Frail, 1990-91.

- ORLAN, La Réincarnation de Sainte Orlan, 1990-93 (action-body art).

- SPRINKLE Annie, Public Cervix Announcement, 1990.

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