2007 : chronologie performance

Publié le par Olivier Lussac IDEAT

2007

 

- ABDULAZIZ Ebtisam, Autobiography, 2007.

Ebtisam Abdulaziz was born in the emirate Sharjah, where she still lives and works today. She initially earned a degree in mathematics before devoting herself exclusively to painting for a period of time. She is currently one of the United Arab Emirates’ most prominent artists. Her art often has a conceptual character. She works with performance and electronic media, and she is concerned with aspects of corporeal identity based on snapshots of the social rality around her.

This video, Autobiography, features Ebtisam Abdulaziz wearing a tight-fitting, black, full-body suit covered with rows of brightly coloured green numbers from head to foot. The numbers represent the artist’s financial transactions from 2003-2005. In this video, which was originally shown on the screen of a cash machine, we see artist spending the money she has withdrawn. According to the artist, the work has a diary-like quality while at the same time it also binds and reduces human beings to their economic function. Abdulaziz used the suit again later in several performances in the public realm.

- ARAHMAIANI, Breaking Words, 2007, Davis Museum, Boston.

- ARAHMAIANI, Flag Performance, 2007, Rostock, Allemagne.

- ARAHMAIANI, His-History on My Body, 2007, Brooklyn Museum, NYC.

- ARAHMAIANI, Make-up or Break-up, 2007, Sydney, Australie.

- ARAHMAIANI, Make-up or Break-up. After Joseph Beuys Social Sculpture, 2007, Shenzhen, Chine.

- ARAHMAIANI, Toyota Era, 2007, Matsushiro Samurai School, Nagano, Japon.

- ARSEM Marilyn, Forgetting, 2007, Santiago, Chili.

- ASHERY Oreet, Marcus Fisher, boy to man, 2007. ‘Global Feminisms’, Brooklyn Museum, curated by Maura Reilly and Linda Nochlin.

The work with my alter ego, the hybridic orthodox Jewish male Marcus fisher, includes videos, performances, interactions, intervention, new media work and photographic work. The work looks at the intersection of gender, race, religion and ethnicity and questions the nature of identity. 

- ASHERY Oreet, Right, Left, 2007.

Right-Left was performed at the Freud Museum as part of the group show ‘PARANOIA’. Visitors to the opening were invited to have their left and right hands massaged simultaneously by a Jewish and Muslin look alike masseurs. The performance took place on the landing where Freud used to spend time looking out of the window. Right, left invited the audience to reflect on projection, physical contact, right and left hands, right and left politics and the masseurs to their right and left.

- BOLIVER Rocio (aka La Congelada de Uva), Mas lena al fuego, 2007, Accion. IV Encuentro int. de art accion, Madrid.

- BAUSCH Pina, Vollmond, 2007 (danse).

- BOULOGNE Marijs, The Anatomy Lesson, 2007.

Marijs Boulogne (1978, Belgique) explore forms of ‘female ecstasy’ alongside traditional female craft and knowledge.

In this anatomy lesson, Marijs Boulogne demonstrates how the human organism works on a baby – one that she crocheted ans embroidered herself. During the live performance, an endoscopic camera reveals the insides of the artificial organism while the different processes are commented on, as if this were a scientific lecture. This performance is based not only on art historical references, such as Rembrandt’s painting De anatomische les van Dr. Nicolaes Tulp (The Anatomy Lesson of Dr. Nicolaes Tulp) or Mona Hatoum’s video Corps étranger showing an endoscopic journey through the body, it is also an investigation into the existential trauma of losing a child as well as into fragile corporeality.

- BYRNES Theresa, Trace, Performance (exploring our spiritual relationship with crude oil). 2007. 

« Crude oil is the blood of the planet, created by the compression and heating of ancient organic materials over geological time. Oil is formed from the preserved remains of prehistoric zooplankton and algae, which have settled to the sea (or lake) bottom in large quantities under anoxic conditions. Trace contemplates our relationship with crude oil ; liberated by and victims of its exploitation – the substance of time immemorial, we are caught in the middle. We struggle to define our role in this archetypal ménage that could lead us toward annihilation. The earth is our body, a holy ground of all matter recycling itself. The spiritual lesson inhérent in our dependency on ; destruction of the environment for ; and geo political warfare to gain control of crude oil may be to respect and connect our lives to our ancestry going back to the beginning of life on earth. » (T. B.)

- CAPITAINE Nadia, Couscous Thérapie, Stockholm, 2007.

- CHANG Hsia-Fei, Strawberry Fucker, 2007.

- CHIA Chuyia, The Green Goddess, 2007, Yogyakarta, Indonesia.

- CHICKS ON SPEED (COS), Butt Smack Bongo, 2007.

Chicks On Speed (COS since 1997, Germany) were founded by Melissa Logan (USA) and Alex Murray-Leslie (Australia) in Munich as a multi-disciplinary art project.They were primarily active as a band until 2005, when then they began combining music, art, fashion and activism. Their members sometimes change, and they regularly cooperate with artists such as Anat Ben-David and Douglas Gordon, among others. Their works are almost always humorous and are influenced by punk and DIY aesthetics – they oscillate between live performance, installation and music video while representing a new, pleasure-oriented feminism. COS currently live in Hamburg, Germany.

Naked bottoms are the main  pictorial motif of this short video. This performance of nude women smacking bottoms and walking up and down stairs in transformed through video editing into a rythmic piece of music. The inherent humour of Butt Smack Bongo casts an amusing and amused glace at the seriousness of the strain of performance art that elevates the body and nudity to the central motif for vulnerability by subverting it into laughter and power. Camera/Editing: Anat Ben-David.

- CHICKS ON SPEED (COS), Tit Prints, 2007.

- COBLE Mary, Aversion, 2007.

Aversion  was a live performance piece that took place at Conner Contemporary Art in Washington, DC in 2007. In this performance piece the artist attached electrodes to her arm and had herself shocked, with an electric shock device, to recreate the severe effects of electric shock aversion therapy that was once commonly used to ‘‘cure’’ homosexuality. Patients were subjected to repeated sessions during which they were shown a series of erotic images. Where as opposite-sex images elicited no negative stimulation, shock was administered in conjunction with seme-sex images. The performance lasted thirty minutes, which was the length of an actual shock therapy session. The artist wanted to not only call attention to a practice that many did not even know existed. The piece also points to continued social pressures towards conformity, which perpetuates the advocacy of reorientation therapy for homosexuals by extremist organizations today.

- CRUZ Mideo M., Banquet, 2007. Photo: Gina Fairley.

- D’EMILIA Dani, The True Aerealist, 2007.

The True Aerealist attempts to find a way of ‘speaking of’ those questions that arise out of the process of writing for performance. The enquiry is articulated through a performance script written for a single female performer. She tests (and often rejects) various strategies conventionally made available to women in performance. The True Aerealist explores and exploits the difficulty of speaking (truthfully) and employs strategies of excess, buffoonery and precariousness to comment on questions of representation, plurality, narrative and materialism. (Barbara Bridger). Performed by Dani D’Emilia/Written & directed by Barbara Bridger.

- DE GRACIA Silvio, Enjoy, 2007, Montevideo, Uruguay.

- DE GRACIA Silvio, Cuerpo torturado-cuerpo recuperado, 2007.

- DE GRACIA Silvio, Situacion Dadaista Concentrada, 2007, Montevideo, Uruguay.

- DEIMLING BBB Johannes, Daily Work, 2007.

Creatures performances festival/s’hertogenbosch, Netherlands/2007/45 minutes

all dressed in brown i am wearing two loaves of bread for shoes; slices of bread are tied around my head; in each hand i am holding a piece of meat that i constantly fondle. photos: Silja Saarepuu.

- DEIMLING BBB Johannes, Künstler sucht mäzen/artist looking for a Patron, 2007.

Various location and occasions/2007/variable durations

I am standing naked in various public venues, at exhibitions or at the entrance of several art museums holding a cardboard sign that says: künstler sucht mäzen (artist looking for a patron). Photo: bbb johannes deimling.

- DEIMLING BBB Johannes, Silence, 2007.

Préavis de désordre urbain, performance art festival/Marseille, France/2007/10 minutes.

At place de la Joliette, Marseille, I am sitting on top of the 12 meter high monument, holding a carboard sign with the word: silence. After ten minutes the action is stopped by the police.

Photo: Dariusz Fodczuk.

- DIAZ Maria Adela, Caida Libre/Free All, 2007.

Video Performance. Video: single-channel B/W digital video. Duration: 3 min. Photo: Digital C-prints 16’’x20’’, California, 2007, Photo : Miguel Mirales.

- DIAZ Maria Adela, Desprendimiento/Detachment, 2007 (vidéo-performance). Duration: 3min.

The bond between a mother and daughter wavers throughout its evolution. The most prevalent, and possibly most taboo, is the separation of ideologies and disruption of communication. Daily life turns into steps in opposite directions. In this video, I demonstrate the detashment between a mother and daughter while maintaining an invisible umbilical cord that once linked us together but only remains metaphorically. Once detached, the only thing that remains and links the two is blood.

- 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, Soy una cerda/I am a pig, 2007, Californie, photo: Evasofia Leon. (vidéo-performance)

Video: single-channel digital video. I put a skirt under an apricot tree to recollect all the ripe apricots that the tree could produce in a week. I ate all the fruit that fell down the tree. I stuffed myself with apricots until I couldn’t eat more. This piece talks about the lack of moderation and intemperance. Showing how humanity excessively uses the resources for their own satisfaction.

- DIAZ Maria Adela, Vida en el campo de batalla/Life in the battle field, 2007, Caracas, Vénézuela, photo. Ivor Lugo. 

Live installation, performance. Duration: 2 hours. 5 man sowing 50 women in a farm field, Caracas, Venezuela, 2007. Photo: Ivor Lugo.

‘‘This installation was possible with the collaboration of the Venezualan Government and took place for the ‘‘III Encuentro de Arte Corporal, 2007’’ I hired 50 women to be planted by men and to pose still in a field in the city of Caracas, Venezuala, creating a contrast between the urban city ans this surrealistic image of planted women. The women as alive and fertile element is represented in this installation as a metaphor of the women’s reproduction, an image of hope to avoid their extinsion although it keeps on reproducing in a battle field or being used as a target of violence, on the development of women’s traffic in the Latin-American countries. This installation express the duality between life and death, the representation of the workship to the life, the image of women’s hamper in a field where it exhibits her body to be reproduced, annihilated and exploited.’’

- GALINDO Régina José, 150,000 Voltios, 2007, photo: David Perez.

Recibo una descarga eléctrica de 150 mil voltios con un dispositivo eléctrico utilizado por la policia para detener sospechosos.

(Iglesia San Mateo, Lucca, Italia, 2007)

- GALINDO Régina José, Ablucion, 2007, photo: David Perez.

Un ex pandillero se quita con agua, un litro de sangre humana vertida previamente sobre él. 

(Guatemala, 2007)

- GALINDO Régina José, Cepo, 2007, Spazio Volume, Roma, Italia, photo. David Perez.

Permanezco 12 horas detenida por un cepo.

- GALINDO Régina José, Confesión, 2007, photo: Julian Stallabrass.

Un voluntario, practica conmigo la tortura del waterboarding, metiendo mo cabeza dentro de un tonel lieno de agua, varias veces consecutivas.

(Caja Blanca. Palma de Mallorca, España. 2007)

- GALINDO Régina José, Desalojo, 2007, photo. Marlon Garcia.

Colectiva Mantra. Centro Cultural de espana. Guatemala.

Piso hecho con 160 lapidas obtenidas de exhumaciones hechas en cementerios populares de la ciudad de Guatemala.

- GALINDO Régina José, Mientras, ellos siguen libres, 2007. (photo David Perez)

- GILMORE Kate, Star Bright. Star Might, 2007.

In Star Bright, Star Might, a woman forces her made-up face through a star-shaped hole in a wood panel. The points break as her forehead pushes through, her face becoming a rosette framed by red-painted wood.

- GOLUBOVIC Snezaná, Makadam, 2007. 

Performance project in public space by Angie Hiesl and Roland Kaiser. Cologne Kalk, industrial wasteland as part of the tanz nrw 07 festival Cologne, Germany, Premiere: May 10th, 2007.

- HENNINGSEN Stein, Trying to move the museum, 2007, Göteborg.

- HIGH HEEL SISTERS, Screaming Mountain, 2007.

The High Heel Sisters (2002-2007 Scandinavia) were an artists’ collective comprised of Malin Arnell, Line Karlström, Anna Linder and Karianne Stensland, and existed from 2002 to 2007. Its starting point was, in their own words, ‘their shared yet varying experiences of physical attributes of height (minimum 178 cm), shoes size (minimum 41 cm) and age (minimum 30 yrs)’. ‘‘We work with poetic politics! It is not about right or wrong. For us it is about power; to have or not to not have access to the privileges that determine our position in society. Our possibilities (are) to act within and to interact with the system that sets the limits for the change we wish to make possible.’’

Screaming Mountain was the High Heel Sister’s final performance. It started inside the exhibition space Den Frie Udstillingskygning in Copenhague and ended outside of it. In the beginnin, they climbed into their installation made with tarps, duct tape, ropes and three step ladders; they performed screams, which were transmitted into the street using large loud speakers; at the end, they buried the red high heel shoes that they wore throughout the performance under the paving stones and placed a memorial sign into the ground, that read ‘‘Perhaps we wanted to wear high heels just to get closer to the sky’’. The video Scream featured in the installation.

- HILL Nate, The Chinatown Garbage Taxidermy Tour: First Free Public Service, 2007.

Did you know could make art out of dead animals? I am going to show you how to collect dead animals from the garbage in Chinatown to make your own personal taxidermy. This is the first NYC Chinatown Garbage Taxidermy Tour. You will learn how to dig in the garbage for dead animals. You can make art out of these animals. I’ve found everything from sharks to frogs to plain old unidentifiable crap. Sometimes I find nothing interesting, but that is what makes it fun. You never know. Free latex gloves provided. Rain or shine.

- KAZUM Marya, Crumbling Desert Castles, 2007.

- KO Siu Lan, Wait Time, Paris, 2007.

- LOCKE Jennifer, Piss Water, 2007.

- LIDÉN Klara, Ohyra, 2007.

Klara Lidén (1979, Sweden) works are multidisciplinary. She uses video, installations and photography to involve the spectator in a subtle reflection on the connection between body and space. Thanks to her architectural trainin, she has a feeling for the ability to tranform public and private spaces through the presence of the body and different mimes and movements. Starting from everyday situations and places, new stages of interaction are created that transform the conventions of bodily representation. In a playful, provocative, rebellious and almost actionist manner, Lidén appropriates these spaces and modifies them, thereby rejecting the codes of behaviour that are commonly associated with them.

In a narrow kitchen, packed with piled-up objects, the artist is wearing a boxer’s protective helmet with a cigarette in her hand, washing the dishes unwillingly. She suddenly addresses the camera, adopting a stereotypical mime and bemoaning her situation, hitting herself on the head and body. A philosophical question emerges from the chaos and desperation. The private space and the vulnerability that is associated with her in the work is absorbed by the camera and exposed to the outside gaze.

- LUBLINER Barbara, Muscle Performance, 2007.

Celebrating strong women. Celebrating feminist pioneers and the women continuing the work. In exercise gear, chantin. ‘It’s power, its power, its power for the flower! Work it! Work it! Work it! We can do it!’ Performance breast muscles based on ‘muscle’ sculpture.

- MANNA Jumana, Familiar, 2007.

Jumana Manna (1987, USA) was born in the US, but grew up in Jerusalem and studied at the Bezabel Academy of Arts and Design and the National Academy of the Arts in Oslo. Her work, such as Familiar, reflect on human identity in relation to gender and personality as well as collective identity, for example concerning the conflict ridden situation of the Palestinian population. Blessed Blessed Oblivion (2010), for example, comments on the lives of young men in occupied East Jerusalem as a lost generation parlysed by frustration.

In Familiar, the artist revisited a scene from her early childhood. She lay with her mother in a bed and was breastfed by her. The artist playing the role of the baby is actually old enough to have her own baby, while her mother seems to be past that age already. This generational shift creates a disturbing moment of agitation, as does the artist’s attempt to recreate the immediate intimacy of early childhood and the unconditional love between a mother and child.

- MARAM, My Honey, 2007.

MaraM (1979) was born in Naples, Italy, where she also studied at the Accademia di Belle Arti di Napoli. She later moved to Venice where she attended courses with Joseph Kosuth and Tania Bruguera at the Universita IUAV di Venezia. Her durational performances emphasize symbolism and the role of the individual experience and thematise endurance as an existential condition.

In the two-hour long performance My Honey, the artist stands on several open jars of honey. Occasionally, she pours the content of one of the jars over her head. When the honey comes into contact with her eyes, it causes her to cry. The bitter taste of tears and the sweet flavour of honey mingle in the artist’s mouth. The performance took place in the context of ‘‘Portperformance’’, a project by the Polish artist Angelika Fotjuch at the Berlin-based Gesellschaft für künstlerische Forschung (Network for Artistic Research). Performance 27 July 2007, GfKFB, Berlin, Germany.

- MARTINEZ César, ¡Euros para todos! Gastroeconomia del nuevo milenio Metabolismo de Libre Comerse, 2007-09.

Menu del dia: 100 pastelitos con el billete de 500 Euros impreso como cobertura dulce sobre bizcocho con trufa o nata de una capa -para estimular los Eurotransmisores. Fotografias de Maria AA y Mario Aguirre. 2007: Centro de Arte Moderno, Madrid et Jardin Botanico, Espana, 2009: 2nd Biennal of Thessaloniki, Grecia, Curaduria de Gabriela Salgado, Bisi Silva, Syrgo Tsiara.

- MEHER Monali, Reverse Rewind Replay 7 acts from the past, 2007, Glasgow, photo. Darshana Vora.

- MIGONE Christof, Hit Parade, 2007. Séoul.

- MONTERROSO Sandra, Deformacion #33, 2007 (vidéo. 5’).

- NERIO Teresa Maria Diaz, Hommage à Sarah Bartman, 2007. Gerrit Rietveld Academie. Amsterdam. 

Photo. Kleinefenn

L’artiste dominicaine Teresa Maria Diaz Nerio, lors de l’exposition Black Europe Body Politics (2013), revêt un costume en latex noir. L’accent est porté sur les stéréotypes sexuels de la femme noire (seins et fesses). Nerio s’expose comme sculpture vivante : « …J’ai choisi de me concentrer sur des gens qui viennent du Sud Global, de pays qui ont été colonisés. Ils portent tous cette histoire de la négritude… […] Le fait que j’ai choisi Sarah Baartman a à voir avec le fait que je vis aux Pays-Bas où je fais l’expérience de cette sorte d’incroyable racisme en tant que femme dominicaine. Ce racisme est tellement institutionnalisé… Il semble si faible… Mais en réalité il est répandu et violent. 

« […] Vous êtes bombardé de ce cliché tout le temps et puis vous pensez « oui, les femmes caribéennes sont vraiment sexuelles ou pas sexuelles du tout, elles sont grosses et cuisinent tout le temps et adorent les enfants blancs ». Ces stéréotypes sont tellement extrêmes. Il s’agit de ce que le groupe décolonial modernité/colonialité a conceptualisé en tant que « colonialité de l’être » et cela porte aussi sur la « colonialité de la connaissance » en fait… Ils colonisent tout votre corps : il ne vous appartient plus. »*  Cela révèle, par des conditions significatives de mise en jeu, les ressources mêmes du corps. 

*http://blog.uprising-art.com/be-bop-2013-exclusive-interview-with-teresa-maria-diaz-nerio/

— ‘‘Hommage Sara Bartman’’, Graduation Show, Gerrit Rietveld Academie, Amsterdam, The Netherlands, July 2007/

Sara Bartman who is more commonly known as the Venus Hottentot a South African Khoisan woman who was brought to England to be exhibited in 1810, her genitals and buttocks were far beyond the understanding of what most Europeans at taht time considered a human body in that sense connecting ‘‘humanity’’ with their race solely, she was considered almost like an animal and neing exposed like an object. After her death her genitals and her brain were kept, as well as model of her body and her skeleton were exposed in the Musée de l’Homme in France. This performance is the result of an investigation on the black performing body, and how blackness has become an act in itself, wearing her body as a skin was a solution to disguise myself and at the same time become myself through the other. The reason why Sara Bartman has become an icon for the African people in Africa and in the diaspora as well as for European people, is a reaction to the registered and legitimate scientific and voyeuristic rape of her body. The verticality of the sculptures and monuments that glorify the heroic acts of man is now simply the body of an African woman, silent, erect, awake.

- NICOLA L, The Cape of Blues, 2007, Paris, Saint-Sulpice.

- Non-Grata Group. Göteborg. 2007

- ONDAK Roman, Measuring the Universe, 2007.

- PETTIBON Raymond & HAINO Keiji, The Whole World is Watching, 2007. Berlin.

- ROSSA Boryana D., Civil Position, 2007.

‘‘Civil Position’’ is a public intervention in which the artist knelt down at Eagle’s Bridge Square at Sofia Center for about two hours, with handcuffs on her hand and a switcher on her head. The leaflets spread around declared the artist’s appeal for pro-active society. The posture and the attributes were inspired by a police action at the same place. ‘‘Civil Position’’ is a comment on the political passiveness of contemporary Bulgarian society, but also a symbol of the civil position on the individual towards a state that has no concerns of people’s need.

- SAADEH Raeda, Vacuum, 2007.

Raeda Saadeh est une artiste de renommée internationale à la fois plasticienne et performeuse, née à um El Fahem en Palestine. Elle obtient sa licence et maîtrise à l’école des Arts et du design de Jérusalem. Elle remporte le premier prix de l’AM QATTAN de Jeune artiste de l’année en 2000. Son travail photographique, vidéo et performances a été exposé largement à un niveau international, en Europe et aux États-Unis. On ne peut oublier les oeuvres très saisissantes de Raeda Saadeh comme ‘‘Vacuum’’, un film qui la représente passant l’aspirateur dans une partie du désert entre la Palestine et Israël réinterprétant ainsi le mythe de Sisyphe dans une quotidienneté domestique et féminine très politique. Vacuum a été présenté dans le cadre de Dream City 2010.  

— Raeda Saadeh was born in Umm al-Fahm, Palestine, in 1977 and studied at the Bezabel Academy of Arts and Design in Jerusalem, where she lives today. Saadeh’s work uses the body as a tool to explore identity, gender and space as well as the relationship between place and the self. Her performances, videos and photo works are preoccupied with borders as a cultural, topographical and physical phenomenon.

The two-channel video performance Vacuum shows the artist vacuuming the barren hills of Palestine. This absurd but simple act not only casts a critical shadow on gender roles, but also relocates the act of vacuuming and cleaning, which is traditionally ascribed to women, from the private sphere into a politically charged space: ‘‘In one sense, however, the mountain is already ‘cleaned’: it contains only stones, no people live in the area. Viewing this work, a Palestinian spectator couldn’t help but recall the Zionist slogan: a land without people for a people without a land.’’ (Aida Nasrallah)

— « The woman as an occuring subject in my installations of performance work is represented as living in a state of occupation. This occupation or occupying  force is issued through political conditions within her environment and this results in influencing the otherwise peaceful quality of her world. There are both private and public elements that manipulate this world.

The occupying force has many facets: it can take the shape of physical tangible realities of the everyday, such as in a wall of concrete, a fence, a checkpoint, a curfew, a barrier of stone – or it can reassign the force unto a face of a child, a home, a language, and cultural, traditional expectations. There are limitations on her personal freedom as well: the woman, the mother, the lover, the guide, the protector. She seeks justice and longs for change. She is not blind to the opponents around her and pushes forward with enduring strength – and at times, she feels that it is almost as if she has assume a sort of madness in her behavior so that she can live unharmed by oppression, in an attempt to always protect those she loves form nefative forces of fear.

In my art works, the woman I represent lives in a world that attacks her values, her love, her spirit on a daily basis, and for this reason, she is in a state of occupation – and her world could be here in Palestine or elsewhere; and despite all, she looks towards her future with a smile.

In the photograph ‘‘Untitled’’, 2005, I am photographed wearing a gentlemen’s suit complete with a formal tie, but I am wearing the suit backwards.

In this work, I am attempting to express the masculine dominance that is so prominent within our culture, but my wearing the suit backwards is my own intervention, commenting on the necessity to view things otherwise and from a non-masculine-dominated perspective. The gentlemen’s suit does not have any particular cultural identity and could be worn by any man from anywhere within the world.

The subject/woman I represent in the majority of my work is weighed down with oppression but is filled with ambition; she is saner than she should be and yet she is also a little mad. She is both fragile and strong, she is fully aware and responsive, and she is constantly on the move. And every move she makes, every act, is an act that exhibits awareness towards her surrounding environement, while simultaneously being an act of revolt towards social orders/conditions.

In the new video project, ‘‘Vacuum’’, 2007, commissioned by the 8th Sharjah Biennial, I am seen in a desert landscape, attempting to vacuum the sand of the desert. it is an endless process, as I move across the sands in a continuous vacuuming motion, in an attempt to question how much life is given and how much taken? »

(works and text by Raeda Saadeh, Jerusalem, Palestine, 2003/07)

(http://www.citysharing.ch/invited-projects~87.html, consulté le 5 janvier 2015)

- SÁDABA Estíbaliz, The Garbage Girl (manteniendo el mundo del arte), 2007.

Estíbaliz Sádaba (1963, Spain) moves within a framework of cultural and activist artistic practice, connecting art and feminism. Her videos are direct and provocative actions, in which she faces a camera and is often accompanied by punk music. The immediate and protest character of her works transforms them into small manifestos. Together with Azucena Vieites and Yolanda de los Bueis, she founded the Erreakzioa-Reacción collective in 1994, which uses artistic expression as a protest medium to pose feminist question through publications, lectures, exhibitions and workshops.

This piece is a re-enactment of the performance from 1973 by Mierle Laderman Ukeles entitled The Garbage Girl, which consisted of washing the stairs of an official government building. Through the reconstruction of this action, Sábada hoped to make an analysis of the representation of women in the art world and the space that she occupies in it as an artist who understands her work in terms of ‘cultural production’. Once again, this work is about moving texts towards a new space of her own creation and thus establishing a dissonance between the image and the space where the performance is conducted.

- SANTAMARIA Elvira, 48.480 Blancos y uno rojo, Bogota. 2007.

- SANTAMARIA Elvira, Escala 1 : 1 Acciones urbanas en Bogota, 2007.

- SANTAMARIA Elvira, Escaleras del paraiso Bogota, 2007.

- SANTAMARIA Elvira, Sin titulo, univ. nat. de Colombie. 2007.

- SIERRA Santiago, 4 Véhicules noirs, le moteurs allumé dans une galerie d’art, Sala Mendoza, Caracas, Venezuela, février 2007.

Quatre véhicules noirs furent placés le moteur allumé à l’intérieur d’une galerie d’art. La fumée produite par les moteurs devait être évacuée par des tubes, du pot d’échappement des voitures vers l’extérieur de la galerie.

- SIERRA Santiago, 184 travailleurs péruviens, Matucana 100, Santiago du Chili, décembre 2007.

Ces ouvriers furent payés 7000 pesos chiliens, environ 15 dollars et nourris gratuitement pour faire une série photographique et pour prendre part à la pièce performée au même endroit.

- SIERRA Santiago, Concert pour une usine électrique de diesel, février 2007.

Pièce expérimentale de la Fondation Chacao, Caracas, Venezuela, février 2007

- SIERRA Santiago, L’Hymne national de l’Argentine, du Brésil, du Paraguay, du Chili et de L’Uruguay joués simultanément et continuellement, Cabildo of Montevideo, Montevideo, Uruguay, août 2007.

Les hymnes nationaux mentionnés furent joués simultanément et continuellement sur des haut-parleurs noirs dans une salle de ce bâtiment historique.

- SIERRA Santiago, Le Piège, Matucana 100, Santiago du Chili, déc. 2007.

Cette oeuvre a été réalisée de manière à ce que ces 13 personnalités, exclusivement puissent la contempler : Patricio Walker Prieto, Président du Congrès, José Antonion Viera-Gallo, Ministre et secrétaire général à la Présidence, José Goñi, Ministre de la défense, Juan Eduardo Faũndez, Directeur de l’Institut National de la jeunesse, Carlos Peña, Recteur de l’Université Diego Portales, Nelly Richard, Vice-Recteur de l’Université Arcis, Francisco Brugnoli, Directeur du Musée d’art contemporain, Raúl Zurita, Poète Prix de littérature nationale, Justo Pastor Mellado, critique d’art et conservateur du Musée Salvador Allende, Hermán Garfias, Directeur de l’école d’art de l’Université Diego Portales, Rodrigo Miranda, Journaliste au journal La Tercera, Macarena Garcia, Journaliste pour le journal El Mercurio, Catalina Mena, journaliste pour le magazine Paula. Chacune de ces personnalités a été invitée à traverser un long couloir de bois en construction. A certains points, elles se retrouvaient au milieu d’un théâtre remplis de 188 ouvriers péruviens au regard sévère. Incapable de sortir à ces moments-là, elles revinrent sur leurs pas. néanmoins, le couloir avait changé, et ne menait plus au point de départ, mais à la rue. Une fois dehors, leurs clefs de voiture leur fut remises par un gardien qui les remercia de leur présence.

- SPRINKLE Annie & STEPHENS Elizabeth, Yellow Wedding Three, 2007.

- SURYODARMO Melati, My Fingers Are The Triggers, 2007.

‘‘My Fingers Are The Triggers’’ is inspired by the psychological pressure and emotional disorder that influence the physical resistance, endurance and reflect personal habits. My ten fingers are connected with black rubber strings which are attached at the ceiling. I moved in a concentrated gestures, while trying to keep the hands in a low position to the maximum stretch of the rubber. My fingers are holding to the stretch of the rubber, but I try some how to do solid and slow movements, mostly on the ground.

Duration: 6 hours.

Performed at the ‘‘Insomnia-La Nuit blanche’’, Le Générateur, Paris, 2007.

- THE WAITRESSES, So You Want to Be a Waitress, All City Waitress Marching Band performance, Doodah Parade, December 1979, Pasadena, California, USA, re-creation April 2007 LA Artscene, Los Angeles County Museum of Art, Los Angeles, California..

The Waitresses (USA 1978-1985) was a collaborative performance art group formed by artists who were also waitresses during the 1970s in Los Angeles. These graduates of the Feminist Studio Workshop at the Woman’s Building entertained audiences in restaurants, women’s conferences and labour conferences and designed installations for galleries and museums from 1978 to 1985.
They explored working conditions for women, used humour, and were precursors to later groups like The Guerrilla Girls. In one of their performances they formed a marching band with 33 women and children in white waitress uniforms with red aprons and marched in the Pasadena Doo-Dah parade on New Year’s Day in 1979. In 2007 five original waitresses – Jerri Allyn, Chutney Gunderson Berry (bandleader), Ann Gauldin, Anne Mavor, Denise Yarfitz Pierre – and 37 other men, women and children marched in support of pay equity now.

- TIAN TIAN Hai Rong, Performance Art in Glass House, 24 avril 2007. Beijing. 

Hai Rong Tian Tian, a performance artist, is seen behind a glass wall as she participates in a performance in Beijing, April 24, 2007. She and another artist will live in the glass house for a month, exposing their daily life to visitors (reprise Ben Vautier ?)

- TOMMASINI Carla Esperanza, Pose with an audience member, 2007

The Red Carpet Event at the premiere of La Pocha’s Nostra New Barbarians X-Treme Fashion Show, Arnofini, Bristol.

- TWIN GABRIEL, GABRIEL Else/WREDE Ulf, Kind als Pinsel (Kooperatorka), 2007.

Else Gabriel (1962, Germany) studied at the Dresden Art Academy in the mid-1980s. There she became a member of the group Autoperforationsartisten, which has known for its spectacular performances, combining elements of disgust, self-mutilation and shocking scenes that challenged the ideology and teaching methods of the GDR. In 1988, Gabriel began working with the artist Ulf Wrede (1968, Germany), and they have been collaborating under the name (e.) Twin Gabriel since 1991. They frequently stage performances and masquerades, in which they play different roles and often integrate children. Else Gabriel currently lives in Berlin where she is a professor at the Hochschule Weissensee.

Die Erziehung der Hirse (The Cultivation of the Millet) is a didactic poem without irony by Bertold Brecht, underscored by Paul Dessau 1952-54. Sung by Else Gabriel, it serves as a soundtrack for this film performance and accompanies images representing memories of her childhood in the GDR. The film culminates when a child is instrumentalised as a paint brush in a scene symbolising Gabriel’s role as a woman, artist and mother.

- WEN Lee, Journey of a Yellow Man, 2007. Copenhague.

- WITTSTOCK Herma Auguste, Für Paula, 2007, Künstlerhäuser Worpswede, Woprswede, Allemagne.

1 hour/live performance

I’m wearing a white simple dress and my hair is braided in two each 4 metres long plaids. My long hair is tied to a tree branch so that I can use it as a swing. It is windy, so the wind swings me. Photo/video Annika Sporleder.

- WITTSTOCK Herma Auguste, Image of Praha or Wall Piece, 2007, Karlin Studios, Prague.

1 hour/live performance

I’m hanging on a wall. I wear white trousers and a white shirt. Screws are drilled throught my clothes into the wall. So my clothes hold me to the wall. Photo: Mariana Judova.

- WITTSTOCK Herma Auguste, Image of Worpswede or Fresh Morning, 2007, Künstlerhäuser Worpswede, Worpswede, Allemagne.

30 minutes/live performance

I’m naked and lie on my back in fresh snow. There is no movement, except my belly going up and down because of my breathing.

- WITTSTOCK Herma Auguste, Limited Beauty, 2007, Karlin Studios, Prague.

5 hours/live performance

I’m standing at the end of a long and low cellar room. The room is dark, just some little lamps are on the floor. My body is wrapped in long hair like a cocoon so that I cannot move. The end of the hair is fixed in thin hair strings on the wall, so it looks like a spider web made of hair. Photo/video: Tomas Soucek.

- WITTSTOCK Herma Auguste, Paula, 2007, Künstlerhäuser Worpswede, Worpswede, Allemagne.

1 hour/live performance

I’m outside on green grass. I’m wearing a white simple short dress. In my hands I’m holding a spade. I dig the grass up. After a while I dig in a way that the brown earth where formed into letters. At the end PAULA is written in the grass. Photo/video: Bernd Milla.

- WITTSTOCK Herma Auguste, Welcome to Singapure, 2007, Singapore.

20 Minutes/live performance/Theatre Woks (Singapore) Ltd, Singapore, SG.

I’m standing in front of the public, wearing a transparent dress and looking into the eyes of the people around me. After a while blue blood is coming out of my nose, later out of my mouth, too. One long and loud shout is coming out of my mouth, my skin is getting red. Silence again and I’m looking at the public.

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