2006 : chronologie performance

Publié le par Olivier Lussac IDEAT

2006

 

- ALBARRACIN Pilar, She-Wolf, 2006. (video-documentation: 2’45’’)

- ARAHMAIANI, Breaking Words, Satu Kali, Kuala Lumpur.

- ARAHMAIANI, Breaking Words, FOI, Singapore.

- ARAHMAIANI, Breaking Words, Tokyo, Toyama.

- ARAHMAIANI, Dancing Stitches, JT House Bangkok.

- ARAHMAIANI, Dialogue, 2006

- ARAHMAIANI, Stitching the Wound, Jim Thompson Art Center, Bangkok.

- ARCE Elia, The First Commandment, 2006.

- ARNELL Malin & LIDEN Klara, Fight, 2006.

- ASHERY Oreet, Portrait Sketch. 2006.

‘Portrait Sketch’, street intervention, Delhi, 2006. In 2006, Whilst in Delhi, Ashery visited the craft market Dilli Haat dressed as a Jewish man. She had her portrait drawn by a portrait sketch artist. Later on in the day she returned, this time dressed as an arab man and was drawn again by the same artist. The portrait sketch artist who might have been bemused or perplexed, did not reveal any such feelings, he just got on with his job and drew what ever he saw in front of him. The intervention invites the viewer to contemplate the nature of authorship in art and identity.

- BADURINA Božena Končić, Temporary Body, 2006, performance Gliptoteka, Zagreb, photo: Željko Badurina.

At the opening of a sculpture triennial, Božena Končić Badurina’s performance functioned as a mimicry of the exhibition environment: entirely wrapped in aluminium foil, the artist sat on a pedestal, resembling a sculpture. In the context of a survey of contemporay readings of sculpture, the aluminium seated figure, which recalls the work of Croatian sculptor Ivan Kožarić, seemed like an intruder from styles of the past, creating discomfort in the field of audience expectations. A strong discomforting effect was similarly produced by the artist’s play between living and dead matter, which only the most suspecting visitors noticed, engaging in the space of communication with the artist’s hidden body. Beneath a calm and immobile surface of the ‘sculpture’, the body of the artist was performing a most demanding endurance ritual: trapped beneath the aluminium foil, sweating, resisting the heat and the desire to get out.

- BEAN Anne, Shadow Deeds, 2006.

Shadow Deeds are performances Anne Bean first developped in 1969-1974 (when she was 18-24) that she performed in front a camera in 1996-2005. Bean showed the resulting video reenactments in the Autobituary exhibition at Matt’s Gallery in London in 2006. Music, destruction, drawing and the female body are key subjects in Bean’s work, which also focuses on artistic conditions turn out of their original contexts. The DVDs include two Shadow Deeds: the performance Mortality and Drawing Life. The context of the first lies in the simple, unifying trait of art and life: impermanence. Here, the artist asks herself what would happen if she called her dog ‘‘Mortality’’ and shouted after him in public. The opposite case is the topic of Drawing Life, the physical presence of the body. In this performance, the blindfolded artist draws the outlines of a female nude lying on paper, merging the pursuit of artistic form and the role of women in art into one.

- BEECROFT Vanessa, White Madonna With Twins, 2006.

- BING Han, Love in the Age of Big Construction, 2006.

- BING Han, Shocked on the Road to Happiness, 2006.

- BING Han, The Green Walking Movement in USA, 2006.

- BOUKHARI Nisrine, Them-Me, 2006.

Nisrine Boukhari (1980, Syrie) studied at the Fine Arts Faculty at Damascus University. In her installations, participatory projects and performances, Boukhari deals with questions of psycho-geography, aspects of interferences in spatial environments and psychological moods of individuals. She and her sister Abir founded the gallery and project space All Art Now in 2005 in the old centre of Damascus. It is the first location in Syria devoted to contemporary art, performance, video art and installations.

With its many cross-fades and quick cuts, the experimental video Them-me  shows the artist in front of the camera, performing different changes on herself and her physical appearance. She hold a plaster mask in front of her face, veils herself in a white cloth, and binds her head with several black bands. The video addresses questions of identity and self-representation, and, according to the artist, it offers a view ‘into myself and the others who live inside me’.

- CORREA Nieves, El Abrazo 1, Madrid, 2006.

Since the 1980s, Nieves Correa (1960, Spain) has been carrying out intense work in the field of artistic performance as well as organizing festivals and meetings and editing publications on performance art. Her influences can be found in the conceptual art of Fluxus and in the Zaj group, which includes such figures of Spanish avant-garde art as Esther Ferrer. Music occupies a pre-eminent place in how she structures and enacts her performances, in which the artist’s body, its forms, its dimensions and its morphology are instruments for the occupation of and intervention in public and private spaces.

‘‘Embrace a building entirely, feeling its warmth and its coldness, its inlets and outlets, its roughness and its unevenness. It has to be a public and free-standing building: a church, a museum, a casle… and depending on its use, the meaning of the performance changes. As I embrace, I mentally count the number of hugs and at the end, from a high point or from a window of the building, I shout the number of hugs that I have needed to complete its perimeter: ONE, TWO, THREE, FOUR… doing it always in my own language.’’ (Nieves Correa)

- CORREA Nieves, The Shooting Star 1, 2006.

With her own body as a measure and using black adhesive tape, the artist constructs a room for target practice with six targets in an interior space. Once the scene is prepared, she covers her eyes and ‘shoots’ six plates at the six targets. Taking off her shoes, she sweeps up all the broken plates with a brush, making small heaps of the pieces. Finally, she takes off the adhesive tape from the walls, puts everything into a bag and leaves the space.

- COURT John, Performance, 2006.

- DAF/COLLAZOS Diana, Me Mato por- Intervencion, 2006.

- DE GRACIA Silvio, Beyond the Pale, 2006, Québec, Inter Le lieu.

- DE GRACIA Silvio, Mi Castigo es tu castigo, 2006, Québec, Canada.

- DIAZ Maria Adela, Mapa de vida/Map of Life, 2006.

Video performance. Video: single-channel digital video. Photo: digital C-print 11’’x 14’’, California, 2006. Photo: Scott Lang.

- DU Liang, To have you along the way, 2006.

- FERMIÈRES OBSÉDÉES, Next Wave Festival, 2006, Australie.

- FERRER Esther, Infr’action, 2006. Sète. festival d’art performance.

- FOX Terry, Caixias, 2006, Museu de Arte Contemporeana de Serralves, Porto, Portugal.

- GALINDO Regina José, Camisa de Fuerza, 2006, Mens (Mankind) S.M.A.K. Gante, Belgica. photo. Kara Andrade

Permanezco con una camisa de fuerza durante tres dias consecutivos, viviendo en el Psiquiatrico de Sint Alexius.

- GALINDO Regina José, Carnada, 2006, Al Limite, Santo Domingo, Republica Dominicana, photo. David Perez.

Con cuatro meses de embarazo, permanezco dentro de una red de pescar que forma una bolsa, colgada de un arbol frente al mar, a varios metros de altura.

- GALINDO Regina José, Isla, 2006, Santo Domingo, Republica Dominicana, photo. Engel Leonardo.

Permanezco inmóvil en un arrecife formando un charco con mis propios orines alrededor de mi.

- GALINDO Regina José, Limpieza Social, 2006, photo: Hugo Munoz.

Recibo un baño a presión con una maguera, método utilizado para calmar manifestaciones o bien, para bañar a los recién ingresados a prisón.

(II Potere delle Donne. Galleria Civica Arte Contemporanea di Trento, Trento, Italia, 2006)

- GALINDO Regina José, Peso, 2006, Santo Domingo, Republica Dominicana.

Permanezco encadenada y con grilletes de forma consecutiva durante cuatro dias, realizado asi mi vida cotidiana.

- GALINDO Regina José, Plomo (Classes para aprender a disparar todo tipo de armas), 2006.

Poyecto subventionado por CIFO Mimi.

Recibo una subvención de 5,000 dólares. Con este dinero contrato a un ex militar en la república Dominicana y le pido que me entrene de manera intensiva, enseñándome a manejar todo tipo de armas de calibre corto y largo como pistolas, revólveres, escopetas. (Santo Domingo, República Dominicana, 2006)

- GALINDO Regina José, Thanatosterapia, 2006, photo: Alfredo Ceibal.

Acostada

desde mi tumba

el cielo se ve al revés

Una mujer que trabaja maquillando cadáveres en una funeraria en la cuidad de Guatemala, me maquilla durante la inauguración de la muestra.

(Colectiva Cielo Al Revés, Guatemala, 2006)

- GALINDO Regina José, Un espejo para la pequeña muerte, 2006, photo: Donna Conlon.

Con seis meses de embarazo, permanezco desnuda, atada de manos y pies, sobre un charco hecho con mi propios orines, dentro de la habitación de una pensión de mala muerte.

(Estrecho Dudoso. Teorética, Costa Rica. 2006)

- GALINDO Regina José, Yesoterapia, 2006, photos: Engel Leonardo et Sayuri Guzmán.

Permanezco enyesada completamente durante cinco dias consecutivos, una enfermera me cuida (Barceló Nuevas Propuestas, Santo Domingo, República Dominicana, 2006)

- GERMAN Patrycja, 80 vs. 3, 2006.

Patrycja German (1979, Poland) uses video, installation, photography and performance to reflect on the forms of representation of the female body. Her actions question the roles of gender and typical gender behaviours. With an attitude that is free of complexes and is entertaining and provocative, the artist involves spectators and often makes them feel uncomfortable, transporting them to an ambiguous terrain somewhere between intimacy and distance. One of her basic questions is, ‘‘What happens when one continues at a point where something is normally finished, when one transgresses where one otherwise stops?’’ (Patrycja German)

Naked in a neutral and empty space, the artist is taken into the arms of three muscular young men, also with naked torsos, who constantly pass her from one to the other throughout the duration of the action. Their gestures evoke labourers unloading meat. The apparent passive attitude of the artist as an inert object in the hands of others and her reference to sexual submission become increasingly ambivalent as the action develops. Her weight, 80 kilos, begins to overcome the three young men, who start to show signs of exhaustion while the artist, rested and refreshed, seems to enjoy the moment amused and triumphant.

- GERMAN Patrycja, 100 vs. 100, 2006.

This full-body combat shows a naked woman and a naked man, each weighing 100 kilos and dressed in the same black shorts contrasting with their pink flesh. In profile to the camera, the bodies charge at each other head on, but without violence. Instead, they are steady and respect the rules of the game. The balanced and exhausting fight demonstrates forty-five minutes of physical resistance and bodily contact.

- GOLUBOVIC Snezaná, …and Hair and Hair and Hair and…, 2006, performance project, by Angie Hiesl & Roland Kaiser, Schauspiel Köln, Cologne, Germany, Premiere: June 2nd, 2006.

- HATTAB Raafat, IranBeirutPalestineAndMe, 2006.

- HUBAUT Joël, OM suite OM connections, 2006, Marseille.

- IRWIN Kathleen, Crossfiring/Mama Wetotan, 2006.

- KAINULAINEN Pekka, Tête de fleurs, Festival infrac’ation, 2006 (Photo Stein Henningsen).

- KOZYRA Katarzyna, Cheerleaderka, 2006.

After studying at the Warsaw Academy of Fine Arts, Katarzyna Kozyra (1963, Poland, Italy, Germany) decided she no longer wanted to maje sculptures and began working with photography, video, performances and installations instead. In 1999, she was honored with a special award when she represented Poland at the 47th Venice Biennale. She received a grant from DAAD in 2003, which she used study to become a makeup artist and opera singer.

Cheerleaderka (Cheerleader) is one of the 13 videos in the cycle W sztuce marzenia staja sie rzeczywistoscia (In Art Dreams Come True). In this video, Katarzyna Kozyra is dressed up as a red-haired pop star, singing a Gwen Stefani song and dancing in cheerleader-like fashion in a men’s locker room. Kozyra can also be seen in different roles in her earlier works as well, including the obese woman in Diva and the man in Laznia Meska (Men’s Bathhouse).

— The Cheerleader is conceived as a pop video to the music and words of the Gwen Stefani song ‘‘What You Waiting For?’’ but it does not make reference to the themes of the original video. The scenes unfold in a typical men’s changing room. In the beginning the young, fit men do not pay the slightest attention to the activities of the singing and attractive, dancing cheerleader acted by Kozyra. The video explores, amongst others, the problems of the body as a costume and of one’s own identity that have frequently been the artist’s preoccupation. It is not without significance that in the work Cheerleader the artist makes use of image she had created of herself in previous works: the fat woman from Diva. Reincarnation – a performance that took place in the Centre for Contemporary Art Ujazdowski Castle and herself dressed as a man from the work Men’s Bathhouse that won an award at Venice Biennale. In the film also appears a choir comprising two of the directors and curator from Zachêta Gallery.

- KUEHNLE Jimmy, Loud and Clear Confronting Television Towers, 2006.

- LINDMAN Pia, Fascia. Squashed Face, 2006.

Still from ‘Fascia’ video, part 2, one of the ‘Nine Faces’: ‘Squashed Face.’ Facial expression held fixed for one hour with the help of the steel contraption, while video records the entire duration. The one-hour video then layered into a one-minute time-compressed video.

- LINDMAN Pia, Fascia Chair, 2006.

Custom designed and buit chair for making the video fascia. Designed by Pia Lindman, craft : Charles Mathis.

- LUBLINER Barbara, Rattled, 2006.

While toy rattles give pleasure worldwide, to be rattled is to be upset and distressed. Using welded rattled sculptures, a xylophone, and a table, anxious, caged feelings are exposed and transformed into play through a series of whimsical gestures.

- McLENNAN Alastair, Performance, 2006 (Suède).

- MEYER Helge, Live Action, 2007, Göteborg.

- MONTERROSO Sandra, Culpa. Mac, 2006 (vidéo. 6’).

- MONTOYA Marleny Pineda, Performance, 2006.

Marleny Montoya propose aux gens d’écrire ce qu’ils veulent sur son corps peint en blanc et immobile, au fond la photo du rayon de beauté d’un supermarché. Le public peut écrire ses désirs, ses sentiments sur son corps. Elle veut montrer la différence entre le vrai corps humain et ceux des mannequins, images inaccessibles de la publicité et du marketing.

- RASMUSSEN Lilibeth Cuenca, The Artist’s Song, 2006-2007.

Which artists make art history and who decides this? What are the rules of the art game? A historical and critical view of some of the most innovative Art pieces made in this century. Refrain. There are so many artists in this wide world. And many of us just won’t get heard. Better to learn to deal with rejection. When critics and curators have made their selection. There are so many artists in this wide world. And many of us just won’t get heard. I want to take part in art history, too but you can only do, what feels right for you.

- PRADA Amapola, Direccion Norte, 2006.

- ROSSA Boryana D., About the Living and the Dead, 2006.

Documentation has become more and more important for the history of art especially for the history of performance art. The spectators participate in the production of ‘‘art mythology’’. An enormous amount ot tech devices are now easily accessible. The opportunity the devices give up to create artifacts of ‘‘personal memory’’ about the art piece makes us see ourselves as mythology ‘‘producers’’ rather than passive ‘‘mythology readers.’’ Although documentation in exhibition spaces is usually not permitted, people always take photos with their cellphones and post them to their web blogs, thus becoming both : documentarians and mythologists.

or this series of performances the public was asked to document the action. The documentation is collected as a ‘‘personal/historical view of the performance.’’

- ROSSA Boryana D. & MAVROMATTI Oleg, Before and After, 2006, performed at Wild Girls, Exit Art, NYC.

We stitch our bodies to each other with a surgical thread and try to walk around the gallery. The audience releases us from the thread at the end.

- SHAH Tejal, Encounter(s), live performance, Turbine Hall, Tate Modern, 2006.

Swathed in a shell of white embroidered fabric, two bodies wrap themselves to an urban landscape in shape with the architecture. The straitjacket exoskeleton joined at the arms forms an out stretched bridge to span the distance between being connected and being able to touch. Tejal Shah (Bombay) et Varsha Nair (Bangkok) shared via email the experience of the edge within everyday normality and loneliness within the teeming cities they live in. Presenting their interactions in various locations, in these meditations they create a durational tabeau vivant responding immediately to spaces they encounter.

- SIERRA Santiago, Étude économique sur la peau des habitants de Caracas, Caracas, Venezuela, sept. 2006.

La peau du dos de 10 personnes ayant déclaré avoir zéro dollars a été photographiée. Une tonalité moyenne dans l’échelle du gris a été associée à cette somme. La peau du dos de 10 personnes ayant déclaré avoir 100 dollars a été photographiée. Un autre ton médiant dans l’échelle de gris a été associé à cette somme. Finalement, la peau du dos de 10 personnes ayant déclaré avoir un million de dollars a été photographiée. Une tonalité médiane d’une échelle de gris différente des deux précédentes fut associée à cette somme. Une fois qu’une nuance de gris de l’échelle eut été attribuée à zéro, dix et un million de dollars, la valeur du noir et du blanc fut calculée en dollars. La valeur du noir se révèle être de - 2106 dollars, et la valeur du blanc de 11 548 415 dollars.

- SIERRA Santiago, Les Punis, mars 2006.

Tribunal de grande instance de Francfort Gerichtsstrasse 2, Kleinmarkthalle, Hasengasse 5-7, station de métro Hauptwache, accès aux trams de la gare centrale, Deutsche Bibliothek, Adickesallee 1, Stadtb¨cherei, Zeil 17, Senckenberg Museum, Senckenberganlage 25, J-W-Goethe Universität, Bâtiment principal, Senckenberganlage 31, Fine Art Fair, Messe Frankfurt Halle 9, Francfort, Allemagne.

Cette action a été réalisée lors de la Fine Art Fair de Francfort sur les neuf sites mentionnés par 18 citoyens allemands nés avant 1939. Il leur fut demandé de passer quatre heures par jour sur ces sites et d’y demeurer debout à tour de rôle, le visage tourné vers le mur pendant une demi-heure.

- SIERRA Santiago, Plaque de porte, avril 2006.

Éditions Schellmann, Munich, Allemagne.

- SIGDEL Sunil, Dark, 2006, Sutra Local Workshop, Pokhara. performance 15 min.

This event was a satirical performance to the then government controlled media. I got myself into a costume made tight black suit with a mask on I had a photograph of my own smile stuck on my face. There, I lied on the ground with my dress nailed into bulks of wood. I could hardly move since I was unable to see the surroundings clearly with the mask on and the wood was also quite heavy to move. Yet I relentlessly struggled, finally I releasing myself from the wood. Concluding this performance, I carried two of the bulks on my shoulder and went inside an empty hut, took off the mask and came out to the spectators. This black person indicated the then media who unwilling had to suppress the pain of the nation and spread false news supporting the then government. (Sunil Sigdel)

- SISSI, Nature, 2006.

The installation was presented during my solo show at Chelsea Art Museum in New York. It was a large bush created with over 3000 sponges. This work felt as if nature found in me an ideal place to cling to. During the opening, I stood inside the work and the only visible part being my feet. (photo: M. Jones, Chelsea Art Museum, NYC, 2006)

- SOLLFRANK Cornelia, Le Chien ne va plus, 2006.

Cornelia Sollfrank (1960, Germany), who became kown as a pioneer of Internet art, studied at the Munich Academy of Fine arts and the Hamburg University of Fine Arts. Since the mid-1990s, Sollfrank has been examining the worldwide communication networks and transferring the traditional artistic and subversive strategies of the avant-garde to digital media. Another central theme of her work is an examination of various forms of collaboration, networking and communication as art forms. Many of her works explicitly or implicitly deal with issues of gender.

Since 2006, Cornelia Sollfrank has been working on her series Re-visiting Feminist art, in which she examines artworks which are relevant to her. In Le Chien ne va plus, she walks around a shopping mall in Hamburg-Harburg with a man on all fours on a leash, like VALIE EXPORT did with Peter Weibel in the streets of Vienna for her work Aus der Mappe der Hundigkeit (1969). Wile this goes on, the camera watches the reaction of passers-by. Especially children and teenagers are very amused by the display.

- TANIUCHI Tsuneko, Micro-événement n° 18bis/Marianne. ‘‘La Force de l’art’’, Grand Palais, Paris, 2006-2013, photo: Ulrike Uhlig.

La Force de l’art 01, commissaire Hou Hanru, Grand Palais, Paris, 2006 ; Exhibition-Corps et Histoire, commissaire Julien Blaine et Marc-Antoine Serra, Friche de la Belle de Mai, Marseille, 2013.

— In this Micro-Event I present a modern and cross-cultural version of the French Marianne, the national emblem of France. I was dressed in a white T-shirt with ‘‘Marianne’’ written of the front and ‘‘Tsuneko’’ on the back. Instead of wearing a Phrygian bonnet, I wore a red wig and I put on blue roots. I danced to the ‘‘Marseillaise’’, mixed with different national anthems (of Japan, of Algeria, of Roumania, of Israel, of Colombia…). This performance was video taped and installed on the grand image of world flags during the exhibit: ‘‘La Force de l’Art’’.

— La vidéo montre une performance que j’ai effectuée le 9 mai au Grand Palais sur la grande scène. Comme fond, l’impression d’un poster évoque la société multiraciale.

Je joue sur un podium bleau, blanc et rouge, une adaptation de l’icône de Marianne, symbole de la France, sur plusieurs versions de la Marseillaise mixées avec différents hymnes nationaux (du Japon, d’Algérie, de Roumanie, d’Israël, de Colombie, etc.)

Je développe une idée moderne de la France en utilisant la forme du Micro-événement, un concept que j’ai inventé et auquel j’ai donné ce nom.

Performance, vidéo-projection, poster, podium.

- TIAN TIAN Hai Rong, Left and Right Art Zone, 2006.

- TELESE Emilia, Curfew, 2006.

- TELESE Emilia, Paranoia, 2006.

- USUGA Paula Andrea, 2006.

(Tsuneko Taniuchi, Micro-événement n° 31/Comment dessiner le monde/Nouvelle identité des femmes)

Centre Colombo Americano et au Museo de Arte Moderno de Medellín, Colombie, 2006)

Paula Andrea Usuga se déguise en parfaite Barbie, un modèle idéal de beauté imposé par l’industrie et la société de consommation. Mais à la fin de sa performance elle se désengage de ce rôle pour devenir elle-même.

- WEISS Monika, Phlegethon-Milczenie, 2006, Miami.

- WITTSTOCK Herma Auguste, Six Images of Toronto, 2006, X-Space, Toronto, Canada.

I’m naked, just wearing white socks with red maple leaves on it and on the lead a cap for winter. I’m sitting down and in front of me is a big mountain of colourful maple leaves.

I try to blow them away, I hyperventilate, but the mountain of leaves is not moving. With a small feather I clean each of the leaves. With a snow scoop I shovel them from one side of the room to the other side. On this side there is a table and a chair and a disk. I put some of the leaves on the disk and sit on the chair. I’m eating leaves. I satnd up and tape some of the leaves to my body. I take one leaf and write KISS on it with a black pen. I put it on the table and leave the room. Photo/video: Dariusz Fodczuk.

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